Tese Ilton

A MÍSTICA CARMELITANA E O SERVIÇO DA MISERICÓRDIA "Cuida dele, no meu retorno, retribuirei o que tiverdes feito a mais" Lc 10, 35b Tese apresentada como requisito parcial à obtenção do grau de Doutor em Teologia, pela

PhD dissertation, 2022

Popular music has been the object of several studies in various fields, such as Musicology (MIDDLETON, 1993; MOORE, 2021), Cultural Studies (WALL, 2013), Sociology (BENNETT, 2008), Semiotics (DUNBAR-HALL, 1991), and Corpus Linguistics (BARBOSA, 2012; BÉRTOLI-DUTRA, 2010; BÉRTOLI-DUTRA, 2014; DELFINO, 2016; WERNER, 2012), among others. While there is great interest in the study of popular music, there are at least four general trends in the literature relevant to the present thesis. The first is the small number of empirical research on musical language, as there is a predominance of works of a theoretical nature. The second is reductionism, that is, the disconnection of the verbal component (the lyrics of songs) from the acoustic component (the melody). The third trend, among empirical studies, concerns the use of reduced data samples, formed by a few songs, which reduces the scope of the study and therefore the possibility of generalizing the results. Finally, the fourth trend is the correlation between the verbal and the acoustic modes of the songs. There are therefore four significant gaps in the previous literature, one concerning the scarcity of empirical studies, a second concerning the scarcity of studies involving both the verbal and acoustic components. The third concerning the scarcity of studies based on large data samples, and the last concerning the lack of a musical correlation that takes into account the linguistic characteristics of lyrics and the acoustic characteristics of musical production simultaneously. In view of these gaps, the present thesis aims at performing two multidimensional analyses, namely: a semantic analysis (verbal mode) and an acoustic analysis (acoustic mode), so that each song is measured along several dimensions simultaneously; another goal is to compute the correlation between the verbal and the acoustic modes through a canonical correlation analysis, a statistical procedure that relates canonical pairs of measurement sets, in this case the scores of each song on each of the semantic and acoustic dimensions. This correlation enabled the extraction of three multimodal musical dimensions: Dimension 1 - Musicality based on repetitive, vibrant rhythm, focused on bodily expression indoors, in conventional tempo, with a predominance of vocalization and verbosity, portraying the discourse of glorifying and/or criticizing materialism, wealth, luxury, ostentation futility, opulence, instant gratification, superficiality, appearance, the banal, the ephemeral, distancing itself from the supernatural, mystical, metaphysical, figurative, lyrical, poetic, transcendent (Musicality for dancing portraying the concrete materialist discourse and distancing itself from the mystical); Musical Dimension 2 - Musicality based on intensity, amplified instrumentation, extroversion, vigorous, powerful vocalization, with high volume, strength and fast movement, in accelerated rhythm, aimed primarily at engaging with the audience in live performance, with subjectivist discourse on the existence of the 'other', accounts of personal and interpersonal dramas resulting from suffering due to the impossibility of knowing the intimacy of the other, problems of communication and mutual understanding, description of internal mental processes, describing the world as supernatural, mystical, metaphysical, figurative, lyrical, poetic, transcendent (Intense musicality depicting the discourse of personal drama and the supernatural); Musical Dimension 3 - Musicality based on happier chords and higher tones, with a less emotional and less moody sound portraying the tragic-romantic discourse of the personal journey, the search for happiness and love, suffering through loneliness, reunion, the myth of the ideal home, love as a journey, the ceaseless search for happiness (Joyful musicality portraying the tragic-romantic discourse).

Florianópolis, agosto de 2004.

Revista Geografias

Teses defendidas no Programa de Pós-Graduação em Geografia/UFMG no 2º semestre de 2014

1 Agradecimentos O presente trabalho pode ser visto também como fim de um ciclo pessoal no Programa de Pós-Graduação em Sociologia da UFSC. Momento oportuno para agradecer esse Programa de Pós-Graduação, nas figuras de seus professores e funcionários, com os quais sempre tive excelente receptividade, ajuda e acolhida. Para elaboração desta tese, agradeço também aos colegas do Núcleo de Estudos da Juventude Contemporânea, pelas discussões e compartilhamento do andamento de nossos trabalhos. Em especial agradeço aos professores Fernando Ponte de Sousa e Janice Tirelli Ponte de Sousa, meus orientadores no mestrado e doutorado respectivamente, aos quais devo muito mais do que o simples aprendizado acadêmico.

In the following thesis we sustain the imaginary nature of knowledge in general, stressing that produced about the Law, which is also considered imaginary, since it is primarily a kind of knowledge. Accordingly, we postulate the necessity to overcome the formalism that prevails in modernity both in the legal thought and practice, since it promotes the dangerous belief in certainty and objectivity that would follow from the establishment of behavior considered sufficient through its formalization by means of legal norms and concepts.