O cuidado em saúde bucal configura-se como um importante foco das preocupações e das práticas atuais do cuidado de si. O entendimento de que as práticas direcionadas ao cuidado de si integram os processos implicados na constituição de subjetividades moveu-me na direção de me interrogar sobre a crescente busca por dentes brancos por meio de um cuidado bucal e de tecnologias que “garantam” o desejado sorriso modelar antes mesmo de preocupações com a saúde bucal. Enquanto efeito das práticas sociais, o corpo encontra-se implicado numa economia política de estratégias tecnocientíficas e verdades que o regulam conforme as normas de beleza, saúde, felicidade e consumo. Tal implicação direciona escolhas, por exemplo, de produtos a serem adquiridos, os quais passam a integrar tanto os hábitos quanto a constituição subjetiva e orgânica dos sujeitos. Se pensarmos nas instâncias cujas verdades nos interpelam cotidianamente, será possível ver que os modos como nos olhamos e cuidamos encontra-se amplamente difundido pela mídia, inclusive os cuidados de saúde bucal. Por meio de diversos meios e modalidades enunciativas, a mídia vem ocupando a posição privilegiada nos processos constitutivos dos sujeitos e nos modo de ver e de cuidar de si. Relativamente ao cuidado bucal contemporâneo, no Brasil, este se apresenta de forma ambígua, ao mesmo tempo, tem-se o adoecimento por cárie e a veiculação de verdades, em anúncios publicitários configurando um cuidado oral estético que articula saúde/beleza. Tais questões moveram-me na direção de conhecer práticas e verdades relacionadas ao cuidado bucal, enquanto cuidado consigo, em anúncios publicitários veiculados na televisão nos dias de hoje. Assim, tomei como objeto de análise anúncios publicitários postos em circulação na mídia televisiva, visto o papel de destaque que adquiriu na constituição das subjetividades contemporâneas. Para entender como foi se configurando o cuidado bucal, no presente, voltei meu olhar para outras épocas, desde 3500 a.C. até meados do século XX, procurando conhecer instrumentos, produtos, quem falava e o que se dizia sobre o cuidado bucal. Nessa direção, examinei anúncios publicitários da revista “A Cigarra”, importante revista feminina brasileira do século passado. Para tanto, foram estabelecidas conexões com o campo dos Estudos Culturais, em suas vertentes pós-estruturalistas, e os estudos foucaultianos. As análises mostraram-me que as preocupações e cuidados bucais foram transformando-se, mas trazendo desde uma época remota preocupações estéticas que foram sendo associadas à saúde. No século XX, tornou-se marcante a presença dos especialistas nos anúncios publicitários, relacionando os usos do dentifrício à beleza e à saúde femininas já associadas ao branqueamento, mas também à sedução. Nos dias de hoje, intensifica-se o discurso do branqueamento do corpo e boca com saúde/beleza e sedução, o que pode gerar a produção de desejo e busca pelo branqueamento dental e pelas tecnologias em nível molecular para alcançá-lo a qualquer preço. Isso aponta para a necessidade de olharmos criticamente as produções midiáticas e as “verdades” que circulam acerca do branqueamento dos dentes. / Oral health care is deemed as an important focus of concern and current practices associated with self-care. The understanding of practices of self-care integrates processes implied in the production of subjectivities. Therefore, I felt compelled to examine the rising pursuit for white teeth in our society. People are more concerned about obtaining the desired standard smile, achieved through oral care and dental technology, than about oral health. One of the focuses of contemporary propositions of self-care consists of dental care practices, which are widespread by the media. The body, thought as an effect of social practices, is part of a political economy of technoscientific strategies and truths that regulate it according to rules of beauty and health, happiness and consumption standards, which drive people to consume certain products, and thus become part of day by day habits and the subjective and organic constitution of individuals. The media plays a rising position in launching truth through different modalities of enunciation in media artifacts. This role made it a prime pedagogical instance, involved in the construction of the individuals’ views and self-care. However, the current oral care status presents itself ambiguously. On the one hand, we have the Brazilian population sickened by cavities; on the other hand, we have truths being promoted in advertisements, configuring an oral care that combines aesthetically health / beauty. These interrogations led me to examine practices and truths related to oral care which appear on advertisements published in women’s magazine of the last century. This way, it might be possible to analyze continuities and discontinuities in what is being said about oral care on televised advertisements in the present time. Therefore, thinking media as a relevant instance of productions of subjectivities, the object of analysis of this research is a set of televised advertisements currently available. In order to support this hypothesis, I established connections with Cultural Studies, in its connections with the post-structuralist perspective and Foucauldian studies. The analysis showed me that the worries and oral care have changed along the years, bringing along with it aesthetic concerns which have been associated to health since remote times. During the 20th century, the strong presence of specialists in ads has been noted, relating the usage of dentifrices to beauty and feminine health, which were already associated with not only whitening but also with seduction. Nowadays, the whitening speech for the body and the mouth and seduction has been intensified, which could generate the production of a desire and the search for dental whitening and technologies in a molecular level, to reach it at any price. Such finding leads to the need of looking critically at mediatic productions and the “truths” circulating around dental whitening.

La notion de « cosmos » occupe une place centrale dans toute l’oeuvre de Jaccottet, moins en tant qu’abstraction conceptuelle que sous forme de « traits épars », diffusés partout dans ce monde-ci. La conception jaccottéenne du cosmos s’inscrit dans la lignée de la cosmologie grecque, notamment dans celle de Pythagore qui assimile le mot « cosmos » à la triade ordre-monde-parure des femmes. Notre première partie s’organise ainsi autour de cette triple signification du « cosmos », dont la première dimension s’avère tout particulièrement significative, puisque l’ordre est à la source de la perception esthétique chez l’homme, alors que le monde n’est possible qu’étant ordonné. Le travail que mène le poète à la poursuite d’un ordre qui transparaît à travers les paysages et les choses acquiert alors un sens existentiel et ontologique, notamment aux temps modernes où le monde humain s’approche plus du « chaos » que du « cosmos », c’est-à-dire d’un ensemble beau, ordonné et uni. Se conduisant en « élève du monde », le poète se laisse guider par la lumière des choses dont la vie, à l’opposé de celle de l’homme, s’inscrit dans la belle ordonnance du cosmos / The notion of the « cosmos » takes a central place in the work of Jaccottet, less as the conceptual abstraction than as the form of the “sparse traits” disseminated in this world. The Jaccottet’s conception of the cosmos takes part in the Greek Cosmology and especially in the Pythagoras Cosmology that assimilates the word of “cosmos” with a triad: order-worldwomen looks. The first part of our study is organized around that triple significance of “cosmos”, whose first dimension is particularly full of significance due to the fact that the order is at the source of esthetic perception for a human being, and the world is not possible without order. The project that undertakes the poet in the research of an order that shows through the scenery and the objects, acquire then an existential and ontological meaning, especially in the modern times in which the human life approaches more to the “chaos” than to the “cosmos” that represents an altogether of beauty, order and union. As an “apprentice of the world”, the poet lets himself be guided by the light of the things whose life, contrary to the human’s life, is registered in the beautiful order of cosmos.

Submitted by Everaldo Coelho Soares (everaldo.soares@ucsal.br) on 2016-10-07T00:10:46Z No. of bitstreams: 1 SANTOS SGA-2014.pdf: 4488387 bytes, checksum: 5b7adf8ce0cb6b1221b3359f6015b90a (MD5) / Approved for entry into archive by Maria Emília Carvalho Ribeiro (maria.ribeiro@ucsal.br) on 2016-12-27T21:22:12Z (GMT) No. of bitstreams: 1 SANTOS SGA-2014.pdf: 4488387 bytes, checksum: 5b7adf8ce0cb6b1221b3359f6015b90a (MD5) / Made available in DSpace on 2016-12-27T21:22:12Z (GMT). No. of bitstreams: 1 SANTOS SGA-2014.pdf: 4488387 bytes, checksum: 5b7adf8ce0cb6b1221b3359f6015b90a (MD5) Previous issue date: 2014-10-21 / Esta tese nasce de uma inquietação com relação às representações sociais do corpo feminino na História do Tempo Presente, conceito que não se detém no imediatismo dos fatos, mas na articulação entre o passado, o presente e o futuro. Decolando da maiêutica e, tendo como base teórica as representações sociais, a argumentação que referencia as ideias, aqui expostas, parte de um trabalho ensaístico que se volta em direção tanto ao conceito de emancipação quanto ao de subordinação, nas vivências corporais do feminino. Para tanto, ancorada em uma perspectiva interdisciplinar, pautada nas áreas da Medicina, da Antropologia, da História, da Psicologia Analítica, da Sociologia, da Ética e da Filosofia, a pesquisa demarca como objetivo principal, investigar se o corpo da mulher, brasileira, contemporânea, diante das conquistas alcançadas, fundamentalmente, nessas últimas seis décadas, vem atuando como um dos pilares da construção da autonomia do eu, ou como um fator de anulação, frente aos cerceamentos sociais, culturais, midiáticos e estéticos, que nele desaguam. Em frente aos problemas metodológicos, epistemológicos e, de certa forma, deontológicos, ponderamos também, com base no pensamento de que na espécie humana existem machos e fêmeas, se essa distinção é fruto de realidades naturais, sociais, ou de ambas. Tais questionamentos, ao se articularam, fixaram como referências as ideias defendidas por Carole Pateman (1993) e Heleieth B. Saffioti (2001, 2004), com relação à persistência do patriarcado, e os pressupostos de Judith Butler (2010), e Beatriz Preciado (2008), entre outros autores e autoras os quais, na atualidade, se debruçam nos estudos de e sobre gêneros, sexualidade e performances. Com igual valor, as críticas das sociedades de consumo, inseridas no espetáculo social integrado, impressas nas ideias de Guy Debord (1997), foram relevantes pontos de análises, neste trabalho plural que, ao se movimentar entre a tirania das imagens e a submissão dos corpos femininos, colocou à reflexão o poder exercido pelas mídias, sobre o objeto investigado, e o fetichismo daí advindo. / This thesis rises from a restlessness considering the social representations of the female body in History of Present Time, concept that not only holds the immediacy of facts, but to articulation between past, present and future. Taking from Maieutics and having as theoretic basis the social representations, the argumentation that references the ideas here exposed, part of an essayistic work turned to the concept of emancipation as well as the concept of subordination, on the bodily experiences of the feminine body. In order to do so, harbored in an interdisciplinary work, guided in the fields of Medicine, Anthropology, History, Analytic Psychology, Sociology, Ethics and Philosophy – the research pinpoints as its main objective, to investigate if the contemporary Brazilian woman’s body, facing the conquers reached mainly in the last six decades, has been acting as one of the pillars of the autonomy of the “self”, or as a factor of annulment, staring the social, cultural, media and aesthetic boundaries. Methodological, epistemological, and somewhat deontological problems were pondered with basis on the thought that in human species there are males and females, if this distinction is fruit of natural realities, social realities or both. Such questions, were articulated, were fixed as reference to ideas defended by Carole Pateman (1993) and Heleieth B. Saffioti (2001, 2011), regarding the persistency of patriarchy, and Judith Butler’s (2010) assumptions, and Beatriz Preciado (2008), among other authors which pore over gender, sexuality and performances studies. With the same value, the critics of consumerist society, inserted in the integrated social spectacle, in Guy Debord’s ideas (1997), were relevant analysis points, in this plural work, that while moving between tyranny of images and submission of feminine bodies, brought to reflection the power exercised by the media over the investigated object, hence fetichism.

The act of applying makeup is a ritual shared by many, often beginning at an early age. Though makeup is presented as a final product in the public sphere, the process of applying makeup can be just as, if not more important. This thesis acts as the theoretical basis for my digital art project, Facing the World. My work gives insight into the lesser understood motivations behind wearing makeup while shedding the stigma that wearing it is merely a superficial act or sign of vanity. The project Facing the World presents the makeup routines and personal narratives of seven women to uncover the merits of cosmetics as a means of identity creation, self-care, and mindful reflection. The work is exhibited as a single channel looped video of approximately twenty minutes with the corresponding subject’s audio portion played over headphones.

Comment l'expérience de la liberté devient-elle sensible? L'expérience esthétique peut-elle nous former à la liberté ? En critiquant les Lumières, et pour en sauver le geste initial, Friedrich Schiller est l'un des premiers penseurs à avertir ses contemporains des contradictions inhérentes à la liberté. Notamment dans les « Lettres sur l'éducation esthétique de l'homme » écrites en 1795, il pointe le danger d'un totalitarisme inhumain, opéré au nom de la Raison. Aux yeux de Schiller, l'aspiration à la liberté est fondée sur l'éducation du sentiment; et réciproquement, la culture du sentiment se fonde sur l'expérience de la liberté, dont l'expression est la beauté. Ce jeu d'aller-retour est un fil conducteur dans la pensée schillérienne et la manifestation typique du rapport entre autonomie et réciprocité. En prêtant attention à la langue de Schiller, il apparaît que le dialogue vivant est à la source de ses théories esthétiques qui privilégient la forme épistolaire. La correspondance entre Schiller et Goethe montre de manière exemplaire comment dans l'amitié chacun se forme au contact de l'autre à travers une poétique du dialogue. L'hypothèse selon laquelle l'adresse est constitutive de la pensée se trouve confirmée dans les lettres Kallias, dont l'objet est la définition du beau ainsi que la valeur de l'œuvre d'art. Par ailleurs, la maturation de l'individu et la question de son rôle au sein de la société se déploient dans le roman d'apprentissage. La visée de ce travail est de restituer la valeur d'une éducation esthétique aujourd'hui, de considérer ses enjeux politiques et sa portée éthique - de réhabiliter, en quelque sorte, le portrait de l'Aufklärer comme type humain. / How does the experience of freedom become sensible? What part does the aesthetic experience play in creating our freedom? By criticizing the Enlightenment, and to save its initial gesture, Friedrich Schiller is one of the first thinkers to warn his contemporaries about the contradictions inherent in freedom. Particularly with his "Letters on the aesthetic education of man", written in 1795, he highlights the danger of an inhumane totalitarianism undertaken on behalf of reason. For Schiller, the aspiration to freedom is based on the education of feeling; and reciprocally, the cultivation of feeling is based on the experience of freedom, that finds its expression in beauty. This interplay is a recurrent theme in Schiller's thought and a typical manifestation of the relation between autonomy and reciprocity. By paying attention to Schiller's language, it seems that lively dialogue is the source of his aesthetic theories that favor the epistolary form. The correspondence between Schiller and Goethe is an exemplary case of friendship that gives birth to each other's autonomy through a poetic of dialogue. The hypothesis that the address is constitutive in the thought is confirmed by the Kallias letters, exchanged with Komer. Their abject is the definition of beauty and the value of works of art. Furthermore, the maturation of an individual, and the question regarding his role in society, is developed in the Bildungsroman. The aim of this present work is to reproduce the value of the project of an aesthetic education for today, to consider its political and ethical significance -ta re-establish, in a way, the portrait of the Aufklärer as a human type.

This thesis aims to allow the meanings engendered by various black hairstyle choices to emerge as discursive texts with which to further explore issues of black identity in post-apartheid South Africa. It seeks to identify what, if any, new discursive spaces and possibilities are operational in the post-apartheid capitalist context, and how identities are moulded by, and in tum, influence these possibilities. Operating within a discourse analytic approach, this research did not intend to establish fixed and generalisable notions of identity, but by unpacking the discursive baggage attached to historically loaded subjectivities it is concerned with reflecting identity as an ongoing and reflexive project. Entailing a diverse selection of texts, the analysis includes self-generated texts (stemming from interviews, a focus group and participant observation), and public domain texts (stemming from online and print media articles). Chapters 5 - 9 constitute the textual analysis. Using a consumer hair care product as a text, chapter 5 serves as an introduction to discourses surrounding black hair as a variously constructed object. This focus is concerned, more specifically, with the construction of black hair as a 'natural' object in chapter 6. Chapter 7 examines black hair gemonies and the " problematic classification and de/classification of class and consumer identities. Discourses pertaining to the construction and positioning of gendered and sexual subjectivities are explored in chapter 8. Finally, chapter 9 is concerned with the operations of discourses as they function to construct essentialised or hybrid conceptions of identity. The implications for black identity construction in post-apartheid South Africa are discussed in chapter 10 alongside a deconstruction of the research method and researcher positioning.

Probably the fundamental issue about the relation between art and beauty in the Critique of the Power of Judgment, of 1790, is the difficulty to recognize an object as a work of art (across a concept of art) and the judgment of taste, which when considered as pure cannot possess concepts that determine the object. Nevertheless, there does not seem to be another experience such as the experience of beauty for the recognition of beautiful artwork. Thus, it becomes necessary to explore the points of convergence between a production oriented to ends and the production of a beautiful object, considering, despite what has just been said, that the "concept" of work of art is different from any concept that could be considered to be an end of an intentional act. Along this dissertation we propose to explore the relations between the practice of genius and taste, as regulators of the artistic production, recognition and valuation of the works of art. We will consider for it, the possible rules of the genius, trying to isolate the formal and content aspects of the object. With this intention, we will depart from the classification of the works of art as forms of expressiveness, similar to the language, trying to show the weaknesses of any classic aesthetic norm in the establishment of rules of connection between forms and contents. Nevertheless, also we will evaluate the emphasis of Kant himself in supporting identifiable connections between the objects considered as works of art, specially the formal aspects of the same ones. From the previous analysis we will be forced to evaluate the relationship between beautiful art and nature. The failure of the arbitrariness, as a way for establish the artistic beauty in the assimilation to a form of language , leads us to recovering the theory of natural beauty, trying to find the points of contact between beauty and aesthetic the experience of art. Therefore, we will evaluate the consequences of the Kantian theory of art in relation to the aesthetic experience of the "Analytic of the Beauty ", distinguishing the difficulties that Kant might have had in mind when he developed his philosophy of art. The fundamental aim of this tour across Kant's text is the possibility of evaluating the current importance of the Kantian aesthetics, linking the exegesis of the text with two fundamental elements of the contemporary debate in philosophy of art: definition (or recognition) and valuation. We try to show that the aspects considered by Kant as necessary to support this balance (originality, relation between artists and public across the work, place of the work em the society, pleasure of the aesthetic experience, artistic tradition), still are relevant for the current debate in aesthetics and reflective human action. / Provavelmente o principal problema da relação entre arte e beleza na Crítica da Faculdade de Julgar, de 1790, esteja na necessidade de reconhecer um objeto como obra de arte (através de um conceito de arte) e o juízo de gosto, que, considerado puro, não pode ter conceitos que determinem o objeto. Porém, não parece haver outra experiência além da experiência de beleza para o reconhecimento da obra de arte bela. Assim, faz-se necessário explorar os pontos de convergência entre uma produção orientada a fins e a produção de um objeto belo, considerando, contudo, que o conceito de obra de arte é diferente de qualquer conceito que possa ser colocado como fim de um ato intencional. No percurso do trabalho nos propomos a explorar as relações entre a prática do gênio e o gosto como regulador da produção artística e do reconhecimento e valoração das obras de arte. Consideraremos para isso as possíveis regras do gênio, tentando isolar os aspectos formais e os aspectos de conteúdo do objeto. Neste intento, partiremos da classificação das obras de arte como formas de expressividade, semelhantes à linguagem, visando mostrar as fraquezas de qualquer norma estética clássica no estabelecimento de regras de conexão entre formas e conteúdos. Porém, também avaliaremos a ênfase do próprio Kant em manter conexões identificáveis entre os objetos considerados obras de arte, sobretudo os aspectos formais dos mesmos. A partir da análise anterior estaremos obrigados a avaliar a relação entre arte bela e natureza. O fracasso da arbitrariedade, como forma de estabelecimento do belo artístico enquanto assimilação a uma forma de linguagem nos leva a recuperar a teoria da beleza natural, visando encontrar os pontos de contato entre beleza e experiência estética da arte. Destarte, avaliaremos as conseqüências que temos da teoria kantiana da arte em relação à experiência estética da Analítica do Belo , destacando as dificuldades de que o próprio Kant poderia ter sido consciente ao desenvolver sua filosofia da arte. O alvo fundamental deste percurso através do texto de Kant se encontra na possibilidade de avaliar a atualidade da estética kantiana, vinculando à exegese do texto dois elementos fundamentais do debate contemporâneo em filosofia da arte: definição (ou reconhecimento) e valoração. Pretendemos mostrar que os aspectos considerados por Kant como necessários para manter este equilíbrio (originalidade, relação entre artistas e público a través da obra, lugar da obra na sociedade, prazer da experiência estética, tradição artística), ainda são relevantes para o debate atual no que diz respeito à estética e ao agir humano reflexivo.

Made available in DSpace on 2014-06-11T19:24:03Z (GMT). No. of bitstreams: 0 Previous issue date: 2006-07-04Bitstream added on 2014-06-13T19:30:34Z : No. of bitstreams: 1 britto_df_me_bauru.pdf: 1281735 bytes, checksum: 1769f05fb262f470f61b94486b6c0e73 (MD5) / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / Este trabalho busca identificar a influência das relações econômicas de mercado na produção jornalística, verificando como cada reportagem, incluindo os aspectos verbal e não-verbal, forma representações cujos sentidos favorecem o consumo de mercadorias. Para isso, analisamos as matérias de saúde e beleza da revista Veja sob o enfoque da Análise do Discurso, verificando, a partir do processo ideológico, o apagamento dos limites entre essas duas editorais / This research tries to identify the influence of market economic relations in journalism production, studying how each report, including the verbal and non-verbal aspects, shapes representations of which meanings favor the consumption of commodities. So, we analyze the health and beauty articles from Veja magazine under the focus of Discourse Analysis, verifying, from the ideological process, the erasing of the limits between these twoo themes

Made available in DSpace on 2014-12-17T14:36:34Z (GMT). No. of bitstreams: 1 LiegeMFS_DISSERT.pdf: 1711528 bytes, checksum: 46ad55bd0f2ee34ea6eaa0abb48a7b8e (MD5) Previous issue date: 2011-02-22 / Coordena??o de Aperfei?oamento de Pessoal de N?vel Superior / Talking about body and beauty seems fairly familiar to physical education. We understand that the body language in the area provides many meanings over the appearance, beauty and aesthetics, thus requiring the need of criticism and the need to interrogate her to realize how physical education has been re-signified. For this purpose, considering the multiplicity of meanings that surround the body and beauty, we discussed the implications that this brings to the area of Physical Education, analyzing the conception of body and beauty in the studies in this area, at the masters level, from some questions: What conceptions of body and beauty have been discussed in the studies of physical education at the masters level? What is the relationship between the meanings of body and beauty products analyzed and identified in the models of beauty outlined in Physical Education? We understand the importance of this research and its contribution to the epistemological analysis of existing studies. And, mainly because there is a lack of studies that discuss these productions. For construction of this text and for our reflections, we rely on thoughts like David Le Breton, Claude Levi- Strauss, Michel Foucault, Maurice Merleau-Ponty, Ana Marcia Silva, Carmen Smith, Isabel Mendes, Karenin Porpino Nobrega and flounder. The present study is characterized as a qualitative research, and content analysis proposed by Laurence Bardin (1977) for data processing. The corpus was composed of eight essays in the area of Physical Education, published in the CAPES Theses Database for the period 2004 to 2008, selected from the subject and body beauty. The initial reading allowed us to select meaningful units and guide our discussions on two main themes, which make up the two chapters of the work. In the first chapter, entitled Body, beauty and culture, as evidenced understandings of body, nature and culture that are present in the work is considered. In the second chapter, Standard Body Transformations and beauty, we present the concepts of body and beauty found in the dissertation, focusing on the mutability of representations of the models of beauty in body singularities in the relations of power-knowledge and the importance given the body in society, especially with regard to physical education professionals. We have thus found that, considering the dissertations analyzed, the understanding of body and beauty has been resignified, when dealing with other aesthetic conceptions that consider the uniqueness expressed in the human body and the culture of which the individual belongs / Falar em corpo e beleza parece algo bastante familiar ? Educa??o F?sica. Compreendemos que a linguagem do corpo na ?rea possibilita sentidos e significados diversos sobre a apar?ncia, a beleza e a est?tica, exigindo, portanto, a necessidade da cr?tica e a necessidade de interrog?-la para percebermos o modo como a Educa??o F?sica vem sendo ressignificada. Para tanto, partindo da multiplicidade de sentidos que envolvem o corpo e a beleza, buscamos as implica??es que essa discuss?o traz para ?rea da Educa??o F?sica, analisando a concep??o de corpo e beleza na produ??o acad?mica dessa ?rea, em n?vel de mestrado, a partir de alguns questionamentos: Quais concep??es de corpo e beleza t?m sido discutidas na produ??o acad?mica da Educa??o F?sica em n?vel de mestrado? Qual a rela??o entre os significados do corpo e da beleza identificados nas produ??es analisadas e os modelos de beleza delineados na Educa??o F?sica? Compreendemos a relev?ncia desta pesquisa e sua contribui??o epistemol?gica ao analisar os estudos j? existentes. E, principalmente, porque h? uma aus?ncia de estudos que discutam essas produ??es. Para edifica??o deste texto e para nossas reflex?es, nos apoiamos em pensamentos como os de David Le Breton, Claude L?vi-Strauss, Michel Foucault, Maurice Merleau-Ponty, Ana M?rcia Silva, Carmem Soares, Isabel Mendes, Karenine Porpino e Petrucia N?brega. O presente estudo caracterizase como uma pesquisa de natureza qualitativa, tendo a An?lise de Conte?do proposta por Laurence Bardin (1977) para tratamento dos dados. O corpus de an?lise foi composto por 8 disserta??es da ?rea de Educa??o F?sica, publicadas no Banco de Teses da CAPES no per?odo de 2004 a 2008, selecionados a partir da tem?tica corpo e beleza. A leitura flutuante permitiunos selecionar unidades significativas e pautar nossas discuss?es em 2 eixos tem?ticos, os quais comp?em os 2 cap?tulos do trabalho. No primeiro cap?tulo, intitulado Corpo, Beleza e Cultura, s?o evidenciadas as compreens?es de corpo, natureza e cultura, que est?o presentes nos trabalhos dissertativos. No segundo cap?tulo, Padr?o Corporal e Transforma??es da beleza, apresentam-se as concep??es de corpo e de beleza encontradas nas disserta??es, com enfoque na mutabilidade das representa??es dos modelos de beleza, nas singularidades corporais, nas rela??es de poder-saber e na import?ncia dada ao corpo na sociedade, sobretudo, no que se refere aos profissionais de Educa??o F?sica. Constatamos, assim, que, considerando as disserta??es analisadas, a compreens?o de corpo e de beleza vem sendo ressignificada, ao tratar de outras concep??es est?ticas, que consideram as singularidades expressas no corpo humano e na cultura da qual o indiv?duo faz parte

Made available in DSpace on 2014-12-17T15:06:42Z (GMT). No. of bitstreams: 1 AdrianaAA.pdf: 404717 bytes, checksum: ea7ffc2f7d3147653cd6ab9409965800 (MD5) Previous issue date: 2008-06-30 / Using Harold Bloom s methodology known as dialectical revisionism we undertake the task of misreading of Vin?cius de Moraes (1913- 1980) poems Po?tica (1950), Oper?rio em constru??o (1955), Po?tica II (1960) against Percy Bysshe Shelley (1792-1822) and his poem A Song: Men of England, suggesting that the Brazilian poet trammeled a battle with his poetic triad, in which Oper?rio em Constru??o is Vinicius s main weapon. It is suggested here that each one of Vin?cius?poem represents a step of what Bloom calls anxiety of influence . The misreading proposed confronts the themes and the imagery of the poems, arguing that Shelley and Vin?cius are similar when they approach exploitation and working class consciousness according to the Dialectic Marxism pattern, and that Vin?cius?s poem was not only inspired by Shelley s, but using one of the strategies suggested by Bloom, he corrects the ideological flaws of Shelley s poem. It is also discussed the possibility that both poems are inspired by Plato?s (428-7 a 348-7 a.C.) allegory of the cave, his concept of justice and the moral construction of the polis defended in A Rep?blica. Thus, considering the process of misreading, these five poems constitute what Bloom calls a family romance , which is characterizes the phenomenon of melancholy of creativity / Esse trabalho busca atrav?s de uma perspectiva comparativista e usando a metodologia de Harold Bloom (1930-), oferecer uma desleitura de tr?s poemas de Vin?cius de Moraes (1913-1980), a saber Po?tica (1950), Oper?rio em constru??o (1955), Po?tica II (1960) frente a Percy Bysshe Shelley (1792-1822) e seu poema A Song: Men of England (1818), sugerindo que o poeta brasileiro travou uma verdadeira luta ag?nica com a sua tr?ade po?tica, sendo Oper?rio em Constru??o a principal arma do combate. Defende-se aqui que cada poema de Vin?cius representa uma etapa do que Bloom chama de ang?stia da influ?ncia . A desleitura proposta consiste em confrontar os temas e as imagens dos poemas, argumentando que Shelley e Vin?cius assemelham-se ao abordar a explora??o e conscientiza??o oper?ria nos moldes postulados pelo marxismo dial?tico e que, sugestivamente, Vin?cius n?o s? foi inspirado por Shelley, como corrigiu as fraquezas ideol?gicas do poeta ingl?s. Apresenta-se tamb?m a possibilidade da rela??o dos poemas em quest?o com o mito da caverna de Plat?o (428-7 a 348-7 a.C.), poeta cujo conceito de justi?a e constru??o moral da polis contidos em A Rep?blica tamb?m parecem servir de inspira??o a Shelley e Vin?cius. Desse modo, considerando o processo de desleitura , os cinco poemas formam um romance familiar que ? um dos n?veis de relacionamento de poemas, caracterizando, segundo Harold Bloom, o fen?meno da melancolia da criatividade