Le fonds d'archives Jean-René Brutsch, logé au Défap à Paris, a inspiré la présente étude portant sur la transculturation en contexte missionnaire au Cameroun. L'analyse de ce concept conduit à croiser et à renouveler les regards sur les diverses modalités et formes de religiosité générées par la rencontre entre les cultures autochtones et la proposition occidentale chrétienne, ainsi que la créativité multiforme qui en découle.L'hypothèse soutenue est que toute entreprise mettant en contact des peuples ou des manières de penser différentes mobilise nécessairement des transactions culturelles à l'issue desquelles les deux parties se trouvent transformées. Le choix de traiter de ce thème à travers l'expérience de Jean-René Brutsch, le missionnaire qui l'a constitué durant ses différents séjours au Cameroun de 1946 en 1960, est justifié par la richesse et la pertinence du contenu de ces archives. Deux centres d'intérêt majeurs se dégagent de l'exploitation du fonds Brutsch à savoir, l'historiographie et la missiologie. (etc.]

Made available in DSpace on 2016-08-03T12:20:44Z (GMT). No. of bitstreams: 1 Kenia Ortiz Garcia.pdf: 845437 bytes, checksum: 50ced1c6d3d099e8bf9f9ffb54063400 (MD5) Previous issue date: 2008-09-09 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This work analyses a ritual practiced in a Cuban religion, known as Santería, as space of creation and sustentation of the religious group. The investigation points out several arguments demonstrating the significance of the Santería as a religious system that helps people to deal with the profound social changes occurred and that are occurring in Cuba along its different historical periods. This, because in this religion the ritual works as a dynamic space that allows people to experience individual, collective, social and religious relationships. It is a space in which those who are involved find assumptions to face their daily life problems and challenges. The research focuses on: aspects related to a ritual named Wemilere or Tambor the Santo, relationships among those who are involved in it, their motivations and the liturgical spaces in which the celebration takes place. The topics here highlighted do not constitute an ultimate thought, but an attempt of studying a religious system which is very significant in the contemporary Cuban socio-cultural context.(AU) / Neste trabalho busca se estudar o ritual, na Santería ou Regla de Ocha, como espaço de criação e sustentação do grupo religioso. Aqui são demonstrados e interpretados argumentos que evidenciam a pertinência da Santería como sistema religioso que ajuda as pessoas a lidarem com as profundas mudanças sociais que aconteceram e continuam a acontecer na sociedade cubana nos diferentes períodos históricos. Isto, devido a que o ritual na Santería é um espaço dinâmico onde se experimentam as relações individuais e coletivas, sociais e religiosas, e onde se fornece pressupostos indispensáveis para as pessoas enfrentarem com os desafios que o cotidiano lhes reserva. A pesquisa destaca aspectos internos do ritual conhecido como o Wemilere ou Tambor de Santo; bem como a relação entre os sujeitos que participam no ritual, as suas motivações e os espaços litúrgicos onde a celebração acontece. Os aspectos abordados no trabalho não constituem uma apreciação definitiva sobre o ritual, mas uma aproximação a um sistema religioso de grande importância no contexto sócio-cultural cubano. (AU)

Submitted by Glauber Assunção Moreira (glauber.a.moreira@gmail.com) on 2018-08-28T13:21:58Z No. of bitstreams: 1 DANIEL Dissertação Completa.pdf: 32893556 bytes, checksum: 4733a2b4b30a12374e9623c0df2d9d21 (MD5) / Approved for entry into archive by Ednaide Gondim Magalhães (ednaide@ufba.br) on 2018-08-28T13:35:32Z (GMT) No. of bitstreams: 1 DANIEL Dissertação Completa.pdf: 32893556 bytes, checksum: 4733a2b4b30a12374e9623c0df2d9d21 (MD5) / Made available in DSpace on 2018-08-28T13:35:32Z (GMT). No. of bitstreams: 1 DANIEL Dissertação Completa.pdf: 32893556 bytes, checksum: 4733a2b4b30a12374e9623c0df2d9d21 (MD5) / Este estudo trata de uma análise sobre transculturação entre cultura nordestina e dança flamenca, tendo como objeto de observação o espetáculo Entre Carmens e Severinas, no seu percurso entre os anos de 2009 e 2012, em Salvador. Esta análise fundamenta-se no conceito sobre transculturação desenvolvido por Fernando Ortiz e Angel Rama; nos estudos culturais referenciados em Stuart Hall, Nestor Garcia Canclini, Zygmunt Bauman, Homi K. Bhabha e Clifford Geertz; em questões políticas acerca da cultura nordestina e dança flamenca apresentados por Durval Muniz de Albuquerque Junior e William Washabaugh, respectivamente. A partir das interlocuções desses aportes teóricos, o modo de olhar para o espetáculo em questão está alicerçado nos princípios da crítica de processo apresentados por Cecilia Salles, com o intuito de evidenciar como as escolhas feitas na composição do espetáculo Entre Carmens e Severinas apresentam um produto transculturado em sua encenação. / This study analyzes the transculturation process between Northeastern culture and Flamenco Dance; the object of observation is the piece Entre Carmens e Severinas, through its course, from 2009 to 2012 in Salvador, Bahia. This analysis is grounded on: the concept of transculturation developed by Fernando Ortiz and Angel Rama; cultural studies by authors such as Stuart Hall, Nestor Garcia Canclini, Zygmunt Bauman, Homi K. Bhabha and Clifford Geertz; political issues concerning Northeastern culture and Flamenco Dance, presented by Durval Muniz de Albuquerque Junior and William Washabaugh, respectively. From the interlocutions among these theoretical contributions, the way of looking at the piece is grounded on the principles of process critical review introduced by Cecília Salles, and the aim is to evidence how the choices made in the composition of Entre Carmens e Severinas present a transculturated product in its staging.

Esta tese propõe o estudo dos temas da memória, do nacional e do universal em dois romances brasileiros contemporâneos, O Sol se põe em São Paulo (2007), de Bernardo Carvalho e Diário da queda (2011), de Michel Laub. Estes romances abordam a memória de imigrantes pela narração subjetiva de seus descendentes brasileiros, o que suscita uma discussão em torno de narrativas transculturais. O pós-modernismo é entendido como tendência cultural contraditória, caracterizada pela presença do passado na retomada de estilos e textos da tradição literária em narrativas paródicas. O narrador pós-moderno encerra o paradoxo da exigência de narração, a despeito da deterioração da experiência observada desde a modernidade. A persistência de um realismo formal ou social contribui para a composição de narrativas onde convivem tendências conflitantes, sintetizadas nos conceitos de realismo afetivo e realismo traumático, conforme Schøllhammer (2012; 2013). A ambientação dos dois romances, seus temas e influências, sugerem uma produção de projeção universal, contrabalançada pela permanência do nacional do ponto de vista material, que se constitui pela representação de aspectos relacionados ao subdesenvolvimento brasileiro. Este contexto particular demanda a concepção de um pós-modernismo e de uma pós-modernidade a partir das condições peculiares existentes nas sociedades latino-americanas, cuja coexistência entre atraso e progresso influencia sua produção literária e afeta sua legitimação no interior de um sistema literário mundial. / This dissertation aims to study the themes of memory, nationality and universality in two contemporary brazilian novels, O Sol se põe em São Paulo (2007), by Bernardo Carvalho, and Diário da queda (2011), by Michel Laub. These novels approach the memory of immigrants through the subjective narration of Brazilian descendants, what brings the discussion around transcultural narratives. The post-modernism is understood as a contradictory cultural tendency characterized by the presence of the past, made of the recovery of aesthetics and texts of literary tradition inside parodic narratives. The post-modern narrator enclosures the paradox of the necessity of narrative, even after the deterioration of experience in modernity. The remains of a formal or social realism contributes to the composition of narratives where conflicting tendencies defined in terms of affective realism and traumatic realism coexist, according to Schøllhammer (2012; 2013). Ambiance, themes and influences acknowledged in these two novels suggest a production oriented to a universalist approach, in contrast with the permanence of aspects of nationality, perceived through its material representation related to the brazilian underdevelopment. This particular context demands the conception of a post-modernism and a post-modernity that contemplates the peculiarities of Latin American societies, whose coexistence between backwardness and advancement may affect literary production as well as its legitimation inside a world literary system.

This dissertation examines how modern literature in China, Japan, Korea, and Taiwan in the late-nineteenth to the early-twentieth centuries was practiced within contexts of these countries' deeply interrelated literary traditions. Premodern East Asian literatures developed out of a millennia-long history of dynamic intra-regional cultural communication, particularly mediated by classical Chinese, the shared traditional literary language of the region. Despite this transnational history, modern East Asian literatures have thus far been examined predominantly as distinct national processes. Challenging this conventional approach, my dissertation focuses on the translational and intertextual relationships among literary works from China, Japan, Korea, and Taiwan, and argues that these countries' writers and critics, while transculturating modern Western aesthetics, actively engaged with the East Asian cultural tradition in heterogeneous ways in their creations of modern literature. I claim that this transnational tradition was fundamentally involved in the formation of national literary identities, and that it enabled East Asian literati to envision alternative forms of modern civilization beyond national particularity. The dissertation is divided into three parts according to the region's changing linguistic conditions. Part I, "Proto-Nationalisms in Exile, 1880s-1910s," studies the Chinese literatus Liang Qichao's interrupted translation and adaptations of a Japanese political novel by the ex-samurai writer Shiba Shiro and the Korean translation and adaptations of Liang Qichao's political literature by the historian Sin Ch'aeho. While these writers created in transitional pre-vernacular styles directly deriving from classical Chinese, authors examined in Part II, "Modernism as Self-Criticism, 1900s-1930s," wrote in newly invented literary vernaculars. This part considers the critical essays and the modernist aesthetics of fiction by Lu Xun, Yi Kwangsu, and Natsume Soseki, founding figures of modern national literature in China, Korea, and Japan, respectively. Part III, "Transcolonial Resistances, 1930s-40s," addresses the wartime period, when the Japanese Empire exploited the regional civilizational tradition to fabricate the rhetoric of the legitimacy of its colonial rule. This part especially explores the semicolonial Chinese writer Zhou Zuoren, and the colonial Korean and Taiwanese writers Kim Saryang and Long Yingzong, who leveraged that same civilizational tradition and the critiques thereof, in order to deconstruct Japanese cultural imperialism outside of nationalist discourses. / East Asian Languages and Civilizations

No description available.

This thesis is an ethnomusicological cross-cultural examination of Heavy Metal, Hardcore Punk and Metalcore music-cultures and how the transculturation of two distinct music-cultures, Heavy Metal and Hardcore Punk, have resulted in a third unique music-culture: Metalcore. Attention is given to the evolution of the music-cultures through history, with mention of current trends not covered in any other literature. In addition explanations of key tenets of culture-ways and their importance in forming these cultures as separate and distinct will be included. Topics addressed will include headbanging, the sign of the horns and moshing in Heavy Metal; slam-dancing, Straight Edge, and the do-it-yourself principles of Hardcore Punk; the commercial commoditization and establishment of Metalcore as separate and unique from both Heavy Metal and Hardcore Punk. In addition, a brief assessment of material culture will be included, covering the importance of musical instruments, art, and fashion. Fashion is especially important in forming ties with respective communities, personal interest groups, and establishing personal identity within the music-cultures. Both secondary source, as well as qualitative research will be used. While much of the history and culture-ways of Heavy Metal and Hardcore Punk have been well documented throughout the 1970s there is a lack of literature concerning either culture since the 1990s and 2000s. With the exception of only a few sources, there is little material addressing Metalcore, or Crossover Thrash music-culture. As a participant within Heavy Metal culture I will offer my own personal observations, as well as those of informants, to extend and support the documentary research findings.

[pt] Esta dissertação tem como objetivo central investigar a escrita de poetas da novíssima geração brasileira (publicados do ano 2000 em diante) que fazem uso de outras línguas além do português em seus poemas, a fim de compreender o que move uma parte significativa da nova geração a escrever dessa forma e o que isso pode vir a dizer sobre as interações artísticas do Brasil com outras culturas na contemporaneidade. Para empreender essa investigação, parte-se de duas vanguardas nacionais que fizeram um uso afim de línguas estrangeiras na poesia e na música brasileiras — a antropofagia e a tropicália — as quais, embora possuidoras de várias características encontradas também na poesia bilíngue da nova geração, estavam imbuídas, em maior ou menor grau, de um desejo de construção de identidade nacional que não se observa mais hoje. Os poemas escolhidos, de onze autores diferentes, serão estudados com base em textos e conceitos oriundos tanto dos estudos culturais quanto do pós-estruturalismo francês, e a dissertação como um todo está calcada na obra de autores como Silviano Santiago, Eneida Maria de Souza, Alberto Fuguet, Charles Perrone, Gilles Deleuze, Roland Barthes e Jacques Derrida, dentre outros. Far-se-á ainda um esforço comparativo entre o caso brasileiro e o americano, tomando como objeto poetas residentes nos EUA que escrevem numa mistura de inglês e espanhol que se convencionou chamar de Spanglish. Com isso, pretende-se demonstrar que a nova geração da poesia brasileira parece escolher seus temas e formas mais por questões de afinidade mais que de nacionalidade. / [en] This thesis is an examination of the writings of young Brazilian poets (debuting since 2000) who use other languages than their native Portuguese in their poems, in order to understand what motivates part of a generation to write in such a fashion, and what this could mean in terms of Brazil’s artistic interaction with other cultures in a contemporary framework. Two avant-garde movements that have incorporated foreign languages into Brazilian literature and music in the past will be examined – antropofagia and tropicália. Though they share a number of features with the new bilingual poetry being written today, to a greater or lesser extent these movements were concerned with issues of national identity that are no longer relevant to Brazilian poets today. The poems chosen for analysis, by 11 different authors, will be read in connection with texts and concepts from Cultural Studies and French Post-Structuralism, and the thesis draws on such authors as Silviano Santiago, Eneida Maria de Souza, Alberto Fuguet, Charles Perrone, Gilles Deleuze, Roland Barthes and Jacques Derrida, among others. Finally, a comparative analysis will be carried out between the Brazilian case and Spanglish literature in the United States. The overall intention of the study is to demonstrate that the new generation of Brazilian poets, in their choice of themes and formats, are driven by criteria of affinity rather than of nationality.

« La forme-frontalière : la quête du Nouveau Cinéma Latino-américain d’une esthétique décoloniale » porte un regard actuel sur les débats autour du cinéma et sa capacité d’agir sur le plan géopolitique. Pendant les années 1960 et 1970, les cinéastes du Nouveau Cinéma Latino-américain ont cherché à construire un « nouvel homme latino-américain » appelé à faire la révolution à travers un cinéma de décolonisation. Les six films analysés dans ce travail abordent cette esthétique décoloniale en s'appuyant sur la tradition artistique latino-américaine du syncrétisme culturel dont la pierre angulaire est une appropriation transgressive de l'héritage de la culture coloniale : le Baroque. Dans le premier chapitre nous avons voulu expliquer les racines baroques de la forme-frontalière du NCL. À travers des théories sur la spécificité de la culture latino-américaine, de la littérature et des beaux-arts nous retraçons la ligne historique d’un « esprit décolonial latino-américain » – toujours nourrie par le Baroque – depuis le XVIIème jusqu’à nous jours. En suivant la pensée des spécialistes du Baroque latino-américain, nous proposons que les formes baroques latino-américaines réapparaissent en raison de « cycles » dont le NCL serait le dernier « recyclage » de cette tradition esthétique. Ainsi, le NCL témoignerait une « transposition » du baroque latino-américain au cinéma et d’une « légitimation » de la culture latino-américaine pendant un bouleversement géopolitique. Dans le deuxième chapitre nous avons tenu à expliquer les caractéristiques de la forme-frontalière du NCL et de ses origines dues au processus de transculturation mis en place depuis la « découverte » de l’Amérique. Nous affirmons que l’esthétique du NCL est décolonial car il atteste d’un jeu de perspectives entre les frontières de la modernité, de la colonialité et de l’extra-modernité. Nous analysons le détournement décolonial du NCL à travers deux axes principales : l’esthétique baroque latino-américaine et le Néoréalisme italien. Le Baroque latino-américain, éclectique et parfois anti-colonial, se voit reflété dans l’esprit d’inclusion des formes sensibles de différentes épistémologies. Par rapport à l’influence du Néoréalisme, nous proposons l’hypothèse que ce cinema est aussi l’héritier de la tradition esthétique du Baroque italien. À partir de cette idée nous essayons de tracer deux lignes de développement parallèles et synchroniques de l’histoire du cinéma, d’un côté le « Classicisme cinématographique » et de l’autre le « Baroque cinématographique ». Le Classicisme cinématographique est l’héritier du Classicisme historique et ses fondements formels se trouvent dans le cinéma classique d’Hollywood qui est l’aboutissement d’un système de représentation cohérente. Le Baroque au cinéma, au contraire, est héritier du Baroque historique, c’est-à-dire d’une « autre » esthétique moderne, souterraine et subalterne propre à l’Europe méridionale et au monde colonial. Ainsi, le NCL propose une vision « contre-hégémonique », « subalterne » et « subversive » de l’Amérique latine qui s’oppose à l’histoire officielle du sous-continent. Cette histoire et ce cinéma officiels produits par les élites n'inclussent pas dans les cosmovisions amérindiennes et afro-américaines. Le NCL est produit principalement du point de vue de la colonialité, mais aussi de l’extra-modernité, vers la modernité, détournement du système de représentation classique, qui essaie de tourner en « dérision », ou de rendre « carnavalesque », des formes esthétiques hégémoniques. Le détournement décolonial de l’idée de l’« Amérique latine » aboutit, à travers des formes filmiques, un cinéma, et donc une œuvre artistique, qui peut développer l’imaginaire de la décolonisation. / "The Border-Form: The Quest for New Latin American Cinema with Decolonial Aesthetics" takes a current look at the debates around the cinema and its ability to act on the geopolitical level. During the 1960s and 1970s, filmmakers of the New Latin American Cinema sought to build a "new Latin American man" called to make the revolution through a decolonization cinema. The six films analyzed in this work address this decolonial aesthetic based on the Latin American artistic tradition of cultural syncretism whose cornerstone is a transgressive appropriation of the legacy of colonial culture: the Baroque.In the first chapter we have explained the characteristics of the border-form of the NCL and its origins due to the process of transculturation set up since the "discovery" of America. We affirm that the aesthetics of the NCL is decolonial because it attests to a play of perspectives between the borders of the modernity, the coloniality and the extra-modernity. We analyze the détournement decolonial of the NCL through two main axes: Latin American Baroque aesthetics and Italian Neorealism. The Latin-American Baroque, eclectic and sometimes anti-colonial, is reflected in the spirit of inclusion of the sensitive forms of different epistemologies. With regard to the influence of Neorealism, we propose the hypothesis that this cinema is also the heir of the aesthetic tradition of the Italian Baroque. From this idea we try to draw two lines of parallel and synchronic development of the history of the cinema, on the one hand the "Cinematographic Classicism" and on the other hand the "Cinematographic Baroque".Film Classicism is the heir of Classicism and its formal foundations are found in the classic Hollywood cinema that is the culmination of a coherent representation system. Baroque cinema, on the contrary, is heir to the historic Baroque, that is to say, of another "other" moderne, subterranean and subaltern aesthetic peculiar to southern Europe and the colonial world. Thus, the NCL proposes a "counter-hegemonic", "subaltern" and "subversive" vision of Latin America that opposes the official history of the subcontinent. This official history and cinema produced by the elites do not include in Amerindian and Afro-American cosmovisions. The NCL is produced mainly from the point of view of coloniality, but also from extra-modernity, towards modernity, the détournement of the classical representation system, which tries to turn into "derision", or to make "carnivalesque", hegemonic aesthetic forms. The decolonial détournement of the idea of "Latin America" leads through filmic forms, a cinema, and therefore an artistic work, which can contribute to the development of the decolonization imaginary.

Este trabalho tem como objeto de estudo as obras de João Guimarães Rosa Sarapalha, Corpo fechado e A terceira margem do rio e de Juan Rulfo Luvina e Pedro Páramo. Partindo destes materiais literários analisamos as categorias da transculturação, as relações entre escrita e poder e as implicações das teorias de Ángel Rama para a análise cultural da América Latina. Fundamentam este estudo as teorias críticas desenvolvidas por Roberto González Echevarría, Alberto Moreiras, Antonio Cornejo Polar e Jacques Derrida. Desta forma, o trabalho passa pela discussão de temas como a influência, a mediação e a representação do discurso antropológico na literatura, o debate entre a oralidade e a escrita e o papel paradoxal da literatura na América Latina. / This study aims at studying the works Sarapalha, Corpo fechado and A terceira margem do rio by João Guimarães Rosa and Luvina and Pedro Páramo, by Juan Rulfo. With this literary material as basis, the dissertation analyzes the category of transculturation, the relation between writing and power and the implications of Ángel Rama\'s theories for Latin America cultural analysis. The foundations of this study are the critical theories developed by Roberto González Echevarría, Alberto Moreiras, Antonio Cornejo Polar and Jacques Derrida. Hence, the work deals with the discussion of issues such as the influence, mediation and representation of anthropology in literature, as well as with the debate between orality and writing and the paradoxical role of literature in Latin America.