This thesis is based upon fieldwork carried out in the island of Apiao, in the archipelago of Chiloé, southern Chile. It is an ethnographic exploration of the way the small community of Apiao conceive of communication and interaction with both fellow human beings and supernatural creatures. The thesis describes details of every day life, with an emphasis on visiting as the main mode of social interaction. Through reciprocal hospitality the islanders enact balanced reciprocal exchange. Food and drink is offered and received; this is always returned in equal measure with a return visit. Visits between friends or neighbours are articulated according to a formal ritualistic etiquette based on asking. Balance is temporarily interrupted and small debts incurred when favors are asked. These must be reciprocated promptly. Momentary interruption of equilibrium perpetuates relations among people who describe themselves as being 'all the same'. Marriage equates to forming an independent, productive unit with a focus on inhabitants of households rather than on family in terms of decent or blood ties. Kinship terms are limited to the word mama and this refers to the grandmother, the focal role in raising children. Active memory as expression of love and care is what makes people related to each other. Kin ties must be kept active by constant love and care. Forgetful kin are in turn forgotten and slowly erased from memory. The thesis shows that religious beliefs are centered on exchange relationships with powerful entities that belong to the supernatural world. The dead and the miraculous San Antonio are powerful and ambivalent: they protect and help the living but can be revengeful and harmful if neglected by the living. Novenas are offered to the dead and the San Antonio in exchange for protection and miracles. Novenas represent a public and powerful ritual display of hospitality, enacting values of memory, solidarity and exchange.

A la fin des années 1980, à l'apparition des premiers cas d'infection au VIH, l'Eglise Ethiopienne Orthodoxe Täwahedo (EOTC-Ethiopian Orthodox Täwahedo Church) s'est officiellement impliquée dans la lutte contre le sida au côté du Gouvernement éthiopien. Par ailleurs, dans les années 1990, les fidèles de l'Eglise éthiopienne ont commencé à se rendre sur des sites d'eau bénite dans l'espoir d'y guérir miraculeusement de l'infection. A partir de 2004, l'EOTC a reçu des subventions américaines au titre de la promotion de l'abstinence et de la fidélité. Deux ans après, les traitements contre le sida étaient distribués gratuitement et largement, entrant en conflit avec la cure par l'eau bénite traditionnellement exclusive de tout autre thérapeutique. Cette étude, combinant socio-anthropologie de la santé et de la religion, s'intéresse à la manière dont le christianisme éthiopien - dans ses composantes institutionnelle (EOTC) et rituelle (Eglise éthiopienne) - s'investit dans la lutte contre l'épidémie. En retour, elle interroge la manière dont les subventions américaines à l'EOTC et la distribution des antirétroviraux constituent des facteurs de changement pour cette religion pluriséculaire. L'analyse révèle que le christianisme éthiopien n'est traditionnellement pas l'instance en charge de l'encadrement sexuel des fidèles. L'importance du recours par les fidèles infectés au VIH à la cure par l'eau bénite témoigne de la place qu'occupe, dans cette religion, le pardon et la rédemption. Il est également montré que le christianisme éthiopien est d'abord une religion du pardon, incidemment, elle investit plus la guérison que la prévention. Dès lors, un des apports de cette thèse est d'avoir pensé la guérison comme objet de recherche en soi. La guérison ou sortie de la maladie apparaît être ainsi le reflet inverse de l'entrée dans la maladie, il peut être envisagé comme un processus-événement auquel un grand nombre d'acteurs et d'institutions participent.

A representação do milagre no cinema é um problema. O seu caráter descontínuo solicita do(a) realizador(a) uma tomada de posição: esconder as marcas das operações fílmicas, camuflando-as em prol de uma transparência, ou explicitar sem disfarces os artifícios empregados. Supõe-se que o milagre no cinema seja mais bem resolvido quando se apresenta frontalmente, expondo as suas fraturas através da exacerbação do meio fílmico. A hipótese acima, de natureza axiológica, será verificada na análise de filmes que tematizam três milagres dos Evangelhos: Anunciação, Cura do cego e Ressurreição. Cada milagre será articulado a um diferente problema de representação. Na primeira parte da tese, estudaremos a Anunciação no cinema à luz dos motivos plásticos herdados de sua vasta iconografia. Na segunda parte, dedicada à Cura do cego, analisaremos as operações empregadas na representação do milagre a partir das questões que se colocam pela figuração da imagem religiosa. Na terceira parte da tese, por fim, a Ressurreição: veremos as estratégias de encenação adotadas em função da crença do espectador na representação. / The representation of the miracle in films is a problem. Its discontinuous aspect demands from the director to take a position: to hide the traces from the filmic operations, dissimulating them for transparency purpose, or to underline the effects employed. In this thesis we will argue that the miracle is better represented when it shows itself frontally, exposing its disruptions in the explicitness of the filmic means. In order to verify the axiological hypothesis above, we will analyze several films that stage three miracles of the Gospels: Annunciation, Healing of the blind and Resurrection. Each of them will be articulated to a different representational problem. In the first part of the thesis, we will study the Annunciation in films according to the motifs inherited from its vast iconography. In the second part, dedicated to the Healing of the blind, we will analyze the filmic operations employed and the questions posed by the figuration of the religious image. In the third part of the thesis, finally, the Resurrection: we will see the strategies of staging adopted according to the belief of the spectator in the representation.

Submitted by Filipe dos Santos (fsantos@pucsp.br) on 2016-08-23T12:16:17Z No. of bitstreams: 1 Rodrigo Rainho da Silva.pdf: 1014799 bytes, checksum: 31773d3783edbcc02a3c8e879672efa7 (MD5) / Made available in DSpace on 2016-08-23T12:16:17Z (GMT). No. of bitstreams: 1 Rodrigo Rainho da Silva.pdf: 1014799 bytes, checksum: 31773d3783edbcc02a3c8e879672efa7 (MD5) Previous issue date: 2016-03-17 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This work analyzes the novel Tent of miracles (Tenda dos milagres), by Jorge Amado, published in 1969. It aims to grasp the different voices that cross the narrative, to insert the utopia of the mixed-race Brazilian civilization and to ponder on the narrative construction that deals with the past and the present, in search of a national identity. In order to achieve this objective, some questions arose: to what extent the multifaceted and non-linear narrative of Tent of miracles (Tenda dos milagres) creates a hybrid, mixed-race perspective for the Brazilian society? The following assumptions guide the reflection: Tent of miracles (Tenda dos milagres) articulates the negative aspect of miscegenation, operating a collective consciousness to build a fraternal society; the duplicity of dialogic narrators creates a plot with mixed voices in counterpoint; the character Pedro Archanjo tunes the mind of the author/narrator in the construction of a hybrid utopian society. The work makes a portrait of the miscegenation, racism as well as of the historical formation of Brazil. It also presents the vision of literary criticism regarding both the novel and the author, showing at the same time the critical viewpoint of Jorge Amado. The theoretical framework is centered on scholars such as: Sérgio Buarque de Holanda, Kabengele Munanga, Antonio Candido, Fernando Segolin, Roland Barthes, Paul Zumthor. Among the final considerations, it is emphasized the construction of an Amadian tent - a transgressive and liberating, tough and resilient, insistent and persistent work - preaching a hybrid identity possible for the Brazilian society / Este trabalho estuda o romance Tenda dos milagres, de Jorge Amado, publicado em 1969. Tem como objetivos apreender as diferentes vozes que se cruzam na narrativa, para inscrever a utopia de uma civilização brasileira miscigenada, assim como refletir sobre a construção narrativa que opera o passado e o presente em busca de uma identidade nacional. Para atingir esses objetivos, selecionaram-se os questionamentos: até que ponto a narrativa multifacetada e não linear de Tenda dos milagres inscreve uma perspectiva miscigenada, híbrida, para a sociedade brasileira? Como a narrativa constrói essa utopia? Orientam a reflexão as seguintes hipóteses: Tenda dos milagres articula o caráter negativo da miscigenação, operando uma consciência coletiva na construção de uma sociedade fraterna; a duplicidade de narradores em dialogia constrói uma narrativa miscigenada de vozes em contraponto; a personagem Pedro Archanjo sintoniza o pensamento do narrador/autor na construção de uma sociedade híbrida, utópica. O trabalho faz um recorte sobre miscigenação, racismo e formação histórica brasileira, apresenta também a visão da crítica literária sobre a obra e seu escritor, assim como mostra o posicionamento crítico de Jorge Amado. A fundamentação teórica centra-se em estudiosos como: Sérgio Buarque de Holanda, Kabengele Munanga, Antonio Candido, Fernando Segolin, Roland Barthes, Paul Zumthor. Entre as considerações finais, ressalta-se a construção de uma tenda amadiana – transgressora e libertadora, resistente e resiliente, insistente e persistente – a pregar uma identidade híbrida possível para a sociedade brasileira

Made available in DSpace on 2016-04-27T19:32:36Z (GMT). No. of bitstreams: 1 Elias Ferreira Veras.pdf: 871249 bytes, checksum: 98528e8cc85d4f90fbd3bc8163a4b2b9 (MD5) Previous issue date: 2009-10-09 / Conselho Nacional de Desenvolvimento Científico e Tecnológico / This work aims at understand the role of the religious journal The Voice of Religion in Cariri among the father Ibiapina s missions, in province of Ceara from 1860 s to 1870 s, taking the press as cultural practice, constituted by numerous religious experiences of the characters: journal readers, missions listeners and the Apostle of Charity s devouts. The french historian Roger Chartier s reflections about representation, cultural practices and cultural appropiations guide this work. Apart from the journal The Voice of Religion in Cariri , source and subject matter this research, other sources were used like: corrrespondences, chronicles, memories, other texts published by father Ibiapina and others journals published in the same period / O presente trabalho tem por objetivo compreender o lugar do jornal religioso A Voz da Religião no Cariri, na dinâmica das missões do padre Ibiapina, na província do Ceará entre os anos de 1860 e 1870, tomando por referência a imprensa como prática cultural, constituída pelas múltiplas experiências religiosas dos sujeitos: leitores do jornal, ouvintes das missões, devotos do Apóstolo da Caridade . As reflexões do historiador francês, Roger Chartier, sobre representações, práticas culturais e apropriações culturais nortearam nossa escrita. Além do jornal A Voz da Religião no Cariri, fonte e objeto de estudo do presente trabalho, foram utilizadas outras fontes de pesquisa, tais como: correspondências, crônicas, memórias, escritos diversos produzidos pelo padre Ibiapina, assim como outros jornais publicados no mesmo período

Le nombre de lieux de pèlerinages connu entre le IVe et le XVIIIe siècle en Bourgogne centrale suit une courbe ascendante mais non linéaire. Cette forme de piété est un marqueur significatif de plusieurs évolutions : choix des intercesseurs, cadre d 'accueil ou supports tangibles de la prière. L'adaptation du cadre et la capacité à renouveler l'appareil hagiographique par rapport à l'évolution des aspirations détermine le succès d'un lieu de pèlerinage et chaque époque a vu son lot de sanctuaires devoir s'ajuster sous peine de décliner. Le caractère opiné du miracle résultant de mutations socio-religieuses , l'étude a porté tant sur les lieux de pèlerinages réputés et durales que sur les lieux éphémères. A partir d'un corpus d'une centaine de sites, nous avons tenté de montrer les modulations de ces phénomène en réintroduisant les fluctuations séculaires si lointaines du fixisme et du caractère immémorial des pèlerinages tels que la littérature cléricale du XIXe siècle les a défendus.

This diploma thesis deals mainly with iconography of miraculous events at selected places of pilgrimage on the background of their factual history and the overall tradition of certain Marian cults. The first part of the thesis is devoted to the analysis of deliberately chosen pilgrimage sites in all cases, with an emphasis on their initial and other specific miraculous events of non-biblical nature concerning primarily the lives of ordinary people. These analyzes provide a basic insight into the general-factographic history of the relevant sites, which is necessary for the detailed examination of the relevant miraculous events. Primary attention is devoted to the analysis of the original miracles of the pilgrimage sites, especially by their depictions. Within the scope of individual pilgrimage sites, this thesis also seeks to analyze all other pictures of the mercy of the Marian. Great emphasis is also placed on written entries of the mentioned miraculous events, which in most cases very probably preceded their picture delineation. The second part of the thesis tries to systemate the results of the researches and compare them with one another. It is a comparison of the miraculous images that are being discussed, which are done mainly in terms of content and in terms of their writing. It is a...

Submitted by Oliveira Santos Dilzaná (dilznana@yahoo.com.br) on 2016-04-01T15:10:44Z No. of bitstreams: 1 Dissertação de Genivalda Cândido.pdf: 14101984 bytes, checksum: 6b41f506818bc712362ae23e0e58cf25 (MD5) / Approved for entry into archive by Oliveira Santos Dilzaná (dilznana@yahoo.com.br) on 2016-04-08T17:48:01Z (GMT) No. of bitstreams: 1 Dissertação de Genivalda Cândido.pdf: 14101984 bytes, checksum: 6b41f506818bc712362ae23e0e58cf25 (MD5) / Made available in DSpace on 2016-04-08T17:48:02Z (GMT). No. of bitstreams: 1 Dissertação de Genivalda Cândido.pdf: 14101984 bytes, checksum: 6b41f506818bc712362ae23e0e58cf25 (MD5) / FAPESB / A pesquisa intitulada de “Abordagens e discussões sobre o espaço museal, a patrimonialização e a comunicação cultural no estudo comparativo entre o museu e a sala de milagres do Santuário do Bomfim, Salvador, Bahia”, teve como objetivo realizar um breve panorama histórico a partir do período que abrange a chegada de Theodózio Rodrigues de Faria a Salvador, e o surgimento do Santuário do Bomfim, que transcorreu no século XVIII, especificamente nos anos de 1740 até 1770. Tendo como foco primeiro no contexto histórico, mudanças sociais, urbanas, econômico-social que corroboraram de certa forma para a construção da Basílica do Bomfim. Em Segundo momento procuramos tecer uma ligação aos itens que contribuíram para toda a discussão presente nos referidos ambientes, como a religiosidade, a estética, o espaço e a comunicação. Itens estes primordiais no desenvolvimento das análises realizadas. A pesquisa também objetivou analisar como as práticas ex-votivas, presentes nos dois espaços, se vinculou à cultura popular dos pagadores de promessa, inerentes as classes sociais que transitam livremente pela sala de milagres, e os objetos ex-votivos que são museografados no Museu dos Ex-votos, local onde não é permitido ao crente, a colocação de ex-votos. Assim, então, se fez necessário a interpretação e elucidação das novas dimensões e significados culturais da arte e da religiosidade popular, e a retratação do ex-voto como um documento integrante do patrimônio cultural do Santuário do Bomfim. The research titled "Approaches and discussions on the museum space, the patrimonial and cultural communication in a comparative study of museum or room of miracles in Bomfim Church in Salvador, Bahia", aimed to make a brief historical overview from the period covers the arrival of Theodózio Rodriguez de Faria from Salvador, and the emergence of the Sanctuary of Bomfim, which takes place in the eighteenth century, specifically the years between 1740 to 1770. With the first focus social, urban changes, the historical context, economic and social that corroborated in a way for the construction of Bomfim's Cathedral. Weaving a link to items that corroborate all this discussion in these environments, such as religion, aesthetics, space and communication. These primary items in the development of the analysis. A priori the project aimed to analyze how former votive practices, present in the Sanctuary of Bomfim, is linked to the popular culture of the promise of paying inherent social classes who freely move around the miracles of room, and the former votive objects that are museographic in Ex-votos of the Museum, which is not allowed, by the believer, the placement of exvotos. So, then, if the interpretation and elucidation of new dimensions and cultural meanings of art and popular religiosity was necessary, and the retraction of the ex-votos as an integral document of the cultural heritage of the Sanctuary of Bomfim.

A representação do milagre no cinema é um problema. O seu caráter descontínuo solicita do(a) realizador(a) uma tomada de posição: esconder as marcas das operações fílmicas, camuflando-as em prol de uma transparência, ou explicitar sem disfarces os artifícios empregados. Supõe-se que o milagre no cinema seja mais bem resolvido quando se apresenta frontalmente, expondo as suas fraturas através da exacerbação do meio fílmico. A hipótese acima, de natureza axiológica, será verificada na análise de filmes que tematizam três milagres dos Evangelhos: Anunciação, Cura do cego e Ressurreição. Cada milagre será articulado a um diferente problema de representação. Na primeira parte da tese, estudaremos a Anunciação no cinema à luz dos motivos plásticos herdados de sua vasta iconografia. Na segunda parte, dedicada à Cura do cego, analisaremos as operações empregadas na representação do milagre a partir das questões que se colocam pela figuração da imagem religiosa. Na terceira parte da tese, por fim, a Ressurreição: veremos as estratégias de encenação adotadas em função da crença do espectador na representação. / The representation of the miracle in films is a problem. Its discontinuous aspect demands from the director to take a position: to hide the traces from the filmic operations, dissimulating them for transparency purpose, or to underline the effects employed. In this thesis we will argue that the miracle is better represented when it shows itself frontally, exposing its disruptions in the explicitness of the filmic means. In order to verify the axiological hypothesis above, we will analyze several films that stage three miracles of the Gospels: Annunciation, Healing of the blind and Resurrection. Each of them will be articulated to a different representational problem. In the first part of the thesis, we will study the Annunciation in films according to the motifs inherited from its vast iconography. In the second part, dedicated to the Healing of the blind, we will analyze the filmic operations employed and the questions posed by the figuration of the religious image. In the third part of the thesis, finally, the Resurrection: we will see the strategies of staging adopted according to the belief of the spectator in the representation.

No description available.