Programa de Pós-Graduação em Letras e Artes - PPGLA
URI permanente desta comunidadehttps://ri.uea.edu.br/handle/riuea/5685
Em 2011, iniciamos as atividades do Mestrado Profissional em Letras e Artes. Após a última avaliação trienal da CAPES (2010-2012), o conjunto destas ações motivou o parecerista de área a sugerir que tal perfil se relacionava de maneira mais condizente a uma proposta de Mestrado Acadêmico, o que, portanto, não acarreta perda de viés, mas, ao contrário, reforça o conceito que o PPGLA projetou para o perfil dos seus egressos. Com base nisso, reformulamos as linhas e a área de concentração para o envio de uma nova APCN, com proposta para Mestrado Acadêmico, de modo a abrigar ações, ao invés de separar express que promove ainda mais o aspecto interdisciplinar e aproxima as iniciativas que possuam motivação semelhante, quanto ao tratamento e destino dos temas e objetos de observação científica. Iniciamos, portanto, o programa no mês subsequente à recomendação da CAPES, que sugeriu a migração da turma de 2015 à modalidade acadêmica. Ao que se refere à inserção do Programa na região Norte, ele vem a suprir uma demanda de anos, em toda a região Norte. Há, atualmente, na região, apenas 10 Programas na Área de Letras e Linguística. Quanto aos programas em Letras no estado do Amazonas, estes são muito recentes (2010 o da UFAM e em 2011 o da UEA, modalidade profissional); há, também, uma procura muito grande nos processos seletivos do PPGLA-UEA, sempre mais de 100 candidatos em cada seleção. Portanto, a inserção do PPGLA na região tem trazido resultados positivos, dentre os quais destacamos a formação local de profissionais, em especial para atuarem nas universidades e faculdades do estado, sobretudo para a formação de docentes concursados que ainda não possuem mestrado. Uma das particularidades de nossa proposta é de contemplar as três áreas da grande Área de Linguística, Letras e Artes. Dessa forma, tanto propostas como orientações visam à busca pela interdisciplinaridade, como ponto de relação entre linguística, letras e artes, mas também dessas com outras disciplinas ou interfaces.
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Item Diálogo musical(Universidade do Estado do Amazonas, 2019-10-16) Márcio Leonel Reis PáscoaMusic research in Brazil has multiplied over the past 20 to 30 years at a remarkable rate compared to previous decades. Undergraduate and postgraduate courses that house the study of music have also grown. Most of this research is done in the field of postgraduate studies, whether in music or the arts, but still in letters, linguistics, history, sociology, philosophy, education, teaching, psychology, anthropology, geography, communication, and even science. not infrequently in programs or with interdisciplinary objectives. This comprehensiveness occurred through a change of scientific paradigm that, especially in the case of the Humanities, has become increasingly ontological, thus propelling a hermeneutic view that relates multiple knowledge and methodologies. Thus, the studies also began to promote dialogue between areas, subareas, lines of research, which previously had some difficulty, more or less, in relating. Even the research narratives undergo change. Conference concerts are becoming more and more common in scientific events, as experience reports or the epistolary narrative, which goes back to a recovery from the dialectical process of past manuals, began to occupy qualified scholarly publications just to be a few examples. . This volume brings together some of the most explored themes in these two decades of the 21st century. The field of music education, for example, has now developed the subject of cognition with great interest, and there are already graduate programs with specific lines for it. Thus, the subjects of musical perception went from mere room strategy, to a deeper discussion about fundamentals, criteria and an approach where psychology, sociology, anthropology and, of course, musicology are increasingly present. Three of the contributions to this book refer to the issue of perception and the teaching of leaked songs in the idea of language as a language, thus a social construction, a process that cannot be seen as mere repetition of procedures. This allows us to understand part of this work as systematic musicology, as it reorganizes knowledge in favor of understanding music as science. Musicology, by the way, has spread to many new strands, or currents, also adopting peculiar points of view. Historical musicology itself has renewed itself with new objects and agents of discussion. Interest in Portuguese-Brazilian studies has gained wide attention since it seemed clear that for at least three centuries Brazil and Portugal were united in the same political-administrative unit, sharing different cultural aspects. In this case, both the studies of music - which is called classical - as well as those devoted to what is conventionally called popular, have also interested researchers breaking with boundaries that are no longer explained. Be it the attention of a Portuguese author for a key whose copyist activity disseminated the work of many other authors, such as João Cordeiro da Silva, regarding the case investigation on the origin of a specific lundu, such as Marruá's, or indeed Monroy, who are involved in this attempt to better explain what the Luso-Brazilian musical context was, especially in the eighteenth and nineteenth centuries, where much remains to be transcribed, edited, analyzed and publicized its legacy Such studies place musicology in convergence with cultural history, promoting even broader interdisciplinarity. The studies of Musical Iconography go in this direction. Their association with Painting, Sculpture and the Graphic Arts, as well as referring to other artistic expressions, need the same framework as the Humanities to gain the ballast that allows them a better and deeper understanding. It is an investigation that associates the ideological construction of nationalism through the publication of sheet music in Brazil between the 19th and 20th centuries, or the representation of popular musical practices such as Oscar Pereira da Silva or Carybé, regarding the more international dimension of the subjects. with the significant presence of Brazilian researchers in classical antiquity or in the cinema. This vast list of subjects that are very punctuated here by way of example, still marks a decade of institutionalization of the RIdIM (Repertoire Internationale d'Iconographie Musicale) in Brazil. This important organization, established internationally a few decades ago, is responsible for the initiatives that today bring together works of great associative power of knowledge. What brings it all together is a sample of how musical issues spread in scientific studies, here biased by researchers whose field of expertise is not necessarily music - and there are, of course - but the Visual Arts, Architecture, Archeology, History, Sociology, Letters and Education. What matters is that everyone somehow needs music in their studies or has it for the interpretation of the world. The contributions also sought to demonstrate the great geographical scope of the researchers, including works from Portugal and all parts of Brazil, from Amazonas, but also Goiás, Bahia, São Paulo, Minas Gerais, Paraná, since these scholars are also linked some of the largest Brazilian public higher education institutions, where more than 90% of the research done in the country falls. Without the public university and its constitutional guarantee of autonomy, it would not have been possible for seemingly useless subjects to receive the attention of highly qualified professionals in their fields. Not even qualifications and professionals would ever find themselves in a scenario of lack of diversity. Without such conditions even democracy and human beings would suffer, prevented from exercising their plurality and their hope of emancipation, especially intellectualItem Música em diálogo(Universidade do Estado do Amazonas, 2019-10-16) Márcio Leonel Farias Reis Páscoa; Luciane Viana Barros Páscoa; Caroline Caregnato; Mário Marques Trilha NetoIn May 2018, another edition of the International Symposium of Ibero-American Music took place, returning to Manaus for its 5th edition, after visiting Salamanca, Lisbon and Belo Horizonte, where it was housed by the largest local Universities. V SIMIBA had a large number of participants, with communications, lectures, commented concerts, posters and experience reports. The national and international guests constituted a scientific committee that, in addition to the selection of works, contained in a separate notebook and available on the event website, selected the best texts for this publication. These texts were grouped by lines of research, revealing thematic trends of musical scientific research in or related to the Ibero-American space. The commission also found it useful and interesting that works of interdisciplinarity, intertextuality and addressing methodologies applicable to thinking about music or explicit reflection on the actuality of art could be contemplated in order to enrich and broaden horizons on the one hand, but still offer counterpoint of views on the other. The first block of this book brings together work on music analysis and, due to the presence of renowned researcher Robert Gjerdingen of Northwestern University of Chicago, many submissions have focused around the analysis through the counterpoint schematae studied by the American since the last quarter of the year. twentieth century, culminating in his book The Music in the Galant Style (Cambridge, 2007). Other researchers and works succeeded him in a complementary and affirmative manner, however, without exhausting the broad possibilities of the process involving cognitive, educational, and interpretative aspects beyond musical composition. Since music under this bias is understood as language and therefore predisposed to a discursive strategy, some of the works selected for this volume promote the relationship with rhetoric in a broad sense, or from the perspective of some detail; due to the analytical quality or originality of the object or approach, most of the texts in this block on analysis are circumscribed in the aforementioned theme, constituting important contributions to music material circulating in the Luso-Brazilian space. They are analyzes that observe steps of the rhetorical discourse, or the presence of counterpoint schemes, including to obtain meanings or in the service of reconstructing missing parts in musical works, but still as a performance guide and even as an identification of a communicative system in which they are performed. mentioned schemes add up to musical topics, rhetorical figures and creative process. The contributions of researchers from São Paulo, Espírito Santo and Amazonas even reveal, and beyond the bias of the above approach, the spontaneous formation of a network of interests about the repertoire in transit from the Portuguese to the Brazilian environment between the 18th and 19th centuries. , which also include Italian and Spanish authors whose work has appeared in this space of circulation. The next block deals with more circumscribed works in the traditional musicological bias, in which once again the question of the conscious use of rhetoric in Latin space gains reflection, just as the production of peninsular origin is observed in a space that has made it invisible for years, as in Eastern Europe, demonstrating that it is a rich lode of experiences and productions to be revived and better developed. But the approach to national music also gains representation, from different eras, moods, authors and insertions. Part of this musicology has come to stand out in recent times in what are called studies of Musical Iconography. The images and representations of music, performers, sociability and performative practices find in this context an analytical field of interdisciplinary bias. Here, these studies are related to organizational and language issues, in the case of cinema, as a small display of the incredible versatility that can be used. The block on educational and cognitive processes also represents another strand of music research for which the academic community never loses interest. The works gathered here are produced in a sample already examined by the production that was done by students and researchers from the northern region of Brazil, highlighting the presence of a field that is still little explored in the local context: a musical cognition. As an area of recent study, established as such in the international context only from the 1980s, how music and knowledge research show connections with other interests of music education and even with a performance. Among the works gathered in this block, we can find productions that deal with music teaching and learning processes related to the context of the Amazonian capital, which hosted the event and also reflections focused on the Brazilian context, gathering variables. varied to an understanding of phenomena that are not limited to a geographical reality and are not only of interest to researchers in this region. Such studies can contribute with interdisciplinary perspectives, including historical, sociological approaches or even the concentration of different areas in a study, bringing references from different fields, favoring the understanding of local contexts, offering visibility. Do the same, as interpretive practices, which also form a block here, feed on mitigation with other music subareas and even disciplines from neighboring areas. Here are approaches of historical, ethnological, organic and technical scope. Some objects have dimensions to reflect well beyond the Ibero-American field, others are the only examples of this geographical and cultural insertion. It is clear that under this prism of transversality with other lines, areas and disciplines, the study of interpretative practices is even more interesting. The last block of this publication was reserved for analytical methodologies to address other artistic expressions, thus contributing to intertextual and interdisciplinary studies. The predominance of Erwin Panofsky's theory of art and methodology (1892-1968) reveals a strong rapprochement with a hermeneutic view that, directly or indirectly, sees most studies, not just here. The iconographic and iconological approaches described describe peculiar processes of artistic culture as image culture, of historical essence (ARGAN, 1994). There are also appropriations of meanings, meanings, and semiological background procedures. Above all, a diversity of expressions approached refers to experiences that serve the eyes of the Arts researcher, especially here for Music, to understand which degrees of selection may be many, the only and exclusive way of observing objects and understand the process of knowledge building.Item Como escrever a pesquisa: normas técnicas, metodologia e guia do trabalho acadêmico(Universidade do Estado do Amazonas, 2018-12-12) Rolon, Renata; Dias, Saulo; Teixeira, Mauricio; Silva, Allison; Sousa, Lourenço; Sakongo, AméliaThis book aims to standardize the Academic Works by the students of the Postgraduate courses at Higher Institute of Educational Sciences of Cuanza Sul - Katyavala Bwila University. The guidelines contained therein were prepared in accordance with the rules of the American Psychological Association (APA) and with the standards of the Brazilian Association of Technical Standards (ABNT).