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Submitted by Renata Lopes (renatasil82@gmail.com) on 2017-02-07T13:06:26Z No. of bitstreams: 1 cristianedoamaraldebarros.pdf: 2033944 bytes, checksum: 8a83386b104383632a4283548a885e70 (MD5) / Approved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2017-02-07T14:12:04Z (GMT) No. of bitstreams: 1 cristianedoamaraldebarros.pdf: 2033944 bytes, checksum: 8a83386b104383632a4283548a885e70 (MD5) / Made available in DSpace on 2017-02-07T14:12:04Z (GMT). No. of bitstreams: 1 cristianedoamaraldebarros.pdf: 2033944 bytes, checksum: 8a83386b104383632a4283548a885e70 (MD5) Previous issue date: 2006-08-23 / No atual cenário religioso do Brasil, a umbanda seria, dentre as demais religiões afrobrasileiras, aquela considerada como verdadeiramente brasileira, por ter sido constituída neste país, a partir do encontro das tradições dos cultos africanos, católicos, kardecistas, esotéricos e ameríndios, dentre outros. Nessa religião, que reflete em seu culto grande parte dos anseios, demandas, conflitos, contradições e perspectivas da sociedade na qual se desenvolveu, compõem seu panteão dois símbolos femininos intrinsecamente distintos, mas igualmente fortes e significativos da condição feminina. Iemanjá, originariamente Grande Mãe africana, com notável poder, e modelo feminino, por excelência, de todo o panteão afro-brasileiro, apresenta, na umbanda, uma associação de vários atributos diferenciados que engendraram uma imagem complexa de mãe, mulher, virgem, sereia e santa, transformando-a em entidade essencialmente maternal, feminina, mas quase assexuada. De outro lado, surge Pomba-gira, personagem feminina com forte conteúdo sexual, erótico e sedutor, presente e atuante nesse culto como também uma grande imagem de feminino, representante de atributos distintos, diversos e bastante contrastantes daqueles representados por Iemanjá. Não ao lado de Iemanjá, mas junto com esta, Pomba-gira assume, na umbanda, a condição de grande entidade feminina, compondo um modelo complementar e contrastante de atributos inerentes à sexualidade feminina. Dessa forma, pretende-se compreender o que, realmente, a referida religião vem propor em termos de imagem ou modelo feminino em seu culto, distanciando de modo tão ostensivo o imaginário feminino da mãe – Iemanjá – e o da mulher sexualizada – Pomba-gira. O presente estudo se propõe a encontrar algumas respostas que contribuam para identificar e compreender qual vem a ser, na atualidade, a imagem proposta de feminino dentro da umbanda, a partir da compreensão dos conteúdos valorativos e conceituais contidos nessas duas representantes míticas, por excelência, da condição feminina de seu panteão, e em que medida essa imagem se apresenta e se insere no cotidiano da vida das mulheres umbandistas. / Among all the Afro-Brazilian religions composing the religious scene in Brazil, Umbanda is the only one to be considered truly brazilian, as it originated in this country, combining elements of African religions, Catholicism, Kardecist Spiritualism, Esotericism, and South American Indian practices, among others. The Umbanda religious cult reflects a great part of the aspirations, demands, conflicts, contradictions, and perspectives of the society where it developed. Its pantheon includes two intrinsically distinct female symbols, which are equally strong and significant of the feminine condition. Yemanja, originally an African mother goddess with notable power, is a feminine model par excellence of all the Afro-Brazilian pantheon, and presents, in Umbanda, an association of various distinct attributes which engendered her complex image of mother, woman, virgin, siren and saint, making her an essentially maternal and feminine, but almost asexual, entity. On the other side, there is Pomba-gira, a female figure with strong sexual, erotic and seductive content, present in this cult as another important symbol of femininity, representing different attributes, in contrast with those represented by Yemanja. Together with Yemanja, rather than by her side, Pomba-gira assumes, in Umbanda, the condition of great female entity, composing a contradistinctive complementary model of attributes inherent to feminine sexuality. The present study seeks to comprehend what Umbanda actually proposes in terms of image or model of femininity in its cut, separating so ostensively the feminine images of mother – Yemanja – and sexed woman – Pomba-gira. We intend to identify and understand the female image currently proposed by Umbanda, starting from the comprehension of evaluative and conceptual contents present in these two mythical figures, representing the feminine condition par excellence of their pantheon; and to what extent this image is present in the everyday life of Umbandist women.

L’écriture des femmes a évolué d’une manière spectaculaire depuis le début du 20ème siècle. La création féminine a connu un essor remarquable. Ecrivaines occidentales et orientales, en position de défense ont pris une place prépondérante dans la littérature de leur temps. Leurs écrits ont tellement de points communs et si peu de divergences qu’il est possible d’en conclure qu’elles ont donné naissance à une expression littéraire nouvelle qui se distingue de l’écriture masculine. Le féminin émerge de la quête de soi et laisse apparaître des aspirations inédites. Les femmes s’expriment sous des formes créatrices et esthétiques spécifiques. Leur littérature révèle une omniprésence du corps et de la sexualité en lien étroit avec la société. Duras, Aleramo, Djebar et Mernissi, romancières brillantes ont reçu prix et honneurs venus du monde entier. Les critiques ont enfin remarqué leur talent d’auteure, poète, dramaturge alors que la société ne reconnaissait depuis longtemps que l’écriture masculine. L’écriture féminine ne cesse de gagner du terrain et s’impose désormais dans le milieu littéraire. Ces excellentes romancières se permettent d’aborder leur intimité et celle de leurs semblables. La plupart d’entre elles ont publié à l’âge de la maturité. Leurs biographies respectives montrent le lien qui les unit. Le sentiment d’injustice est le socle de leurs récits, injustice à l’égard du colonisé, à l égard de la femme dans le couple, et de la femme en général. Le fait féminin influence leur écriture qui exprime les malaises sociaux, l’isolement, la solitude, la violence et en imprègne le système scriptuel. L’étude de cette écriture est inséparable du contexte social et historique des textes, personnages et thèmes. Un rapprochement des œuvres de ces romancières est non seulement plausible mais indispensable pour comprendre l’essor de la littérature féminine. Au-delà de la langue, ces auteures, de pays, cultures et générations différents ont pris le chemin de l’écriture autobiographique, amorçant les traits distinctifs de l’écriture féminine. Elles ont en commun le choix essentiel de personnages féminins dont certains iront jusqu’au suicide pour échapper à l’aliénation. Il s’agit de mettre en exergue la quête identitaire des femmes dans une société donnée. Cette thèse centre son étude sur 4 romans : Una Donna, L’Amant de la Chine du Nord, Femmes d’Alger dans leur appartement, et Dreams of Trespass. L’être- femme est représenté dans un rapport à la violence masculine mais aussi à sa propre violence sur arrière-plan d’aliénation sociale et culturelle. / Women’s writing has developed in a spectacular way since the beginning of the 20th century. Feminine creation has known a remarkable growth .Western and eastern she-writers have then stood defensively and predominantly in the literature of their time. Their narrations have so many common points and so few divergences that it’s easy to conclude they’ve given birth to a new literary expression differing from men’s writing. The feminine aspect emerges from the self-quest and let original aspirations appear. Women express themselves under creative and specific aesthetic forms. Their literature reveals an omnipresence of the body and sexuality closely connected with society. Duras, Aleramo, Djebar and Mernissi, very gifted novelists have been granted awards and honours from the whole world. Critics have at last noticed their talent as authoress or poet in a society which had only recognized masculine writing for ages. Women’s writing is gaining more and more ground, imposing itself in the world of literature. These excellent novelists allow themselves to approach their intimacy as well as other women’s. Most of them have published at mature age. Their respective biographies do show the link connecting the one with the other. The feeling of injustice is the basis of their narrations, injustice towards the colonized, towards the woman in the couple, or women in general. The feminine fact influences their writing which expresses social uneasiness, isolation, solitude, violence thus soaking their scriptural system. Studying their writing goes necessarily with considering the social historic context of the characters, themes and texts. Connecting the four novelists’works is not only plausible but indispensable to understand the growth of feminine literature which is increasing and increasing. Beyond the language, these novelists of different countries, cultures and generations have taken the same road of autobiography, creating the distinctive features of feminine writing. They have in common the essential choice of female characters, some of whom will touch suicide to escape from alienation. It’s all about underlining women’s quest for identity. This thesis focuses its study on four novels: Una Donna, L’Amant de la Chine du Nord, Femmes d’Alger dans leur appartement, and Dreams of Trespass. The female-being is represented in her relation to male violence, but also to her own violence on a social and cultural background of alienation.

Submitted by Aline Batista (alinehb.ufpel@gmail.com) on 2017-07-13T19:52:09Z No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Dissertacao_Franciele_Lima_Mendes.pdf: 1716036 bytes, checksum: e3a883607582d101ae016fa12cab87f9 (MD5) / Approved for entry into archive by Aline Batista (alinehb.ufpel@gmail.com) on 2017-07-13T19:58:55Z (GMT) No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Dissertacao_Franciele_Lima_Mendes.pdf: 1716036 bytes, checksum: e3a883607582d101ae016fa12cab87f9 (MD5) / Made available in DSpace on 2017-07-13T19:59:02Z (GMT). No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Dissertacao_Franciele_Lima_Mendes.pdf: 1716036 bytes, checksum: e3a883607582d101ae016fa12cab87f9 (MD5) Previous issue date: 2017-03-31 / Sem bolsa / Os irmãos Grimm foram intelectuais importantes para a manutenção e difusão da cultura germânica durante o século XIX, sendo responsáveis por estudos sobre a gramática alemã e compilações de contos e sagas até então presentes apenas na oralidade. Dentre suas obras, uma de grande destaque foi o Kinder- und Hausmärchen, a qual reunia pela primeira vez de modo escrito vários contos maravilhosos, dentre eles, o de “Branca de Neve”, que viria a se tornar um dos mais famosos. Com o passar dos séculos, essa narrativa passou a ser recontada por diversos autores em mídias variadas, como cinema, literatura e quadrinhos, num processo que Hutcheon (2013) define como adaptação. É possível notar que fatores como o pensamento e o modo de funcionamento da sociedade na qual a nova versão da obra foi feita e recepcionada influenciam diretamente nas escolhas dos autores em relação às suas adaptações, à construção das personagens e ao tipo de abordagem utilizado. Para este trabalho, foi selecionado um total de quatro adaptações de “Branca de Neve”, além de três versões do conto dos próprios Grimm, para serem analisadas e comparadas sob as abordagens temáticas: amenização, empoderamento do feminino, aterrorização e sexualização. O foco é a representação do feminino na figura da protagonista, observando as relações de gênero e poder que estabelece com a antagonista feminina (madrasta) e com os personagens masculinos da trama (pai, anões, príncipe, caçador), tomando como base os estudos de Scott (1995) e Flax (1991). É possível notar que as releituras do século XXI buscam fugir dos estereótipos dos papéis de gêneros já ultrapassados, no qual o masculino é dominante e o feminino é subjugado, embora ainda seja difícil que uma obra consiga atingir um empoderamento total do feminino. Muitas vezes, isso se dá de forma apenas parcial, pois os padrões heteronormativos são mantidos e/ou o empoderamento de um personagem só se torna possível em detrimento da submissão de outro(s). / The Grimm brothers were important intellectuals for the maintenance and diffusion of the Germanic culture during the 19th century, being responsible for studies on the German grammar and compilations of tales and sagas until then present only in orality. Among their works, one of the most outstanding was the Kinder- und Hausmärchen, which gathered for the first time in written form several fairy tales, among them, “Snow White”, which would become one of the most famous. Over the centuries, this narrative has been retold by several authors in various media, such as cinema, literature and comics, in a process that Hutcheon (2013) defines as adaptation. It is possible to notice that factors such as the thinking and society’s way of functioning, in which the new version of the work was made and received directly, influence the authors’ choices regarding their adaptations, the construction of the characters and the type of approach used. For this work, four adaptations of “Snow White” were selected, as well as three versions of Grimm’s tale itself, to be analyzed and compared under thematic approaches: mitigation, feminine empowerment, terrorization and sexualization. The focus is the representation of the feminine in the figure of the protagonist, observing gender and power relations that she establishes with the female antagonist (stepmother) and with the male characters of the plot (father, dwarves, prince, hunter), based on the studies by Scott (1995) and Flax (1991). It is possible to notice that the readings of the 21st century seek to escape the stereotypes of the roles of genres already surpassed, in which the masculine is dominant and the feminine is subjugated, although it is still difficult for a work to achieve a total empowerment of the feminine. Often, this occurs only partially, since heteronormative patterns are maintained and/or the empowerment of one character becomes possible only to the detriment of the submission of other(s).

Ma thèse s’articule autour de nombreux cas cliniques d’analysantes femmes et vise à montrer certaines formes de déni de la sexualité féminine au Moyen-Orient. Nous nous sommes proposée d’explorer dans un premier temps et d’exposer les idées et les théories psychanalytiques régnantes en matière de sexualité féminine, tant en Orient qu’en Occident. Dans un deuxième temps, nous exposons les cas cliniques puis, à la lumière de ce que nous avons relevé dans les récits littéraires, les études sociologiques, et la littérature psychanalytique consultée à cet effet, nous tâchons de répondre à la question suivante : Pourquoi ces femmes qui présentent toutes le même profil familial, socioculturel et économique, que nous pouvons considérer comme des femmes (apparemment) modernes, présentent-elles toutes certaines défaillances dès lors qu’il s’agit pour elles d’assumer leur vie (sexuelle) de femme tout court. D’où le titre de notre recherche : Les formes de déni de la sexualité chez la femme au Moyen-Orient. / My thesis is based on numerous clinical reports of women under analysis, and purports to show certain forms of denial for a female sexual life in the Middle East. First, we explore and present current psychoanalytic concepts and theories on the sexual life of women, either in the East or in the West. Second, we study these clinical reports in light of what we have found in literary tales, in sociological research, and in the literature on psychoanalysis, and we try to answer the following question: Why do women, who have the same family, socio-cultural and economic profiles, and who we can can call (apparently) modern, show similar failures in what regards their simple sexual lives? Hence the title of our research is: The categories of denial of sexuality for women in the Middle East.

A différentes reprises, l’auteur observe que la maladie, ici l’insuffisance rénale, survient à des moments clés de la vie du sujet. Après un tour d’horizon théorique sur la maladie, le soin, mais aussi les travaux théoriques traitant de la psychosomatique et du féminin, les observations débouchent sur des interrogations liées à la problématique du corps et de la psyché. C’est en rencontrant des patients en centre de dialyse, à partir de leur vécu et de leur discours sur le lieu de soin que la problématique du corps vient rejoindre la question du féminin, quel que soit le sexe (masculin ou féminin) des patients. D’abord, les relations maternelles sont le point de départ de la réflexion. Il s’avère que les patients rencontrés (hommes et femmes) ont été confrontés à des relations précoces, à un féminin primaire, venant particulièrement interroger les notions de rythme et de sensorialité. Ces Notions sont très présentes dans la pathologie de l’insuffisance rénale, ainsi que parfois dans les autres pathologies dont souffrent les patients. Ensuite l’analyse se poursuit plus précisément avec une réflexion sur les vécus contre-transférentiels. D’une part, se pose la question du vide, du désinvestissement chez les patients de sexe masculin, d’autre part, le mode d’être en relation des patientes vient interroger l’emprise. Enfin, l’auteur prolonge sa réflexion en abordant le féminin génital auprès des patientes de sexe féminin. La façon dont elles ont pu s’identifier aux imagos parentales, vivre l’Œdipe, changer d’objet et se séparer de l’objet primaire vient alors interroger la bisexualité mais aussi la violence et la haine. / The author observes at various times that the disease, in this case renal failure, arises at key moments in the life of the subject.After a theoretical overview on the disease, the care, but also the theoretical work dealing with psychosomatic and the feminine, observations lead to questions related to the concerns of the body and the psyche.It is by meeting patients in dialysis centers, from their experience and from their speeches where they are taken care of, that the matter of the body comes to join the question of the feminine, , regardless of gender (male or female) of the patients .At first, the maternal relationships are the starting point for the reflection. It turns out that patients met - both men and women - have faced premature relations and a primary female state, which particularly questions the notions of rythm and sensoriality. These concepts are very present in the pathology of renal failure, sometimes as well as in other pathologies the patients suffer from.Then the analysis continues more precisely with a reflection on counter-transference experiences. The first question that arises is that of the emptiness and the withdrawal of involvement of male patients and then the mode to be in relation for female patients leads to wonder about influence / pressure. Finally the author continues her reflection by considering female genital with female patients. How they were able to identify with parental images, experience the Oedipus complex, change the object, and separate from the primary object then leads to question bisexuality, but also violence and hate.

El presente trabajo de investigación comprende diversos temas acerca de cómo se desarrollará la formulación e implementación de la marca de productos sostenibles de higiene femenina Nuvem. Esta ofrece toallas higiénicas eco amigables elaboradas a base de tela de algodón en el mercado productos de higiene femenina de Lima, Perú. El objetivo de este proyecto es presentar a posibles inversionistas un modelo y un plan de negocio rentable y escalable, que tiene el añadido de ser sostenible. Se inició este trabajo de investigación con el proceso de ideación de la idea de negocio, dentro del cual se describe el modelo de negocio. Seguidamente, se desarrolló el proceso de validación del problema a través de experimentos. Producto de ello, se definió el segmento de clientes, así como el tamaño de mercado considerando la solución propuesta. Posteriormente, se diseñó el plan concierge por medio del cual se validan las ventas, y con ello se armó la proyección de ventas para tres años, considerando distintas variables. Tomando en cuenta los resultados de la proyección, se elaboraron los planes para el proyecto: Plan Estratégico, Plan de Operaciones, Plan de Recursos Humanos, Plan de Marketing y Plan de Responsabilidad Social Empresarial. Finalmente, la realización del Plan Financiero ha permitido conocer la factibilidad del proyecto gracias al análisis del pronóstico de ventas, costos, gastos, inversión y capital de trabajo. Así mismo, nos apoyamos en los indicadores financieros pertinentes para medir la efectividad de la administración del negocio y generar valor para los accionistas. / The following Project comprehends different concepts concerning the formulation and implementation of the new business model, Nuvem. The purpose of this project is to offer a new sustainable option for women in their period, this being a reusable cotton pad. It is hoped this project will be noticed by investors who are in the search of new profitable and sustainable businesses. In the first section of the investigation, the authors describe the process of the business idea, in which the business model is defined. As well as the project’s problem validation through the application of individual experiments. Afterwards, it was determined the customer segment along with the market size in which the project would be based. Accordingly, to this, the concierge plan was designed and applied. This helped with the 3 year sales projection that was elaborated regarding different variants. Taking in consideration the sales projection results, the business plan was specify: The strategic plan, the human resources plan, the operations plan, the marketing plan and the corporate social responsibility. Lastly, the implementation of the financial plan has allowed us to validate the feasibility of our project. In addition, we rely on the respective financial indicators so we can measure the effectiveness of the business. / Trabajo de investigación

The thesis constitutes the gender analysis of the Ann Belford Ulanov's work, particularly the qualitative content analysis of publications which are explicitly focused on gender problems. Ulanov as the Jungian psychologist and Protestant theologian deals with the concept of the "feminine mode of being" (feminine principle) which perceives as one of the key elements of human soul, and the manner by which it is possible to be connected with the world and god. Outcomes of the thesis are constructivist, anchored in critical theory paradigm. From this point of view, the chapters of the theoretical part are addressed. These chapters deal with issues linked to the feminist theology and Jungian psychology. The aim of the research part is to analyse concept of the "feminine mode of being" and its implications for the construction of gender concerning the divinity and humanity. Ulanov perceives the "feminine mode of being" within the framework of symbolic approach as the part of the masculine-feminine polarity. While she does not link this principle only to women, she perceives it essentialisticly. For instance, she strongly associates "the feminine" with biological maternity. It is possible to classify many motives and archetypes which Ulanov develops as non- stereotypical and subversive. However, her...

published_or_final_version / abstract / toc / Literary and Cultural Studies / Master / Master of Arts

La musique est nouée au corps humain par le vivant qu’elle y suscite ou res-suscite. Des musiciens des camps de concentration aux gamins des rues du Vénézuela, la musique, expérience individuelle d’être pour chacun, peut advenir, pour certains, comme transmission et faire lien social lorsqu’elle est émanation du féminin. Il y faut pour cela une écriture (musicale) spécifique, consistante et architecturée. / Music is tied to the human body by the life force it creates or re-creates. From concentration camp musicians to Venezuelan street urchins, music, our individual experience of being, may become for some a conveyance and encourage philanthropic empathy when it is an emanation of the feminine. This consequently necessitates specific, consistent and structuredmusical scoring.