Dos caminhos de água aos caminhos de ferro: a construção da hegemonia de Natal através das vias de transporte (1820-1920)

At a time of changes on the territory during the 19th century, the political and socioeconomic elites of the province and later State of Rio Grande do Norte evolved a discourse in order to justify the permanence of Natal as a city holding a status of capital. In this work we analyze the means employed by the ruling classes to impose their wish to raise Natal to an outstanding position among the existing cities by intervening on the territory during a period of one hundred years (1820-1920). During that time, which was characterized by changing commercial flows and technological development, the elites interventions were essentially directed to the implementation of modes of transportation, especially the railway. We try to understand the reinforcement of Natal as a capital city not only in political and administrative terms, but mainly in a commercial and symbolic manner, through the discourse and interventions undertaken by the local administrative elites, who stimulated the creation of a set of relations on the territory that also imprinted visible marks in the capital s urban fabric. These interventions were based upon the establishment of an infrastructure for exporting the State s production, firstly through and despite the Potengi River, and later on by the construction of railways. Although the project of Natal s hegemony had been outlined before the establishment of the railway network, in both cases the ultimate objective was to reinforce and develop the capital city as a commercial urban center to the detriment of other cities

Da poética das lágrimas a uma poética do riso: de Aristóteles ao One-man show

Since the 1970s, the world observes the fragmentation, hybridity, plurality and miscegenation that are taking over the scenic arts. The contemporary poetry feels free of the classical rules; theater no longer obeys the requirements of the poetic "manuals"; the rigid boundaries between genres disappears; artists cease to represent to the public to talk with him. In the last decades of twentieth century and in the twenty-first century, emerges the laughable phenomenon of One-man Show in the brazilian scene, object of this research, as a result of this evolution of the performing arts. It is a form of theater that emerged in the brazilian context, snatching public attention in alternative spaces, theaters and, as it should be, also on the Internet, often confused with the Stand-up Comedy. It is necessary a research that delimitate and pursue to identify the essential characteristics of the brazilian One- Man Show, not only by the absence of theoretical references concerning this, but also to understand some aspects of the brazilian scene and the situation of laughter and comedy in it. In the first chapter, a discussion about comedy and laughter in classical antiquity is presented, using the writings of Plato and Aristotle as a starting point; in the second, some of the main classical theories of laughter are reviewed, attempting to identify the general characteristics that enable to understand the construction of the comedy; the third chapter generally dicusses about the moment of the brazilian theatrical scene in which emerges the One-man Show; and in the fourth chapter, there is an explanation about this phenomenon and a description of the practical exercise titled Experimento One-person Show: Damas