Formação da Rede Vida de Televisão: entre a política brasileira de concessões televisivas e as diretrizes católicas de comunicação social, 1989-1995

Fundação de Amparo à Pesquisa do Estado de São Paulo (FAPESP)

Modernidade republicana e diocesanização do catolicismo no Brasil: a construção do bispado de Botucatu no sertão paulista (1890-1923)

Conselho Nacional de Desenvolvimento Científico e Tecnológico (CNPq)

Tempo de festas: homenagens a Santa Bárbara, N. S. da Conceição e Sant'Ana em Salvador (1860-1940)

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)

Distribuição de pausas na interpretação de atores

Introduction: The literature about the work with the voice of actors in the theater focuses the research on organic issues involved in the vocal process as “misuse” or “vocal abuse”. To a lesser amount, there are studies that highlight issues of interpretation and expressive resources, as well as others that highlight the linguistic resources of interpretation. This work shows a linguistic feature – the pause – and its collaboration for the theatrical interpretation. Objective: to verify the extent to which similarities and differences occur between the points judged as occurrence of pauses in interpretations of a theatrical text. Method: Subjects of this study were four theater actors, who played individually a same theatrical text. Later, a group of ten judges judged the points where pauses occurred. Based on a criterion of 70% agreement between judges, were searched similarities and differences between the points judged as pause of each recording. Results: the four subjects showed different amounts of pause in the stretch in common that they interpreted: S1= ten occurrences; S2= 14 occurrences; S3= 6 occurrences; and S4= 9 occurrences. In this inter-subject variation, five points of pause in common were detected. Conclusion: we have seen, then, that this variability (featuring subjectivity in interpretation) is built inside given possibilities, with lesser or greater flexibility, by the structure of the theatrical text.

O reino Visigodo: catolicismo e permanências pagãs

What became accustomed to call “paganism” is undoubtedly one of the most significant forms of what is designated as “popular religiosity”. This expression, which seems useful when a generalization is required, shows all its weakness when a more precise and objective observation of a particular religion is attempted. Would the official visigothic kingdom’s “conversion” to Catholicism, with Recardo (586-601) at the Council of Toledo of 589 have effectively matched to the “conversion” of this kingdom’s population? Firstly, it is necessary to consider, in beyond the exalting intentions of the sources of that moment, that mass conversions do not imply a radical change in the convictions and religious practices of an entire people. Secondly, that “conversion” and “Christianization” are not synonymous. “Religiosity”, which includes the “conversion”, implies a fundamental religious attitude, which can simply be interior and personal. On the other hand, “religion”, in which “Christianization” is included, would correspond to a public aspect, institutionalized, which elaborates a set of techniques aiming, as in the case of “religiosity”, the guarantee of the supernatural Thus, elevated to the position of “official religion,” Catholic Christianity would live with a series of rites, rituals, devotions, from the previous “religiosity” that, through its ecclesiastical perspective, would be reprehensible, considered marginal and something that would lead to error. However, on the eve of the Muslim invasion in 711, not only among the laity but even in ecclesiastical segments, the manifestations of the “paganism” still were aim of coactive condemnation in the Catholic kingdom of Toledo’s councils.

Resgates e abandonos do passado na prática musical litúrgica católica no Brasil entre os pontificados de Pio X e Bento XVI (1903-2013)

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)