[pt] Esta tese elabora as visões teológico-sacramentais desses autores, colocando em relevo elementos centrais da sacramentalidade da Revelação e da Fé. Em tais visões, colocamos em realce que a sacramentalidade da história salvífica alcança a sua plena expressão na pessoa de Jesus Cristo, porque por meio dEle nos é manifestada a totalidade do Ser de Deus. Com a Revelação Deus entra em diálogo pessoal com o ser humano na história. Esse diálogo conhece seu cume e expressão definitiva em Cristo, graças à sua humanidade. No centro da história da revelaçãosalvação está o homem Jesus, que atua de forma verdadeiramente humana e histórica. O modo de revelar introduzido por Jesus é insuperável e, por conseguinte, normativo. Mas com a Sua morte, ressurreição e ascensão aos céus, não é mais possível encontrá-lo de forma física, corporal, ou seja, sacramental. Por isso ele fundou sua Igreja, sacramento da sua presença: de fato, a sacramentalidade da Igreja lança uma ponte sobre o afastamento ou desproporção que existe entre o Cristo celeste e a humanidade não glorificada, e torna possível o encontro humano recíproco entre Cristo e a humanidade, após a Sua ascensão. Isto porque a Igreja, plasmada no mistério pascal, recebe o sopro do Espírito no Pentecostes e, com isso, adquire estatura para a qual foi criada, podendo, assim, assumir a missão a ela destinada: tornar presente o mistério do Filho de Deus feito homem e convocar todos os homens para entrar na forma última e definitiva de communio-comunidade com Deus e entre si. / [en] The theme develops the theological-sacramental views of both authors putting the accent on central elements of the sacramentality of Revelation and Faith. It emphasizes that the sacramentality of Savific History reaches it’s plenty expression in the person of Jesus Christ, for trough Him the totality of God’s being is us revealed. In the Revelation God enters in a personal dialog with the human being, in the history. This dialog finds it’s higher point and it’s definitive expression in Christ, due to His humanity. In the center of the history of salvation- Revelation in the man Jesus, who acts in a truly human and historic way. The way of acting Revelation introduced by Jesus is insuperable, and therefore, normative. But, with His death, resurrection and ascension in Heaven, it’s no longer possible to find him in a physical, corporal, in other words sacramental form. Therefore he had grounded His church, sacrament of His presence: in fact, the sacramenatlity of the church builds a bridge over the separation or disproportion that exists between the heavenly Christ and the not glorified Humanity, and makes it possible the reciprocal human encounter between Christ and the humanity after. The Church is shaped in the Paschal Mystery, it receives the blow of the Spirit in Pentecost and so it obtains the stature for which it was created and can finally assume the mission it was destined for: making present the mystery of the Son of God made man and inviting every man to enter in the last and definitive form of communiocommunity with God and one another.

Nesta Dissertação exponho reflexões de mais de trinta anos de experimentação de processos de ensino e aprendizagem de ritmos populares. Utilizo o recurso da autoetnografia (Benetti 2017), e o conceito de \"participante analítico\". Ao estudar o samba como exemplo, proponho abordagens da rítmica dos seus instrumentos de percussão em sala de aula - ambiente novo para a transmissão dos conhecimentos ancestrais das expressões culturais populares. E transponho práticas dos contextos populares para o ambiente acadêmico, tais como a oralidade, a corporalidade e o entendimento das funções exercidas pelos padrões na estrutura rítmica do samba. O foco inicial do trabalho é a ludicidade (Huizinga 1938) como geradora da motivação para a abordagem de conteúdos musicais e corporais. Como estratégia de aprendizagem do samba, o texto propõe o uso de processos para a memorização dos padrões rítmicos (Kubik 1979b) e apresenta proposta de representação vocal dos instrumentos de percussão do samba. Os sons da voz e, depois, dos instrumentos de percussão, deverão gerar movimento no corpo do aprendiz, acessando assim a música-dança de modo transdisciplinar, importante para a apreensão integradora dos ritmos populares, onde o som é \"escrito\" nos corpos (Lühning 2001). Outra reflexão apresentada é de análise da estrutura de funções dos padrões rítmicos (\"levadas\") e suas influências em percepções verticais (pulsos corporais), e horizontais (fraseados). Emprego conceitos de Nketia (1975), Kubik (1979b), Pinto (2001), Sandroni (2001), Mukuna (2006), Fonseca (2017) e Leite (2017). O trabalho propõe a inclusão de visão transcultural dos ritmos populares (Ikeda 2016) em sua abordagem educacional, abrindo-se o foco para a amplitude da ocorrência do samba nos contextos. De ambientes matriciais da cultura brasileira, representados pelas religiões de matriz africana, e das versões rurais e praieiras do samba de roda, até as vertentes urbanas do samba, cujos praticantes referenciais \"beberam\" das fontes tradicionais. Para atestar as semelhanças e especificidades, inclui-se grades rítmicas desses três contextos culturais do ritmo. / By using an autoetnography resource (Benetti 2017), and the concept of \"analytic participant\", I organize reflections after more than thirty years of experimentation of the learning processes of popular rhythms. With samba music as focus, this work approaches rhythmic details from its percussion instruments in the classroom - a new environment for the transmission - transposing some fundamentals of popular culture. First comes the ludic impulse generating motivation (Huizinga 1938) and I propose mnemonic processes to vocalize sounds (Kubik 1979b) and generate movements in the body of apprentices. There is a wide meaning for a popular rhythm as music and dance, where sounds \"write\" even before accessing percussion instruments (Lühning 2001). Then, another fundamental is understanding the structure of the rhythm with patterns (\"levadas\') and their influence in vertical perceptions (body pulses), and horizontal perceptions (phrasing). I bring concepts from Nketia (1975), Kubik (1979b), Pinto (2001), Sandroni (2001), Mukuna (2006), Fonseca (2017) and Leite (2017). Finally, I work with apprentices a transcultural view for popular rhythms (Ikeda 2016), from three different samba contexts. Starting from Afro-Brazilian religious example and rural and beach Afro-Brazilian branches in samba-de-roda, up to the urban branch of samba, with participants who drank from that traditional fountain. Rhythmic grids of the three cultural contexts of the rhythm are included, to attest to the similarities and differences.

Made available in DSpace on 2016-04-29T13:31:15Z (GMT). No. of bitstreams: 1 Karina Midori Ishimori.pdf: 960025 bytes, checksum: b914c91f0bb1c18cb88d9c6fc436e314 (MD5) Previous issue date: 2006-03-09 / Conselho Nacional de Desenvolvimento Científico e Tecnológico / The purpose of this paper (research) is to analyze how one feels and what it means to be of Asian descent in Brazil for adolescents who are unhappy with their phenotypic characteristics. The fundamental phenotype of having "slanted eyes" denounces one as a foreigner in Brazil aside from the fact that one is indeed Brazilian. In his daily life, the Nikkei adolescent is often reminded of his ethnicity by the majority of the population: he is called Japanese. It is assumed that there is a duality for being and feeling Brazilian or Japanese and this experience, made clear through the physical features (characteristics), incites thoughts that must be more deeply understood. To do so, the history of the Japanese immigration to Brazil was reconstructed until currently to contextualize the conditions (reasons) that made them migrate, the conditions that they found upon arrival, the ancestral culture that was carried with them, and how today they act within Brazilian society. Next, the concepts of ethnic and national identity of Asian adolescent descent in Brazil and the difficulty in establishing a bigger or smaller pattern of integration of such people in the social reality of Brazil were exposed. After that, it was also contextualized the body today, the importance of physical characteristics as a means to differentiate individuals in Brazil, and finally the body in historical and dialectal materialism. The methodological and theoretical suppositions of this research are from socio-historical psychology that is based in the cultural-historical psychology of Vigotski. The data was collected in a private elementary and junior high school that primarily serves the Japanese community in São Paulo. In the first phase, the method used was a questionnaire given to junior high students in their 2nd or 3rd year to get to know the students and then select them. The second phase was comprised of interviews with two Nikkei adolescents who belong to the third generation of Japanese migrants and are between 16 and 17 years old. The analysis of the interviews allowed for the identification of the movement and process of the subjective construction of these adolescents in their bicultural experiences. In this regard, it became clear that they live with a constant feeling of not belonging to neither the Occidental nor the Oriental worlds, which is closely related to the way they define (use) their own bodies. / Este trabalho teve como objetivo analisar os sentidos e significados do ter e ser um corpo oriental em adolescentes nipo-brasileiros insatisfeitos com suas características fenotípicas. A fenotipia fundamental de possuir olhos puxados o denuncia como estrangeiro no Brasil apesar de ser brasileiro por direito. O adolescente nikkei em seu cotidiano é sempre lembrado de sua etnia pela maioria da população: ele é chamado de japonês . Parte-se do pressuposto de que há uma vivência dual de ser e sentir-se brasileiro ou japonês e essa experiência evidenciada pelas características corporais sugere reflexões a serem conhecidas de maneira aprofundada. Para tanto, foi reconstruída a história da imigração japonesa para o Brasil até os dias atuais para poder contextualizar as condições que os fizeram migrar, assim como as condições encontradas, a cultura ancestral que os nikkeis carregam, e como hoje eles circulam na sociedade brasileira. Em seguida, foram expostos os conceitos de identidade étnica e nacional de adolescentes nipo-brasileiros e a dificuldade em se estabelecer um padrão de maior ou menor integração destes na realidade social brasileira. Depois disso, também se contextualizou o corpo na atualidade, a importância das características corporais como forma de diferenciação entre indivíduos no Brasil e, finalmente, a corporeidade no materialismo histórico e dialético. Os pressupostos teóricos-metodológicos deste trabalho são da Psicologia Sócio-Histórica que toma como base a Psicologia Histórico-Cultural de Vigotski. A coleta de dados foi realizada em uma escola particular de ensino fundamental e médio que atende principalmente a comunidade japonesa de São Paulo. O método utilizado foi composto numa primeira fase pela aplicação de um questionário em estudantes do 2° e 3° anos do ensino médio para um conhecimento inicial visando a seleção dos sujeitos. A segunda fase se caracterizou por entrevistas semi-abertas com duas adolescentes nikkeis, pertencentes à terceira geração de japoneses entre 16 e 17 anos. A análise das entrevistas permitiu identificar o movimento e processo de construção subjetiva destas adolescentes em suas experiências da biculturalidade. Nesse sentido, percebeu-se que elas vivem um constante sentimento de não pertencimento em relação ao mundo ocidental e oriental que estão intrinsecamente relacionadas na maneira como significam seus próprios corpos.

Submitted by Glauber Assunção Moreira (glauber.a.moreira@gmail.com) on 2018-08-27T21:42:29Z No. of bitstreams: 2 ELEMENTOS PRETEXTUAIS_final revisado 15abr2013.pdf: 151459 bytes, checksum: 7f22b52092feb4cceafb79049b5abace (MD5) A PARTITURA DE AÇÕES COMO DISPOSITIVO_Dissertação Final Revisada 15abr2013.pdf: 1269922 bytes, checksum: d53bdc1fe1690436b4a4f77e19325aca (MD5) / Approved for entry into archive by Marly Santos (marly@ufba.br) on 2018-08-28T19:00:20Z (GMT) No. of bitstreams: 2 ELEMENTOS PRETEXTUAIS_final revisado 15abr2013.pdf: 151459 bytes, checksum: 7f22b52092feb4cceafb79049b5abace (MD5) A PARTITURA DE AÇÕES COMO DISPOSITIVO_Dissertação Final Revisada 15abr2013.pdf: 1269922 bytes, checksum: d53bdc1fe1690436b4a4f77e19325aca (MD5) / Made available in DSpace on 2018-08-28T19:00:20Z (GMT). No. of bitstreams: 2 ELEMENTOS PRETEXTUAIS_final revisado 15abr2013.pdf: 151459 bytes, checksum: 7f22b52092feb4cceafb79049b5abace (MD5) A PARTITURA DE AÇÕES COMO DISPOSITIVO_Dissertação Final Revisada 15abr2013.pdf: 1269922 bytes, checksum: d53bdc1fe1690436b4a4f77e19325aca (MD5) / Esta dissertação se inscreve no campo das artes cênicas, debruçando-se sobre o trabalho do ator por meio da análise de Partituras de Ações, aqui consideradas como dispositivo de criação e composição. A pesquisa descreve e analisa um processo no qual a pesquisadora está inserida como atriz, portanto, não se faz de maneira distanciada e impessoal, embora mantenha o rigor acadêmico necessário à sua realização. Para tanto, foi realizado um estudo de caso, tomando o espetáculo Dorotéia do grupo Panacéia Delirante sob direção de Hebe Alves, obra que tem como um de seus pilares o desempenho cênico das atrizes por intermédio desse dispositivo. Duas unidades de análise foram utilizadas visando demonstrar como o dispositivo Partitura age no desempenho das atrizes no espetáculo: a Corporalidade posta em evidência no espetáculo e o Estado de Jogo que se estabelece entre as atrizes em cena. Além disso, foram analisados registros em fotografia e vídeo do espetáculo, bem como depoimentos concedidos pelo elenco de Dorotéia. Entrecruzando esse material com aspectos conceituais da pesquisa, pretendeu-se chegar a respostas para as perguntas Como o jogo e a corporalidade servem à estruturação da partitura entendida como um dispositivo? e De que maneira esses dois elementos são articulados na composição de desempenho das atrizes?. O objetivo da pesquisa foi analisar o espetáculo sob a lente do dispositivo – com suas linhas de força e curvas de visibilidade, tal como apresentado por Michel Foucault e desenvolvido por Gilles Deleuze. Este esforço se justifica na medida em que uma compreensão não-cartesiana, rizomática e que, portanto, evita a rigidez de conceitos preestabelecidos é importante ferramenta para compreender a práxis do artista, no caso, o artista cênico. Desse modo, torna-se possível abrir novas leituras que incluam os aspectos de risco, improvisação, tensão, prazer, interatividade, imaginação e subjetividade, sem cair em formulações baseadas apenas no senso comum ou amparadas numa concepção de partitura entendida como puramente instrumental. Dentre os resultados alcançados destacam-se a compreensão da corporalidade e do estado de jogo como curvas de visibilidade e linhas de força do dispositivo, responsáveis por possibilitar a ação dos processos de sobredeterminação funcional e preenchimento estratégico que ocorrem na partitura; e o entendimento de que, por meio da ótica do dispositivo, a partitura pode ser discutida de maneira mais rigorosa e sistematizada em estudos sobre o desempenho do artista cênico. / This work falls within the field of performing arts, leaning over the actor's work by analyzing Action Scores, considered here as a device for creation and composition. The research describes and analyzes a process in which the researcher is insertedas an actress. Therefore, it is not a distanced and unbiased one, but still maintains the necessary academic rigour for their production. To this end, we conducted a case study, using the play Dorotéia, by the Panacéia Delirante group, under the direction of Hebe Alves, a work that has, as one of its pillars, the scenic performance of the actresses through this device. Two analysis units were used in order to demonstrate how the Score device works regarding the performance of the actresses in the show: the Corporality evidenced in the show, and the Game State established between the actresses on scene. In addition, we analyzed the play’s photo and video recordings, as well as testimonies given by the cast of Dorotéia. By combining this material with the research’s conceptual aspects, we intended to answer the questions: How do the game and corporality serve to structure the Score as a device? and How are these two elements articulated in the composition of the actresses’ performance?. The objective of the research was to analyze the performance under the scope of the device – with its lines of powerand curves of visibility, as presented by Michel Foucault and developed by Gilles Deleuze. This effort is so far justified as a non-Cartesian, rhizomatic understanding – that therefore escapes the rigidity of pre-established concepts. Such is an important tool for understanding the artist's (in this case, the scenic artist’s) praxis. Thus, it becomes possible to open new interpretations to include the aspects of risk, improvisation, tension, pleasure, interactivity, imagination and subjectivity without falling into formulations solely based on common sense or supported by a concept of an Action Score understood as purely instrumental. Among the achieved results, the understanding of corporality and the game state as visibility curves and power lines of the device stand out. They are responsible for possibilitating the action of the processes of functional overdetermination and strategic filling that occur in the Action Score. Another conclusion that can be taken from this case study is the understanding that, through the optical device, the Action Score can be discussed in a more rigorous and systematized method regarding the scenic artist’s performance.

Made available in DSpace on 2014-07-29T15:32:10Z (GMT). No. of bitstreams: 1 De casa para outras casas.pdf: 4123337 bytes, checksum: e89c1b907c7d941f89edf08dcc779fe5 (MD5) Previous issue date: 2008-12-12 / The origin of female domestic labor in Brazil is linked to the slavery period, in this way; it is marked by racial bias. Despite the remote origin, domestic workers as workers remain stigmatized marginally included in society and the world of work. Negative social representations relating to the origin and nature of the occupation (work servile, degrading, naturalized women, disqualified, "service in black", etc.). Have always been part of the collective imagination and the social life of women, who perform this function, it was expressed covertly in various locations and social situations. For this it is essential question: How social representations on women, and poor domestic worker, crystallized in the social imaginary collective (society sexist, racist and class) influence on the various dimensions of life of this group of women, whether in social, affective, professional ,...? And yet: What are the ties they establish with the local daily basis by which they move? In particular regarding the establishment of the place - "the extent appropriate space and lived through the body? The guiding lines of study are the categories gender, race, corporality, domestic workers, social representations, trajectories sociogeographic, segregation / exclusion and place. Considering the above, the purpose of this study is to analyze the phenomenon of segregation / exclusion socio in view of domestic workers who work and live in Goiânia in the city of Aparecida de Goiânia, trying to identify their sociogeographic trajectories - "Spacely differential" - and understand that the bonds they establish with the local women who attend, and the main elements in the establishment of such ties. The path opened by the Human Geography in the 1970s, with the introduction of new issues on the production of space by mankind, required expansion and diversification of its theoretical and methodological until the "new geographies" current, neglected geographies in fact, taken and informal look at the scientific tradition, that in the contemporary beginning to gain visibility, which this work aims to contribute. The search (multi / trans / inter) disciplinary approach to quality, flexible and multi methodological, had the contribution of workers who daily move from their homes to the workplace whose life stories were recorded by means of semi-structured individual interviews recorded. The content of the interviews sought to seize the items "subjective" account for the displacements and corporality of workers, that is, their condition of poor women, domestic workers, black or white. / A origem do trabalho doméstico feminino no Brasil está vinculada ao período escravagista, deste modo é marcado pelo viés racial. Apesar da origem remota, trabalhadoras domésticas persistem como trabalhadoras estigmatizadas, incluídas marginalmente na sociedade e no mundo do trabalho. Representações sociais negativas relacionadas à origem e natureza da profissão (trabalho servil, aviltante, naturalizadamente feminino, desqualificado, serviço de preto , etc.) sempre fizeram parte do imaginário social coletivo e do cotidiano das mulheres que desempenham esta função, se manifestando dissimuladamente em vários locais e situa-ções sociais. Para tanto é imprescindível questionar: Como as representações sociais sobre a mulher, pobre e trabalhadora doméstica, cristalizadas no imaginário social coletivo (sociedade sexista, racista e de classes) influenciam nas várias dimensões da vida deste grupo de mulhe-res, seja na vida social, afetiva, profissional,...? E ainda: Quais os vínculos que elas estabele-cem com os locais pelos quais quotidianamente se deslocam? Em especial no que diz respeito à constituição do lugar a dimensão espacial apropriada e vivida através do corpo ? Os ei-xos norteadores do estudo são as categorias gênero, raça, corporeidade, trabalhadoras domés-ticas, representações sociais, trajetórias socioespaciais, segregação/exclusão e lugar. Diante do exposto, o objetivo do presente estudo é analisar o fenômeno da exclusão/segregação socioes-pacial na perspectiva de trabalhadoras domésticas que trabalham em Goiânia e residem na cidade de Aparecida de Goiânia, buscando identificar suas trajetórias socioespaciais espa-cialidade diferencial - e compreender quais os vínculos que estas mulheres estabelecem com os locais que freqüentam, bem como os elementos principais no estabelecimento destes víncu-los. O caminho aberto pela Geografia Humanista na década de 1970, com a introdução de novos temas relativos à produção do espaço pelo homem, exigiu ampliação e diversificação do seu arcabouço teórico e metodológico até chegar as novas geografias atuais, na verdade geografias negligenciadas, tidas como informais pelo olhar científico tradicional, que na con-temporaneidade começam a ganhar visibilidade, ao qual este trabalho pretende contribuir. A pesquisa (multi/trans/inter)disciplinar de abordagem qualitativa, flexível e multimetodológica, contou com a contribuição de trabalhadoras que diariamente se deslocam de suas casas ao local de trabalho cujas histórias de vida foram registradas por meio de entrevistas individuais semi-estruturadas gravadas. No conteúdo das entrevistas buscou-se apreender os elementos subjetivos relativos aos deslocamentos e a corporeidade das trabalhadoras, isto é, a sua con-dição de mulher pobre, trabalhadora doméstica, negra ou branca.

En prenant en compte le contexte des nombreuses dépossessions, de l’arrachement et de l’invisibilisation des langues Autochtones, puis de l’imposition des langues coloniales dont la littérature des pensionnats témoigne avec force détail, cette thèse aménage une réflexion autour de la manière dont les autrices Autochtones contemporaines, qui écrivent en anglais ou en français (Virginia Pésémapéo Bordeleau, Kateri Akiwenzie-Damm, Marie-Andrée Gill, Leanne Betasamosake Simpson, Natasha Kanapé Fontaine et Cherie Dimaline), négocient avec le langage dans leurs œuvres. Plus spécifiquement, par une lecture au plus près des textes littéraires, cette thèse étudie la façon dont les écritures Autochtones sont des lieux de savoir profondément corporéïsés, situés et relationnels et, en tant que telles, elles donnent à penser les pouvoirs du langage en employant les moyens du littéraire. L’hypothèse formulée est donc que les littératures Autochtones actuelles élaborent des théories critiques du langage dans lesquelles le corps, la langue et le territoire (physique et métaphysique) sont intimement liés; le langage et sa conceptualisation par les écrivaines font ainsi se manifester une toile de relations que supporte la littérature par la création et la mise en présence de cette interconnexion entre le monde sensible et spirituel, entre les êtres humaines et les êtres autres qu’humaines. Bref, en appuyant les réflexions sur les épistémologies Autochtones (Kovach, Wilson, Ermine, Bazile, Sioui, Simpson, Bacon, Vizenor), cette thèse avance que, moins par un retour à des structures linguistiques que par le truchement d’une imagination poétique et narrative, les autrices à l’étude réclament les épistémologies et créent des théories du langage qui sont ramenées sur la scène de la présence littéraire. / Considering the context of multiple dispossessions, the extraction and invisibilization of Indigenous languages, and the subsequent imposition of colonial languages, which residential school literature recounts in great detail, this dissertation reflects on how contemporary Indigenous women writers, who write in English or in French (Virginia Pésémapéo Bordeleau, Kateri Akiwenzie-Damm, Marie-Andrée Gill, Leanne Betasamosake Simpson, Natasha Kanapé Fontaine and Cherie Dimaline), are attempting to (re)negotiate both Indigenous and colonial languages in their works. More specifically, through a close reading of selected texts, this thesis explores how Indigenous literatures are deeply embodied, situated, and relational places of knowledge and, as such, they convey the possibilities of language through their literary interventions. Thus, I argue that contemporary Indigenous literatures enable the creation of critical theories of language, in which body, language, and land (both physical and metaphysical) are intimately connected; language, and its conceptualization by women writers, enables a web of relations through writing that presents this interconnectedness between the sensible and spiritual worlds, and between human and other-than-human beings. Building on Indigenous epistemologies (Kovach, Wilson, Ermine, Bazile, Sioui, Simpson, Bacon, Vizenor), this thesis argues that through poetic and narrative imagination, which differs from a return to the linguistic structures of Indigenous languages, the creative writers explored in this dissertation are reclaiming epistemologies and creating theories of language by putting them at the forefront of their literary practices.

The Fifty Shades-trilogy by E. L. James has become a cultural phenomenon, and is widely debated as such. The main issue of the debate is often concerning the story’s relation to women’s position in society. Common standpoints are that it is either contributing to women’s sexual liberation or that it perpetuates violence against women. The story is also considered to be of poor literary quality. In my thesis, I seek for approaches to understand the story beyond polarisation. I am performing a reparative reading of the first novel of the trilogy, Fifty Shades of Grey, through Michel Foucault’s notions of knowledge, power and pleasure. The purpose is to examine how these work in relation to each other, and how they relate to the presentation of sexuality and subjectivity in the novel. Furthermore, I engage in dialogue with previous research on Fifty Shades in the feminist field. In my analysis, I illustrate how knowledge, power and pleasure are synergetic and under constant negotiation. They are woven together and move between characters, laying the foundation for the subjects and their sexualities. I demonstrate how the power relations operate in multiple directions between Christian, Ana and Ana’s friend Kate, which is something that Ana shows awareness of. Further, I find that a conflict between mind and body occurs. Ana assumes the position of the knowing subject, through which she approaches corporality, and thereby gains new independence. Finally, I reflect on corporality’s intrusion of language in relation to the (de)valuation of the literary quality of the novel. As a question to bring to future studies, I ask whether the reading of Fifty Shades of Grey might be understood as consumption of body rather than consumption of literature, sexism or heteronormativity. / Fifty Shades-trilogin av E. L. James har blivit ett populärkulturellt fenomen som omdebatterats kraftigt. Temat för diskussionerna gäller ofta berättelsens förhållande till kvinnors sociala position i samhället. Vanliga åsikter är att den antingen bidrar till kvinnors sexuella frigörelse eller att den normaliserar våld mot kvinnor. Berättelsen anses även vara litterärt undermålig. I denna uppsats söker jag efter sätt att förstå berättelsen utanför polariseringen.  Jag genomför en reparativ läsning av trilogins första del, Fifty Shades of Grey, genom Michel Foucaults begrepp vetande, makt och njutning. Syftet är att undersöka hur begreppen fungerar i relation till varandra samt hur de förhåller sig till framställningen av sexualitet och subjektivitet i romanen. Jag går även i dialog med tidigare forskning om Fifty Shades i det feministiska fältet.  I min analys belyser jag hur vetande, makt och njutning samverkar med varandra och är under ständig förhandling. De rör sig mellan karaktärerna och vävs ihop till ett nät som lägger grunden för subjekten och sexualiteterna. Jag visar hur maktrelationerna är verksamma åt flera håll mellan Christian, Ana och Anas vän Kate, vilket Ana genom berättelsen också är medveten om. Jag finner även att det uppstår en konflikt mellan sinne och kropp. Ana intar rollen som ett det vetande subjektet. Genom denna roll närmar hon sig kroppsligheten, i vilken hon finner ny självständighet. Avslutningsvis reflekterar jag över kroppslighetens inträngande i språket, i relation till (ned)värderandet av romanens litterära kvalitét. Inför framtida studier ställer jag frågan om läsandet av Fifty Shades of Grey skulle kunna förstås som konsumtion av kropp snarare än som konsumtion av litteratur, sexism eller heteronorm.

Ce mémoire de recherche-création propose une recherche pratique et théorique dans le domaine du cinéma expérimental. Les notions d’autoexposition de performance et de matérialité y seront discutées à travers le prisme de l’appartenance en vue de proposer une approche autoethnographique du médium cinématographique. La position d’artiste-étudiant-immigrant que j’assume vient réfléchir ces concepts à travers une pratique autopoïétique. La première partie du mémoire se penche sur ma nécessité d’immigrer. En prenant exemple sur mes congénères marocains, comme Ahmed Bouanani, j’explique pourquoi rester au Maroc risque de mettre ma pratique en péril. La deuxième partie vise à décortiquer un enchevêtrement cinématographique en remontant le temps de ma pratique par l’entremise des outils cinématographiques qui ont façonné mon regard. Ainsi, je commence à dessiner une voix artistique. La troisième partie explique le processus par lequel mon corps d’artiste et l’appareillage cinématographique que j’emploie se couplent dans une sorte de va-et-vient théorico-pratique pour performer et s’exposer. La quatrième partie est l’explication d’une étape importante du processus de recherche-création, qui est la prise de conscience s’exprimant par la concrétisation du processus autopoïétique, soit par l’exécution, sur la place publique, de ma démarche : montrer comment je montre. Enfin, le mémoire se termine par la proposition du protocole de ma création, Translation cinématographique. / This works of research-creation offers practical and theoretical research in the field of experimental cinema. The ntions of self-exposure, performance and materiality will be discussed through the prism of belonging in order to make an autoethnographic approach to the cinematographic medium. The position of artist-student-immigrant that I assume reflects these concepts through an autopoietic practice. The first part of the thesis looks at my need to immigrate. By taking an example from my Moroccan counterparts, such as Ahmed Bouanani, I explain why staying in Morocco risks jeopardizing my practice. The second part aims to dissect a cinematographic entanglement by going back in time to my practice through the cinematographic tools that have shaped my gaze. So, I start to draw an artistic voice. The third part explains the process by which my body as an artist and the cinematographic equipment that I use are coupled in a kind of theoretical-practical back and forth to perform and exhibit. The fourth part is the explanation of an important stage of the research-creation process, which is the awareness expressed by the concretization of the autopoietic process, or by the execution, in the public place, of my approach: showing how I show. Finally, the thesis ends with the proposal of the protocol of my creation, Cinematographic Translation.

Le présent mémoire entend offrir une analyse du rapport entre corporalité et ville dans Lullabies for Little Criminals (2006) de Heather O’Neill et Morel (2021) de Maxime Raymond Bock. Ces deux romans contemporains mettent en scène des quartiers montréalais disparus, démolis lors des efforts de revitalisation urbaine qui ont marqué les années 1950 et 1960 à Montréal, contexte également connu sous le nom de « lutte aux taudis ». En orientant ma lecture de ces textes spécifiquement vers le corps des personnages, dans leur inscription textuelle et urbaine, je souhaite réfléchir sur la manière dont les corps issus de milieux précaires à la fois subissent les transformations urbaines et y contribuent. Ces récits corporels et humains de la modernisation jettent un regard neuf sur l’histoire de la ville, ainsi que sur le passé de ces quartiers, disparus du paysage et de la mémoire urbaine. Si l’espace urbain est inscrit de rapports de force et de domination, il est également lieu de savoirs urbains et de tactiques de résistance. Marqués par l’exploitation, la répression, par la précarité des lieux, les sujets marginalisés et dépossédés des deux œuvres à l’étude parviennent en retour à transformer leur environnement par et dans leur corps. La sociologie de l’espace et du quotidien (Lefebvre, De Certeau, Sibley), les travaux d’Elizabeth Grosz sur la corporalité et le féminisme, ainsi que ceux de Walter Benjamin sur la mémoire et la modernité, me permettent de situer la posture adoptée tout au long de ce mémoire. Par l’analyse littéraire de ces expériences corporelles de la ville moderne, ce travail cherche à repenser les formes historiques de la mémoire urbaine, en privilégiant des récits de transitions, de transformations, de mutations. / This thesis examines the relationship between corporeality and the city in Heather O’Neill’s Lullabies for Little Criminals (2006) and Maxime Raymond Bock’s Morel (2021). These two contemporary novels each take place in “vanished” Montreal neighborhoods, areas that were demolished during the urban revitalization of the 1950s and 1960s, a context also known as the “war on slums”. By orienting my reading of these texts toward the textual and urban embedment of the characters’ bodies, I seek to reflect on how bodies from precarious backgrounds both undergo and contribute to the processes of urban transformation. These bodily and human narratives of modernization cast new light on the history of the city and of neighborhoods which have now vanished from both the landscape and from civic memory. If urban space is marked by relations of power and domination, it is also the site of the urban knowledges of city dwellers and of tactical resistance. Marked by exploitation, repression, and precariousness of place, the marginalized and dispossessed subjects of the two works under study manage in turn to transform their environment both with and within their bodies. To construct the theoretical lens used throughout this dissertation, I draw upon the sociology of space and of the everyday (Lefebvre, De Certeau, Sibley), Grosz’s examination of corporeality and feminism, and Benjamin’s work on memory and modernity. Through literary analysis of the embodied experiences of the modern city, this dissertation seeks to rethink historical forms of urban memory by focusing upon narratives of transition, transformation, and mutation.

Le retour de l'Art mural à l'époque contemporaine" tourne autour de la problématique suivante: en quoi l'Art Mural est-il une nouvelle forme de métaphysique puisqu’elle permet à l'homme de projeter son âme sur un support et se retrouve ainsi dévoilée aux yeux de tous sous cette forme qui s’apparente à l" ekstase "soit un au dehors mis en mouvement par une "corporéité habitée" car le peintre muraliste est celui qui revendique l'esprit d'une époque et fusionne avec le mur pour créer une image, celle de l'invisible rendue visible. Le concept de « mur » sera abordé comme une pierre angulaire au travers des âges, comme support dans l’art moderne, art qui permet de faire un lien avec le passé mais surtout se démarque des arts contemporains car il sera nécessaire d’approcher les œuvres murales et le graffiti en général qui sera défini et fera l’objet d’une étude approfondie. Ainsi l’art rupestre qu’il est possible de comprendre d’après les études de Henri LHOTE, d’André LEROI-GOURHAN et de l’Abbé BREUIL pourra être mis en lumière notamment en décrivant les peintures pariétales retrouvées dans la grotte de Niaux, de Kapova, de Altamira, de Lascaux et de Chauvet qui représentent la première forme d’art humain et le commencement d’une spiritualité naissante. Le lien pourra être fait avec le symbolisme de l’Art égyptien et sa construction de l’image pour arriver à l’art décoratif des fresques de Pompéi et d’Herculanum où les graffitis de ces villes ont été étudiés par Eva CANTARELLA. De manière chronologique il sera intéressant de rappeler que le Moyen Age fut l’époque de la naissance des fresques romanes en vue de promouvoir une spiritualité qui évolue au cours des âges. Il existe aussi des techniques selon Cennino CENNINI qui explique les procédés de l’« intonaco » et de la fresque « a fresco » associés au père Ignazio POZZO. Enfin la période contemporaine fera l’objet de cette réflexion car les mouvements en peinture sont faits de liens mais surtout font rupture avec ce qui précède pour s’établir dans le temps selon l’expression de Valérie DUPONT, historienne de l’Art. / The return of Mural Art in the contemporary period” revolves round the following issue: In what way can one consider art to be a new form of metaphysics, since it allows man to project his soul on a support thus unveiling it to all in this form, which is close to a kind of “ecstasy”, i.e. an outside that is made to move through a “lived-in corporality”, for the mural painter claims the spirit of a period and merges with the wall so as to created an image – that of the invisible made visible. The “wall” concept will be examined as a foundation stone through the ages, as a support in modern art, a type of art that can create a link with the past but which especially stands out from contemporary art types, since we'll be studying mural works made by muralists as well as graffiti in general, which will be defined and studied in depth. Thus, rupestral art, which may be understood through the studies of Henri LHOTE, André LEROI-GOURHAN and Abbot BREUIL, can be explained most notably by looking at parietal paintings found in the Niaux, Kapova, Altamira, Lascaux and Chauvet caves, which represent the first form of human art and the beginning of a nascent spirituality. A link may be made to the symbolism of Egyptian art and its construction of image before reaching the decorative art of the Pompei and Herculanum frescoes – graffitis in those cities were studied by Eva CANTARELLA. It will be interesting, from a chronological point of view, to remember that the Middle Ages were the period when romanesque frescoes were born in order to further foster that age-old evolving spirituality. Such art was considered by Cennino CENNINI, who, along with father Ignazio POSSO explains the processes of “intonaco and the “a fresco” fresco. Finally, we'll have to study the modern period, since painting movements are made up of links and, more importantly, make a break with what preceded them, in order to last in time, as Valérie DUPONT, an arti historian, says.