Submitted by Theófilo Miguel de Aquino (theofilo93@gmail.com) on 2018-06-23T00:21:35Z No. of bitstreams: 1 Versão impressão_dissertação_Theófilo.pdf: 872325 bytes, checksum: 323495e73e6536aeb02032bcd8edbc0e (MD5) / Approved for entry into archive by Katia Menezes de Souza (katia.menezes@fgv.br) on 2018-06-25T13:49:45Z (GMT) No. of bitstreams: 1 Versão impressão_dissertação_Theófilo.pdf: 872325 bytes, checksum: 323495e73e6536aeb02032bcd8edbc0e (MD5) / Approved for entry into archive by Suzane Guimarães (suzane.guimaraes@fgv.br) on 2018-06-25T17:22:37Z (GMT) No. of bitstreams: 1 Versão impressão_dissertação_Theófilo.pdf: 872325 bytes, checksum: 323495e73e6536aeb02032bcd8edbc0e (MD5) / Made available in DSpace on 2018-06-25T17:22:37Z (GMT). No. of bitstreams: 1 Versão impressão_dissertação_Theófilo.pdf: 872325 bytes, checksum: 323495e73e6536aeb02032bcd8edbc0e (MD5) Previous issue date: 2018-06-11 / A dissertação mapeia parte do debate teórico sobre secularização para mostrar como os seus autores não analisam a prática jurídica em seus diagnósticos e como as suas conclusões são prejudicadas por essa desconsideração. A pesquisa argumenta três pontos principais nas ressalvas que direciona aos argumentos do debate. Primeiro, existe uma razão jurídica que permite a influência pública de religiões na vida social. Segundo, diferentes formas de experimentar a fé e modos de relação entre religião e vida social são constituídos também através de sentidos de valores jurídicos autônomos. Terceiro, uma prática jurídica secular constitui e regula os conflitos sociais de modo que se torna inescapável estudar o direito para que se entenda completamente como esses conflitos existem no mundo. Esses três pontos permitem afirmar que ocorreu um tipo específico de secularização, que é a independência do direito com relação ao ambiente institucional de um sistema religioso monopolizado. Assim, retoma-se o debate para mostrar especificamente para cada autor mapeado no debate como suas conclusões precisam ser condicionadas pelos achados da pesquisa. A dissertação não pretende argumentar que eles fazem um uso errado do conceito de secularização, mas apenas que seus diagnósticos não têm o alcance e tampouco a força que pretendem, porque eles não analisaram a concepção de secularização que diz respeito à prática jurídica. Para alguns autores, a dissertação imporá limitações significativas, enquanto que, para outros, será possível complementar os seus argumentos para incluir fatos novos trazidos pelo ponto de vista interno ao direito. / The research draws on part of the debate about secularization to show how its authors do not use the legal practice in their diagnosis and how their conclusions are hampered by this obliviousness. It argues three major points against those authors. First, it will show that there is a legal reason why religions might have public influence nowadays. Second, it puts evidence to how the law also constitutes different forms of experimenting faith and different relations between religion and social life. Third, it sheds light on how the legal practice constitutes and regulates social conflicts in a unique way, without which those conflicts would become incomprehensible. These points allow for the occurrence of secularization in a specific sense, that is, the independence of law from a religious institutional environment. The dissertation thus goes back to the debate on secularization to show how each specific author needs to have its conclusions limited by the findings of the research. It is not the purpose to argue that they use the concept of secularization in a wrong way, but to show that their diagnosis do not have neither the reach nor the strength they intend to, for they do not analyze the conception of secularization that has to do with law. For some authors the research will impose significant limits; as for others, it will be able to complement their arguments by including new facts brought by the internal legal point of view.

Analisamos, neste trabalho, o filme Anticristo (2009), do cineasta Lars von Trier, tomando como base um viés crítico que contemplasse a relação entre sua construção formal e seus conteúdos implícitos e explícitos. Assim como outras obras do artista, igualmente questionadoras, perturbadoras e políticas, Anticristo mostra-se capaz de apontar dinâmicas histórico-sociais relevantes para a compreensão de seu tempo, além de desnudar diversas características substanciais do pensamento hegemônico, espantosamente naturalizadas. Nesses termos, a tese proposta é a de que o filme reapropria-se de um método estéticopolítico brechtiano com o fim de criar uma contraposição ao modelo dramático que orienta grande parte das produções cinematográficas mainstream. Sendo responsável por sua estruturação mais ampla, essa reapropriação vincula-se à formatação do foco narrativo do filme, associado à personagem masculina e plasmado com várias nuances de obras de Strindberg e de Freud, bem como do Expressionismo. Configura-se, portanto, essencial o exame da inter-relação que Anticristo apresenta entre os planos histórico e social, e os planos do indivíduo e de sua subjetividade, inclusive de sua construção psíquica. A partir dessa análise revelam-se contradições fundamentais da sociedade ocidental, sobretudo no que se refere às questões de gênero, guarnecidas pela inquietante alusão que o filme faz à caça às bruxas. / In this thesis, we analyze the film Antichrist (2009), by Lars von Trier, from a critical perspective that contemplates the relationship between its formal construction and its implicit and explicit content. As with other works by the artist, equally questioning, disturbing and political, Antichrist has shown itself capable of pointing out historical and social dynamics that are relevant to the comprehension of its time; it also lays bare several substantial characteristics of the hegemonic thinking, which are naturalized in an unsettling way. Accordingly, the proposed thesis is that a Brechtian aesthetic-political method is reappropriated by the film, in order to counterpoint the dramatic model that guides much of the mainstream film productions. Being responsible for the broader structuring of Antichrist, this re-appropriation is linked to the design of the films narrative perspective, which is associated to the male character and shaped by various nuances of works by Strindberg and Freud, and also of Expressionism. The examination of the interrelationship between the historical and social level, and the level of the individual and of his subjectivity, including his mental construction, becomes thus essential in Antichrist. From such analysis, fundamental contradictions of Western society can be unveiled, especially the ones regarding gender issues, which are furnished by the uncanny allusion to the Witch Hunt brought up by the film.

Le cinéma de l'Argentine, le Chili et la Colombie entre 1990 et 2005 a dû faire face à divers changements liés aux modèles politique, économique et culturel. En particulier, les lois relatives à la production du cinéma ont changées dans les années ci-dessous, ce qui a permet de configurer un cinéma hétérogène par rapport aux thèmes et moyens de raconter. Dans cette thèse, nous nous proposons d’étudier un phénomène particulier situé temporellement dans un moment de transition et envisagé à travers un corpus clairement sélectionné. Le dit phénomène se présente à travers la relation que le cinéma entretient avec la réalité, relation qui, à cette époque, se caractérise par une grande ambigüité. Il s’agit principalement d’un élargissement des frontières de classifications des productions en vertu de sa relation avec la réalité qui, traditionnellement fut séparée en deux grands groupes définis comme fiction et non fiction. Pour cette raison, nous avons développés un cadre théorique autour du réalisme comme une catégorie d'analyse du corpus. Aussi, nous avons fait une analyse basée sur les approches des Études Culturelles d'Amérique Latine, l’Analyse Critique du Discours et l'Analyse de Cinéma. Notre travail a été de systématiser et de mettre en relation les processus qui ont permis la consolidation du cinéma contemporain d'Amérique Latine. Également, nous avons confirmés le besoin de contextualiser et de nourrir l'analyse de film avec la connaissance de l'histoire sociale, politique et économique comme une condition pour 'interpréter et analyser le récit de l'Amérique Latine. / Argentine, Chilean and Colombian Cinema of the period between1990-2005 had to face several changes related to political, economic and cultural models. In particular, laws related to film production changed over the years, allowing the configuration of a heterogeneous cinematography regarding its topics and ways of narrating. The main problem of this research is studying the relationship between cinema and reality and how the strategies of construction of fiction and nonfiction narratives are put into tension during the period above mentioned. For this reason, we developed a theoretical framework around the realism as a category to get an approach to the corpus. Additionally, we carried out an analysis of our corpus based on the Latin American Cultural Studies, Critical Discourse Analysis and Film Analysis approaches. We systematized and correlated the processes that have allowed contemporary Latin American films to consolidate as a reference. In this project, we have been able to confirm the need to contextualize and nourish film analysis using knowledge of the social, political and economic history as a condition to interpret and study Latin American Narratives.

L’irrelevant process, décrit par George Brecht en quelques lignes au sein de son texte Chance-Imagery(1957), est une méthode de création d’ « images du hasard », proche de l’idée de « non-intentionnalité ».Cette thèse analyse cette description et en étudie les enjeux dans le cadre de la création de dessins et depeintures, au travers de l’idée de « machine à dessiner » et de celle d’« image trouvée ». L’étude dequelques démarches artistiques issues de la seconde moitié du XXème siècle et exemplifiant cette typologienous amène à considérer que l’irrelevant process consiste notamment en l’adoption d’une perspectiveintentionnelle et esthétique sur des processus et des traces « non-pertinents » avec la créationd’images. / The “irrelevant process”, briefly described by George Brecht in Chance-Imagery (1957), is a method forcreating “chance-images”, close to the idea of ”non-intentionality”. Our thesis analyses this description andstudies its issues for the creation of paintings and drawings, through the ideas of « drawing machine » and« found image ». The study of some artistic practices which illustrate this typology brings us to think thatthe irrelevant process involves the adoption of an intentional and aesthetic point of view on processes andtraces which are irrelevant with the creation of images.

L’avènement du numérique a déplacé et découplé l’acte d’écriture de sa forme graphique et ainsi ouvert des possibilités de recherche au sujet des performances graphomotrices. Ces dernières peuvent, en particulier, prendre une autre dimension dans le contexte de création d’une écriture. Les langues des signes (LS) n’ont pas trouvé à ce jour de système d’écriture à même de rendre compte de leur spatialité et multidimensionnalité. Elles offrent ainsi des circonstances propices à cette recherche. Notre étude cherche à savoir jusqu’à quel point une part de l’activité du langage oral (gestuelle, corporelle) peut être maintenue dans l’activité du langage écrit et vise à comprendre le lien, en première personne, entre gestes et sens. L’objectif est de préserver une signification profonde pour le locuteur/scripteur. Pour répondre à cette question, nous proposons de réinvestir une gestuelle porteuse de sens dans le cadre de la conception d’un environnement technique favorisant la création scripturale. Dans un premier temps, cette étude pluridisciplinaire explore ce qui peut être transférable d’une sphère gestuelle à l’autre. En d’autres termes, quels éléments de l’oral peuvent être rapportés à l’écriture. Dans un second temps, elle envisage l’instrument permettant ce transfert. Pour cela, nous employons une démarche phénoménologique entendue comme méthodologie descriptive du point de vue en première personne. Cette méthode s’appuie sur des techniques de verbalisation de l’expérience vécue lors d’entretiens. La construction de la méthode adaptée à la LS française permet d’accéder à des descriptions fines des locuteurs sourds sur leur gestuelle. Le corpus de données est ensuite mis en dialogue avec une analyse en troisième personne établie à l’aide d’études linguistiques et kinésiologiques. Les résultats sur les dimensions du geste sémiotique nous amènent à penser les conditions d’une expérience habilitée, dans une perspective d’appropriation et de création scripturale des LS. Nous suivons pour cela la démarche de conception du design d’expérience utilisateur, du design d’énaction et de l’approche instrumentale pour l’immersion et l’interaction. La conception d’un tel dispositif vient non seulement changer le regard des personnes sourdes sur leur langue, mais également de manière plus générale, changer la relation que tout utilisateur a avec sa production gestuelle. / The digital revolution has evolved the act of writing; its forms have changed. From this phenomenon, new Graphomotor oriented research opportunities have emerged. The knowledge gathered by this research introduces a new angle for setting up a new writing system. Until today, no writing system has been able to transcribe the multidimensional nature of sign languages (SL). For that reason, sign languages offer the perfect opportunity for this kind of research. In this study we try to understand the link between gestures and meaning for the speaker and discover what features and how much of signing (gestures, body language) can be kept in the act of writing. Our objective is to maintain the integral meaning of gestures for the signer/writer. To do so, we offer the creation of a technologically advanced scriptural environment in which meaningful gestures can be put into perspective. First, this multidisciplinary research focuses on what can be transferred from the former gestural act (signing) to the latter (writing). Then, we consider the tool that will enable this transfer. To do so, we follow a phenomenological approach, or in other terms, a descriptive methodology from the firstperson point of view. This methodology is built upon signers’ feedback gathered of the experience lived during interviews. Shaping this method to fit the French SL offers precise gestural descriptions from signers themselves. This database is then compared with alinguistic and kinesiological analysis from the third-person point of view. These gestural meaning results enable us to reflect on how to create a guided experience tool enabling the assimilation of SL’s gestural matter and the creation of scriptural forms. To do that, we follow a UX design, an enaction design, and a tool based approach in order to offer immersion and interaction. This kind of device offers a new perspective to signers on their own language and more generally, offers the possibility for any user to form a new relationship with her or his own gestures.

No description available.

The problems of the subjective modality expression in a literary text with the help of various language means have been considered in the present work. The typology of subjective modal meanings has been outlined on the material of V. M. Shukshin’s stories. As result of linguistic analysis of the literary text, the classification of language means, necessary, for the expression of subjective modality, including the items of all language levels, has been made. / В данной работе рассмотрены проблемы выражения субъективной модальности в художественном тексте с помощью различных языковых средств. На материале рассказов В. М. Шукшина выявлена типология субъективно-модальных значений. В результате лингвистического анализа художественного текста была дана классификация языковых средств выражения субъективной модальности, включающая в себя единицы всех языковых уровней.

Three-dimensional literature is a virtually non-existent or in any case very rare and emergent digital art form, defined by the author as a unit of text, which is not confined to the two-dimensional layout of print literature, but instead mediated across all three axes of a virtual space. In collaboration with two artists the author explores through a bodystorming workshop how writers and readers could create and experience three-dimensional literature in mixed reality, by using mobile devices that are equipped with motion sensors, which enable users to perform embodied interactions as an integral part of the literary experience.For documenting the workshop, the author used body-mounted action cameras in order to record the point-of-view of the participants. This choice turned out to generate promising knowledge on using point-of-view footage as an integral part of the methodological approach. The author has found that by engaging creatively with such footage, the designer gains a profound understanding and vivid memory of complex design activities.As the outcome the various design activities, the author developed a concept for an app called TEXTILE. It enables users to build three-dimensional texts by positioning words in a virtual bubble of space around the user and to share them, either on an online platform or at site-specific places. A key finding of this thesis is that the creation of three-dimensional literature on a platform such as TEXTILE is not just an act of writing – it is an act of sculpture and an act of social performance.

This essay is a qualitative study that analyzes how close-ups and point of view in relation to the narrative affect the viewer emotionally in the TV show The Last of Us episode 8. It examines the visualization of the character Ellie’s emotions and analyzes its emotional effect on the viewer. The theories applied explain the human ability to feel empathy and social cognition, film’s ability to evoke emotion and the concept of focalization. The theories also define the terms: narrative, point of view and close-ups. Five scenes were chosen and each scene was analyzed closely looking at facial expressions, point of view, camera movement, angles and more. Since this is a qualitative study it is based on subjective interpretations and assumptions which should be taken into account. However emotions are exceedingly subjective and a quantitative study would therefore be unmotivated.  The results suggest that assumptions can be made in how close-ups and point of view affect the viewer emotionally. When taken narrative into account, close-ups and point of view visualized the character Ellie’s emotions. These two techniques clarified and reinforced the character’s emotional state which, through the human ability to feel social cognition and empathy, transferred and/or influenced the viewer’s emotions.

Mémoire en jeu vidéo / Un survol des théories sur le point de vue et sur l’ocularisation au cinéma permet de constater que les recherches ont été bien menées dans ce champ d’étude. Or, le même bilan ne peut pas être fait en jeu vidéo. Le point de vue vidéoludique n’a pas été analysé et théorisé avec la même exhaustivité et le même approfondissement. Beaucoup de lacunes sont encore visibles et le but de ce mémoire est justement d’en cibler quelques-unes et de les combler. Cette recherche se penche ainsi sur les points de vue en jeu vidéo et plus précisément, sur ceux que l’on retrouve à l’intérieur des phases interactives (les cinématiques sont par exemple exclues) dans les oeuvres tridimensionnelles. Une typologie de l’ocularisation vidéoludique, c’est-à-dire une nouvelle catégorisation des différents types de visualisation, est présentée, décortiquée et exemplifiée tout au long de ce mémoire. Celle-ci est plus approfondie que celles déjà développées par le passé, car elle prend en compte une plus grande variété de caractéristiques : l’ancrage, le positionnement, la mobilité et le contrôle offert au joueur. Aussi, elle détaille l’impact des différents points de vue sur l’expérience de l’utilisateur en privilégiant deux axes : l’esthétique et la fonctionnalité. À terme, ce mémoire permet d’instaurer une théorie de l’ocularisation plus aboutie dans les études vidéoludiques. / An overview of the theories on the point of view and on the ocularization in cinema shows that the researches were well conducted in this field of study. However, the same report cannot be done in video game. The notion of point of view has not been analyzed and theorized with the same exhaustiveness and deepening. Many gaps are still visible and the purpose of this thesis is to target some of them and to fill them. This research thus examines the points of view in video games and more specifically, those that are found within the interactive phases (cutscenes are for example excluded) in three-dimensional games. A typology of ocularization, that is to say a new categorization of the different types of visualization, is presented, analyzed and exemplified throughout this thesis. This one goes into deeper details than those already developed in the past, because it takes into account a greater variety of characteristics: anchor, positioning, mobility and control available to the player. Also, it details the impact of the various points of view on the user’s experience by focusing on two axes: aesthetic and functionality. Ultimately, this thesis allows establishing a more elaborate theory on ocularization in video game studies.