[pt] Com a atenção voltada para o estudo do romance O Delfim, esta dissertação busca demarcar a singularidade da criação ficcional de José Cardoso Pires que, agindo sobre o leitor, como trânsito do imaginário, atua também na realidade circundante do mesmo. Ao pensar a relação de aproximação entre o texto ficcional e a realidade, tendo como base os estudos de Wolfgang Iser, almeja-se identificar as funções do imaginário e dos textos ficcionais na constituição das sociedades e na construção da realidade. O trabalho apresenta uma analogia entre o processo de leitura e da criação textual e o processo da reatualização do imaginário como fundamento da realidade. Procuram-se estabelecer associações entre essa analogia e a ficção de José Cardoso Pires. No processo de construção do romance, destaca-se o lugar de relevo que o autor destina ao narrador, ao leitor-ideal e à reelaboração de gêneros literários. Trata-se de mecanismos de escrita do autor para criar perspectivas de interpretação da realidade através da representação literária. / [en] Aiming at the study of the novel O Delfim, this dissertation lines off the singularity of Jose Cardoso Pires` fictional creation that with its impact on the reader, works as a conductor of the imaginary, yet raising awareness of the reader’s surrounding reality. While treating the existing proximity between both, based on the studies of Wolfgang Iser, my goal is the identification of the role of the imaginary and the fictional texts in the forming of societies and the construction of reality. This work presents an analogy between the reading process and the textual creation as well as the renewal of the imaginary as a fundamental part of reality. Such analogy is then compared with the fiction of José Cardoso Pires. In the creation process of this novel, the prominent position granted by the author to the narrator as well as to the ideal reader and the recreation of the literary styles are easily noticed. These are nothing but writing mechanisms to create building perspectives of reality through literary representation.

Magie, monstres, vampires, héros, les images de l’extraordinaire sont omniprésentes et fascinent le grand public. Des librairies qui ouvrent à minuit pour la sortie du dernier Harry Potter, des cinémas bondés pour le dernier volet du Hobbit, des manifestations culturelles de plus en plus importantes, une forte expansion des jeux de rôles, ne sont autre que les indices sociétaux d’une évolution des nouvelles manières de vivre la quotidienneté, le présent. En constante mutation, ces « genres fictionnels de l’imaginaire », comme nous les nommons, ont pénétré de multiples sphères de la vie des individus. Dans cette perspective, nous nous attacherons à analyser et comprendre l’intérêt des publics pour ces genres, ce qu’ils suscitent, tant au niveau individuel que collectif. Nous nous positionnerons dans le cadre d’une sociologie compréhensive et utiliserons certains éléments de compréhension fournis par la sociologie de l’imaginaire notamment dans ce qu’elle apporte à l’étude du présentéisme et de l’être ensemble. / Magic, monsters, vampires, heroes, the representations of the extraordinary are pervasive and fascinate the crowd. Bookshops that open at midnight for the release of the last Harry Potter, crowded cinemas for the last movie of the Hobbit trilogy, growing cultural manifestations, role playing games and more, are only symptoms of a societal evolution of new ways to live in our era. In constant mutation, these “fictional literary genres of the imaginary”, as we call them, have penetrated many spheres of people’s lives. In this perspective, we will try to analyze and understand people’s interest for these genres, what they evoke in people’s minds at an individual level and at collective one. We will study this topic in a comprehensive sociology and will use some comprehension elements supplied by the imaginary sociology especially in what it brings to the study of presenteeism.

Based on eighteen months of fieldwork amongst anarchist and anti-authoritarian groups in Athens this thesis focuses on the December 2008 Greek revolt. It is an ethnographic exploration of collective self-organised practices in the public spaces of Athens and the occupied buildings of that period. It posits that these sets of processes were developed in the revolt as politics of subversion of the everyday life which in the thesis is considered both the site of alienation and emancipation. Based on Bourdieu, this study suggests that the everyday practices of subversion in radical politics are habitual dispositions of action that have been developed, based on past events which go as far back as the Greek civil war (1946-49), to establish a political living in the present, a process that is explored based on what Friedman calls ‘mythologisation' . Drawing on De Certeau, Lefebvre and Vaneigem it is argued that these collective dispositions are the productive factors of tactics of the subversion which emerge in the context of everyday situations defined by the particularities of public space, imagination and public memory.This suggests that the revolt was not an organised process to create a counter-hegemony but rather, a multitude of micro-processes which used everyday situations as sites of subversion. This argument is explored based on the notion of the social imaginary as defined by Taylor and Castoriadis. In this thesis imagination is considered to be constitutive of the politics of subversion. Fuelled by past events and habitual dispositions of actions radical political practices in the revolt were formative of an ontological process which imagines and explains the political as personal and the private as public. According to that interpretation the event of the death of Alexandros Grigoropoulos generated sites where official power could be challenged, escaped and confronted by tactics of subversion.

L’étude du thème de la nourriture conduit à analyser trois fonctions de l’alimentation dans l’œuvre de Cohen. La première, indissociable du cadre de la diégèse, concerne le cérémonial inhérent à la mise en scène des repas. Selon qu’ils se déroulent dans le milieu occidental ou au sein du groupe des Valeureux, ces moments de consommation débouchent rapidement sur une caractérisation des personnages et sur une mise à jour des liens socio-culturels qui les unissent ou les séparent. Partager un déjeuner ne constitue donc pas un simple geste de convivialité. C’est une action qui peut tendre vers la spiritualité d’une communion ou consacrer la rupture irrémédiable avec autrui. Mais c’est lorsque l’on quitte la table pour s’intéresser aux faits alimentaires ponctuels, multiples dans l’œuvre, que la nourriture de Cohen devient riche de significations. Constituant un réseau de signes symboliques qui affleurent dans les textes, l’alimentation correspond à une nouvelle forme de langage qui exprime les obsessions les plus intimes. Mère, religion, amour, réflexion sur le temps et sur l’absurdité de la vie, tous les domaines s’évaluent à l’aune de la nourriture : celle du passé et des souvenirs — tour à tour regrettée ou indésirable — celle du présent qui oscille entre le plaisir de l’instant et une lassitude existentielle, celle d’un futur incertain, qui ne garantit qu’une promesse de désillusions. De cet univers aux sombres perspectives émerge pourtant une figure de « vainqueur éternel », celle de Mangeclous. Le personnage burlesque est, en effet, celui qui a le dernier mot. Capable de sublimer l’art de la cuisine, il élabore une poétique aux accents parodiques qui se joue de la farce de l’existence. C’est en passant par la création de cet ogre mythique que l’auteur confère au champ alimentaire son unique et véritable richesse. / Focusing on the theme of food in Albert Cohen’s works allows us to identify three basic functions for food. The first function, which cannot be dissociated from the diegesis, has to do with the ceremony inherent in the staging of meals. Whether they take place in a Western setting or within the group of the Valeureux, these episodes of consumption often lead to a characterization of the protagonists and a presentation of the sociocultural links that both unite and separate them. Sharing a meal is much more than just enjoying a moment of conviviality. It can as easily result in a spiritual communion as in an irreversible break with someone else. Yet, food takes on a deeper meaning when studied in its multiple punctual manifestations rather than within the context of meals. Coalescing into a network of symbolic signs, food offers a new form of language through which the most intimate obsessions can be expressed.Motherhood, religion, love, time or the absurdity of life are so many themes that can be analyzed through the motif of food – be it the food of the past (either desired or scorned), the food of the present, which both provides a brief moment of pleasure and occasions an existential ennui, or the food of an uncertain future, mostly synonymous with a feeling of disillusionment. Out of this universe of somber prospects,however, emerges the figure of Mangeclous, the “eternal victor.” Indeed the last word belongs to this burlesque character. In his ability to transcend the art of cooking, Mangeclous conjures up a poetics with parodic overtones that mocks the masquerade of existence. It is only in creating this mythical ogre that Cohen manages to imbue the motif of food with its true richness.

Cette thèse propose d’observer l’imaginaire des dispositifs numériques dans les musées d’ethnographie confrontés à la réalisation de dispositifs numériques pour la médiation tels que les tablettes tactiles ou les navigateurs de réalité augmentée. Ce travail s’intéresse au positionnement des professionnels de musée face à la présence croissante d’outils numériques dans l’espace d’exposition, sous-tendue par un discours promotionnel technophile de la part des sphères journalistique et politique qui décrivent ces technologies comme fortement souhaitables. Une enquête ethnographique réalisée dans deux musées soumis à une injonction technologique (le Museon Arlaten d’Arles et le musée McCord de Montréal) interroge les attentes et les imaginaires qu’ont les professionnels du musée de ces dispositifs. À l’aune du concept de trivialité d’Yves Jeanneret, il s’agit de comparer les discours d’escorte portant sur le numérique avec les discours des professionnels de deux musée d’ethnographie, afin de mettre à jour les modes de circulation de ces discours et les imaginaires qui les fondent. Répondre à ce questionnement a nécessité une démarche en trois temps. Il s’est agi dans un premier temps de relever les différents discours d’escorte portant sur les dispositifs numériques au musée et les injonctions qu’ils véhiculent afin de comprendre à quelles prescriptions les professionnels étaient exposés. D’autre part, interroger les professionnels de musée afin de relever leur imaginaire des dispositifs technologiques a permis de connaitre leurs attentes et craintes vis-à-vis de ces supports. Enfin, questionner les enquêtés sur leurs pratiques concrètes lors de la conception effective de ces dispositifs a permis d’observer des processus d’ajustement, prenant la forme de logiques d’opposition, d’adaptation et d’invention. Après avoir comparé le discours des professionnels avec les discours d’escorte médiatiques et politiques, nous avons observé un décalage entre les discours d’escorte sur l’innovation technologique au musée et la façon dont les professionnels de ces institutions culturelles évoquaient ces questions. Le caractère révolutionnaire des discours décrivant les technologies n’est pas repris par les professionnels des musées mais il est fortement nuancé dans un imaginaire raisonné et pertinent des technologies, assorti d’un rapport ambigu à l’innovation qui interroge les enjeux symboliques du progrès technologique dans la médiation muséale. / This thesis observes and explores the imaginary of digital devices when the latter are introduced, in the form of tablets or augmented reality browsers, to support mediation work in ethnography museums. The thesis examines how museum professionals position themselves in relation to the growing presence of digital devices in the exhibition space, which is underpinned by a technophile promotional narrative spun by the media and politicians who present the introduction of these technologies as highly desirable. An ethnographic study in two museums faced with the imposition of such technological agendas – the Museon Arlaten in Arles and the McCord Museum in Montreal – allows for an analysis of the expectations towards and imaginary of these devices by museum professionals. The concept of triviality, as defined by Yves Jeanneret, is used to compare the accompanying discourses on digital technologies with the discourses of professionals in the two ethnography museums, in order to highlight how discourses circulate, as do the imaginaries underpinning them. There were three stages in this study. First, the various accompanying discourses on digital technologies in museums – from both inside and outside of the institutions – and the agendas they carry were identified, so as to understand what was dictated to the professionals. Besides, the museum professionals were interviewed in order to identify what their imaginaries of technological devices were, which allowed for an understanding of their expectations and fears regarding these devices. Finally, asking the interviewees about their concrete practices when effectively devising the devices made it possible to observe processes of adjustment, from opposition to adaptation to invention. The comparison between the professionals’ discourses and the accompanying discourses offered by the media and politicians revealed a discrepancy between the accompanying discourses on technological innovation in museums and the way in which the professionals from the cultural institutions talked about this issue. The narratives describing these technologies as revolutionary were not taken up by museum professionals; rather, they were significantly qualified by reasoned, adequate imaginary of technologies, alongside with an ambivalent perception of innovation, questioning the symbolic dimension of technological changes affecting mediation work in museums.

Orientador: Mauricius Martins Farina / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-08T02:43:15Z (GMT). No. of bitstreams: 1 Silva_MauricioPinheiroda_M.pdf: 16297771 bytes, checksum: b276b5c5408a4908861c267e16f36393 (MD5) Previous issue date: 2006 / Resumo: Esta pesquisa teve por finalidade refletir sobre a subversão da significação da mensagem publicitária convencional, que reforça padrões e comportamentos idealizados pela sociedade, por meio da imagem fotográfica. Dois anúncios foram analisados: o primeiro, retirado da Campanha pela Real Beleza, desenvolvida para a marca de produtos de beleza Dove; o segundo, retirado das campanhas criadas por Oliviero Toscani, entre 1982 e 2000, para a marca italiana Benetton. Como instrumento de análise foi utilizada a semiologia proposta por Roland Barthes, baseada no processo de significação da linguagem. Os resultados apontam que a identificação dos aspectos culturais, necessários para a compreensão (significação) das imagens presentes nos anúncios, está diretamente ligada à subversão da mensagem publicitária quanto à intenção de despertar e chamar a atenção dos consumidores, motivando-os a uma ação positiva de consumo por meio da significação diferenciada da imagem fotográfica (valores questionados por essa mensagem publicitária) / Abstract: The purpose of this research was to show how the meaning of the conventional advertising message, which reenforces the standards and behaviours practiced by socie~y, is subverted by photographic imagery. Two advertisements were analised: one taken from the Real Beauty Campain developed by Dove beauty products and another taken from the campains created by.Oliviero Toscani, between 1982 to 2000, for the Italian brand Benetton. Roland Barthes's semiology proposal, which is based on the language meaning proposal, was used as a method of analysis. The results show that the identification of the cultural aspects necessary for the understanding of the images shown in the advertisements, are direct1y related!to the subversion of the advertising message, when the intention is to get the attention of the consumers. This, as a result, causing them to take a buying decision due to the differentiated meaning of the photographic image (values questioned by the advertisement message) / Mestrado / Multimeios / Mestre em Multimeios

Submitted by Caroline Falcao (caroline.rfalcao@ufpe.br) on 2017-06-14T19:23:05Z No. of bitstreams: 2 license_rdf: 811 bytes, checksum: e39d27027a6cc9cb039ad269a5db8e34 (MD5) 2012-dissertacao-ThacioSantos.pdf: 2361333 bytes, checksum: 7c002da216d41c187b23a9eaafb786b3 (MD5) / Made available in DSpace on 2017-06-14T19:23:05Z (GMT). No. of bitstreams: 2 license_rdf: 811 bytes, checksum: e39d27027a6cc9cb039ad269a5db8e34 (MD5) 2012-dissertacao-ThacioSantos.pdf: 2361333 bytes, checksum: 7c002da216d41c187b23a9eaafb786b3 (MD5) Previous issue date: 2012 / Estudiosos de diversas áreas tem destacado o ‘retorno’, ou ‘re-valorização’ da astrologia no Ocidente. O fenômeno da difusão astrológica também não passou desapercebido pelos antropólogos brasileiros.A astrologia, enquanto vivência cotidiana, se difunde cada vez mais, em diferentes dimensões da cultura Brasileira. Considerando tal emergência, queremos com esta investigação nos debruçar sobre o tema. Estadissertação visa a analisedas dimensões simbólicas da astrologia manifestas nas relações interpessoais e na organização da vida cotidiana de indivíduos residentes no Recife. A construção desta investigação partiu de observações iniciadas em 2010, em colaboração com os pesquisadores do Núcleo interdisciplinar de pesquisas sobreImaginário e da Pós-Graduação em antropologia da UFPE. Nossa pesquisa baseou-se em entrevistas semiestruturadas, assim como observações realizadas em cursos e palestras sobre a astrologia, além e conversas informais. No período de 2010 a 2011 foram realizadas entrevistas, com cinco astrólogos e dez estudantes e interessados em astrologia. Para a análise desse material utilizamos a metodologia formulada pelo antropólogo francês Gilbert Durand: a mitocrítica. Este método de crítica literária, de crítica do discurso, torna possível a compreensão do caráter mítico inerente à significação de todo e qualquer relato. Baseado em autores como Jung, Bachelard, Mircea Eliade, Gilbert Durand, Maffesoli, além do Dicionário de Símbolos de Chevalier e Gheerbrant, nos propomos a interpretar símbolos e mitemas levantados, pondo a descoberto seus significados e suas relações com a cultura. Acreditamos que o presente estudo não só tenha revelado o universo simbólico da vivência da astrologia no Recife,como também contribuído para uma maior compreensão da temática no contexto brasileiro. / Experts from different areas have highlighted the “return”, or “re-valorization" of astrology in the West. The diffusion of astrological phenomenon also did not go unnoticed by Brazilian anthropologists. The astrology, as a quotidian experience of life, diffuses more and more in various aspects of Brazilian culture. Given such an emergency, with this research, wewant to lean over on the theme. This dissertation aims to analyze the symbolic dimensions of astrology expressed in interpersonal relations and in organization of everyday life of individuals that living in Recife.The investigation was constructed from observations started in 2010 with the collaboration of researchers, members from Interdisciplinary Nucleus about Imaginary Research and from Anthropology Post-Graduate Program of UFPE.Our research was based on semi structured interviews, as well as observations of courses and lectures about astrology, and informal conversations. In the 2010-2011 period, interviews were conducted with five astrologers and ten students interested in astrology.In order to analyze this material was used the methodology formulated by the French anthropologist Gilbert Durand: the myth criticism. This method of literary criticism, criticism of the speech, makes it possible to understand the mythical character inherent in the meaning of any report.Based on authors such as Jung, Bachelard, Mircea Eliade, Gilbert Durand, Maffesoli, and the Dictionary of Symbols by Chevalier and Gheerbrant, we propose to interpret symbols and mythemes raised, revealing their meanings and their relationship with culture. We believe that this study has revealed not only the symbolic universe of the experience of astrology in Recife, but also contributed to greater understanding of the theme in the Brazilian context.

It is a half-material imaginary architecture that guides the movement of a viewer. Or takes place to stop the viewer in me creating environment. Construction visually "disturbs" the space to a minimum, but the movement of the viewer will be completely different.

No description available.

<p>It has been observed by researchers that periodic auditory stimuli can cause the activities in different brain areas to be periodically synchronized. Fast auditory stimuli have been shown to cause the brain sources to synchronize at the rate of stimuli. Brain sources respond to them not only by increase in local synchronization, but also in the global synchronization of cortical regions often regarded as functional connectivity. Spectral power and coherence are often used to characterize such neural synchronization. Beta band oscillations have been reported to underlie the neural mechanism during repetitive auditory stimuli. Cortical generators of these underlying beta oscillations were investigated in several studies based on MEG measurements. This research is intended to investigate (1) EEG can be used to detect and localize neural sources changing in power and coherence and (2) beta oscillations underlie such neural synchronization during fast repetitive auditory stimuli based on EEG measurements. The procedure of this study consists of several steps. First, the minimum variance (MV) scalar beamformer, an adaptive spatial filter, is used to estimate the temporal signals in the brain source space, given EEG recordings. The analysis of the estimated source temporal signals then consists of two stages firstly the power analysis and secondly the coherence analysis. The dynamics of power and coherence is investigated instantaneously over time and in the lower beta frequency band [14,20Hz]. This is done by detecting the most prominent changes in the two spectral parameters through singular value decomposition (SVD). Two coherence measures imaginary component (IC) and magnitude-squared coherence (MSC) are employed and compared in terms of their performance both mathematically and experimentally. In the simulations, we show the capability of using EEG to detect and localize power co-variations and dynamic functional connectivity in the cortical regions. We also perform the procedure on the recorded real data from subjects passively listening to rhythmic auditory stimuli. Beta oscillations are found to underlie the neural activity to percept auditory stimuli. This is shown by localization of auditory cortices and detection of power co-variation in this frequency band. We demonstrate the feasibility of using EEG to identify coupled and co-activated brain sources similar to those obtained from MEG signals in the previous studies. These include auditory and motor regions which were found to be functionally coherent and have a functional role in the auditory perception. The superiority of IC over MSC measure is proven mathematically and validated in both simulations and real data experiments.</p> / Master of Applied Science (MASc)