Processo de criação cênica que tem como ponto de partida a palavra metamorfose. A partir do cruzamento entre arte e ciência e da utilização do acaso e da bricolagem como procedimentos operatórios, o encenador se debruçará sobre os diversos e possíveis significados que o termo metamorfose costuma adquirir em diferentes contextos científicos, para, posteriormente, empregá-los na inseminação e composição de um objeto artístico, com o propósito de fazer uma reflexão a respeito do contínuo movimento de infinitas metamorfoses que perpassam as criações artísticas. Arte de vestígios efêmeros, o teatro oferece uma enorme dificuldade na identificação dos processos de metamorfose. A proposta é encontrar uma poética cênica que atravesse às diversas acepções da palavra-chave, para registrar e refletir sobre as operações envolvidas nas diferentes metamorfoses que ocorrem num processo de criação cênica, anotando os elementos fundadores de um pré-texto espetacular e descrevendo as metamorfoses do processo, do encenador, do discurso e da própria pesquisa. / El proceso de puesta en escena tiene como punto de partida la palabra metamorfosis. Desde el cruze del arte y la ciência y de la utilización del acaso y de la bricolage como procedimientos operatorios, el creador se tirará sobre distintos y posibles significados que el termino metamorfosis suele adquirir en diferentes contextos científicos, para, luego emplealos en la inseminación y composición de un objeto de arte, con el propósito de hacer una reflexición a respeto del continuo movimiento de las infinitas metamorfosis que impregnan las creaciones artísticas. Arte de vestigios efímeros, el teatro ofrece una enorme dificultad en la identificacíon de los procesos de metamorfosis. La propuesta és encontrar una poética escenica que cruze los distintos significados da la palabra-clave, para registrar e reflexionar sobre las operaciones involucradas en las diferentes metamorfosis que ocurren en un proceso de puesta en escena, señalando los elementos fundadores de un pré-texto espectacular y describiendo las metamorfosis del proceso, del creador, del discurso y de la propria pesquisa.

abstract: To understand the visual culture and art education practices within three ideologically distinct kindergartens, I employed an interdisciplinary approach, utilizing tools from the fields of art, education, anthropology, literary theory, visual studies and critical social theory. Each of the three schools was considered to be the "best" of its kind for the community in which it resided; TBS was the original bilingual school, and the most Westernized. It was set in the heart of a major city. The second school, OBS, operated from an Islamic framework located in an under-developed small transitioning suburb; and the last school, NBS, was situated in Al-Jahra, an "outlying area" populated by those labeled as bedouins (Longva, 2006). The participants' attitudes towards art education unfolded as I analyzed my visual observations of the participants' daily practices. I have produced a counter-hegemonic visual narrative by negotiating my many subjectivities and methods to gain new knowledge and insights. This approach has provided a holistic understanding of the environment in each site, in which attitudes and practices relating to art education have been acquired by the community. Operating from three different educational paradigms, each school applied a different approach to art education. The more Westernized school viewed art as an individual act which promoted creativity and expression. In the Islamic school art was viewed as an activity that required patterning (Stokrocki, 1986), and that the child needed to be guided and exposed to the appropriate images to follow. In the bedouin school, drawing activities were viewed as an opportunity for representing one's individual story as well as a skill for emergent literacy. / Dissertation/Thesis / Ph.D. Curriculum and Instruction 2012

Processo de criação cênica que tem como ponto de partida a palavra metamorfose. A partir do cruzamento entre arte e ciência e da utilização do acaso e da bricolagem como procedimentos operatórios, o encenador se debruçará sobre os diversos e possíveis significados que o termo metamorfose costuma adquirir em diferentes contextos científicos, para, posteriormente, empregá-los na inseminação e composição de um objeto artístico, com o propósito de fazer uma reflexão a respeito do contínuo movimento de infinitas metamorfoses que perpassam as criações artísticas. Arte de vestígios efêmeros, o teatro oferece uma enorme dificuldade na identificação dos processos de metamorfose. A proposta é encontrar uma poética cênica que atravesse às diversas acepções da palavra-chave, para registrar e refletir sobre as operações envolvidas nas diferentes metamorfoses que ocorrem num processo de criação cênica, anotando os elementos fundadores de um pré-texto espetacular e descrevendo as metamorfoses do processo, do encenador, do discurso e da própria pesquisa. / El proceso de puesta en escena tiene como punto de partida la palabra metamorfosis. Desde el cruze del arte y la ciência y de la utilización del acaso y de la bricolage como procedimientos operatorios, el creador se tirará sobre distintos y posibles significados que el termino metamorfosis suele adquirir en diferentes contextos científicos, para, luego emplealos en la inseminación y composición de un objeto de arte, con el propósito de hacer una reflexición a respeto del continuo movimiento de las infinitas metamorfosis que impregnan las creaciones artísticas. Arte de vestigios efímeros, el teatro ofrece una enorme dificultad en la identificacíon de los procesos de metamorfosis. La propuesta és encontrar una poética escenica que cruze los distintos significados da la palabra-clave, para registrar e reflexionar sobre las operaciones involucradas en las diferentes metamorfosis que ocurren en un proceso de puesta en escena, señalando los elementos fundadores de un pré-texto espectacular y describiendo las metamorfosis del proceso, del creador, del discurso y de la propria pesquisa.

Submitted by Renata Lopes (renatasil82@gmail.com) on 2016-02-03T17:16:04Z No. of bitstreams: 1 thiagodemenezesmachado.pdf: 858311 bytes, checksum: 1076e37d12b5c91bd2b916ec5e21453d (MD5) / Approved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2016-02-05T10:50:35Z (GMT) No. of bitstreams: 1 thiagodemenezesmachado.pdf: 858311 bytes, checksum: 1076e37d12b5c91bd2b916ec5e21453d (MD5) / Made available in DSpace on 2016-02-05T10:50:35Z (GMT). No. of bitstreams: 1 thiagodemenezesmachado.pdf: 858311 bytes, checksum: 1076e37d12b5c91bd2b916ec5e21453d (MD5) Previous issue date: 2014-03-31 / CAPES - Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / A ascensão do movimento Nova Era, a partir dos movimentos de contestação contraculturais que surgiram nos anos de 1960, representou o surgimento de uma “nova consciência religiosa” no mundo ocidental contemporâneo. Em Alto Paraíso de Goiás, local de convergência new age, essa religiosidade alternativa continua a relacionar-se com a contracultura, especialmente sob sua versão hippie. Esse ambiente torna-se o palco para experimentações religiosas de grupos cristãos alternativos, que, através de afinidades eletivas percebidas entre o universo neoesotérico, no qual se inclui o grupo rastafari, e o cristianismo, fazem suas negociações de sentido em direção a uma vivência religiosa capaz de conjugar a mensagem cristã com o estilo alternativo e neoesotérico. Essas negociações de sentido acontecem pela presença cristã no ambiente fronteiriço de Alto Paraíso e pelos contatos pessoais e cotidianos entre os evangélicos e os grupos neoesotéricos. A pesquisa etnográfica pretende mostrar como essas negociações são feitas entre os grupos evangélico e neoesotérico, bem como suas experiências rituais e estéticas que combinam elementos desses dois universos culturais. A bricolagem, neste caso, é orientada por uma sensibilidade que impõe limites às possibilidades apropriação evangélica dos conteúdos e elementos simbólicos neoesotéricos. / The rising of the New Age movement, from the countercultural movements of contestation that emerged in the 1960s, represented the emergence of a “new religious conscience” in the contemporary Western world. In Alto Paraíso de Goiás, place of new age convergence, this alternative religiosity continues to relate to the counterculture, especially under its hippie version. This environment becomes the stage for religious experimentations of alternative Christian groups, who, through elective affinities perceived between the neoesoteric world, which includes the rastafari group, and Christianity, make their negotiations of meaning towards a religious living capable of conjugating the Christian message with the alternative and neoesoteric style. The negotiations of meaning happen through the Christian presence in the boundary environment of Alto Paraíso and through the personal and daily contacts between the evangelical and neoesoteric groups. The ethnographic research aims to show how these negotiations are made between the evangelical and neoesoteric groups, as well as the ritual and aesthetic experiences which combine elements from these two cultural universes. The bricolage, in this case, is oriented by a sensibility which imposes limits to the possibilities of evangelical appropriation of the neoesoteric contents and symbolic elements.

Submitted by Renata Lopes (renatasil82@gmail.com) on 2017-08-18T18:01:03Z No. of bitstreams: 1 silasrobertorochalima.pdf: 2498038 bytes, checksum: 74208f7c42f7d7468b547ce270d4421e (MD5) / Approved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2017-08-24T12:02:32Z (GMT) No. of bitstreams: 1 silasrobertorochalima.pdf: 2498038 bytes, checksum: 74208f7c42f7d7468b547ce270d4421e (MD5) / Made available in DSpace on 2017-08-24T12:02:32Z (GMT). No. of bitstreams: 1 silasrobertorochalima.pdf: 2498038 bytes, checksum: 74208f7c42f7d7468b547ce270d4421e (MD5) Previous issue date: 2016-08-31 / CAPES - Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / O médium Robson Pinheiro em suas atuais atividades mediúnicas, na região metropolitana de Belo Horizonte, desenvolve uma visão diferente do espiritismo. Autor de mais de quarenta obras psicografadas, vendeu milhares de exemplares, tornando-se um sucesso editorial no meio espirita. No entanto, sua produção literária mescla realidades espirituais e apresenta uma versão inédita de um universo cosmológico espírita que combina elementos da umbanda, candomblé, pentecostalismo, espiritismo e do misticismo da nova era. O médium vivencia esse universo com as práticas e rituais que realiza nos grupos e instituições por ele fundadas. Nesses espaços, os personagens de suas obras se manifestam, via mediunidade, interagem com o público e praticam um espiritismo que não obedece às convenções do espiritismo brasileiro. Nesse sentido, pelas repercussões de sua atuação, obras e presença, o médium Robson Pinheiro pode ser considerado como uma das mais novas expressões dentro do movimento espírita. Essa posição faz com que Robson Pinheiro seja rejeitado por uma parte do movimento espirita mais tradicional que considera suas obras inadequadas. Todavia, alguns dos seguidores do médium o consideram como um reformador que prática um espiritismo mais próximo ao descrito pela codificação originária do espiritismo europeu. Formulei a seguinte questão: o médium mineiro pratica um pós-espiritismo que diverge e rompe da doutrina espírita tradicional ou é responsável pela elaboração de uma nova corrente dentro do espiritismo brasileiro? Para responder esta questão analisei a biografia, os romances escritos e os ritos praticados nos grupos espíritas. / There is in Minas Gerais, Brazil, a medium that distinguishes himself from the traditional spiritism. More precisely in Belo Horizonte, the medium Robson Pinheiro has been developing a work whose cosmological visions presents itself as a combination of elements of umbanda, candomblé, pentecostalism and new age’s mysticism. From this object the following questions may be formulated: Does the medium practices a post-spiritism that diverges and breaks up from the traditional spiritism’s doctrine or is it responsible for the development of a new current within Brazilian spiritism? Robson Pinheiro is the author of more than forty psychographed works and is a publishing success of the segment. His literary production mixes spiritual realities and presents an unseen version of spiritism. The medium experiences this cosmology in his practices and rituals performed in groups and institutions that he has founded. In these places, the characters of his books possess mediums and interact with the public. A practice of spiritism that does not obey the conventions of Brazilian spiritism. In this sense, because of the repercussions of his performances, works and presence, the medium Robson Pinheiro can be considered as one of the newest expressions within the spiritism movement. This fact originates a rejection by traditional adepts of the segment that consider his works inadequate. On the other hand, some of his followers regard him as a reformer and perceive his practices as the closest to the ones described in the original codification of European spiritism. In order to answer the questions presented, this work aimes to analyze the biography, novels and rites practiced in the groups created by the author.

Adult educators talk frequently about learning which occurs during daily living; however, relatively few explore the breadth and depth of such learning. I contend that shopping, as it is commonly understood and practiced in Western societies, is a site of everyday learning. Among people concerned about globalisation, this learning connects shopping to the politics of consumption, identity and resistance. Central to this inquiry are Antonio Gramsci's (1971) concepts of hegemony, ideology, common sense and dialectic. These are useful in understanding the irresolvable tensions between the political, economic and cultural arenas of social life. Informed by critical, feminist and critical race scholarship, I proceed to conceptualize adult learning as “incidental” (Foley, 1999, 2001) and holistic. I then conceptualize “consumer-citizenship.” Social relations of gender, race and class are central in the construction of identity which influences experiences and understandings of consumption and citizenship in the context of Canadian society and global development. My over-arching methodology, which I call “case study bricolage,” incorporates qualitative case study methods of interviews, focus groups and participant observation with 32 self-identified “radical shoppers” in Vancouver, British Columbia. As well, I employ cultural studies' intertextuality, and include an analysis of popular fiction to further expose discourses of shopping, consumption and consumerism. Drawing on Laurel Richardson's (2000) “crystallization,” I use various analytical “facets” to respond to three questions about shopping-as-learning: What do participants learn to do? Who do participants learn to be? How do participants learn to make change? Critical media literacy theory illuminates the function of popular culture in constructing a discursive web which shoppers navigate. Through shopping, participants learn how to learn and to conduct research, and how to develop a shopping-related values system, literacy and geography. Benedict Anderson's (1991) concept of “imagined community” helps explicate how participants' affiliations with shopping-related movements provide a sense of purpose and belonging. Finally, Jo Littler's (2005) notions of “narcissistic” and “relational” reflexivity clarify that different processes of reflexivity lead to different perspectives on societal change. This inquiry has implications for research and theorizing in adult learning, and the practice of critical adult education. / Education, Faculty of / Educational Studies (EDST), Department of / Graduate

No description available.

The purpose of this essay is to investigate contemporary urbanism through the theories of Collage City and Karl Popper’s theories on utopia and tradition, further, to exemplify Malmö in this context. The essay employs several urban theories to understand the discourse of contemporary urbanism. The study has been done based on the theoretical basis of the essay since the goal has been to understand urban utopia and tradition. The method examines the theory and practice of contemporary urbanism to see whether the selected theories have any relevance to the current urban debate. Tradition can be viewed as the incomplete old theories on which the myth of society rests. Utopia wants to predict the future which in short is unreasonable since man does not possess such ability. The creation of the abstract good always results in repression according to Popper. The central aspects of urban theory consist of environment, economics and social justice, which here are treated with an emphasis on economics. Since the economic crisis of the 1970s, neoliberalism's market economy has shown hegemonic in capitalist countries. In practice, the environment and the economy are prioritized while social justice is neglected. This applies significantly to Malmö where construction takes place without dialogue with the inhabitants of poor areas, while the construction of privileged blocks is done actively through cooperation. In understanding the idea of the contemporary city, utopia and tradition are sufficiently helpful to at least uncover parts of the urban ideological constitution, however, the theories need to be complemented by additional contemporary theories to successfully articulate current urban discourses.

No description available.

Le Santo Daime, culte brésilien amazonien, s’est implanté dans la Belle Province depuis une vingtaine d’années. Issue d’un syncrétisme qui mêle traditions indigènes, afro-brésiliennes, catholiques, ésotériques et spirites européennes, cette religion est intrinsèquement liée à la culture brésilienne et plus particulièrement à l’Amazonie dans son usage de l’ayahuasca, une substance hallucinogène. Les fardados (membres) entrent en contact avec le divin grâce à cet enthéogène, appelé Daime. Ce mémoire parcourt l’implantation du Santo Daime dans la province du Québec, à travers l’histoire d’un groupe que l’on nommera l’Église daimiste québécoise. À partir d’une ethnographie du groupe daimiste, nous proposons d’explorer les mécanismes mis en oeuvre par les membres pour donner du sens à ce culte si distant culturellement. S’inspirant d’une approche expérientielle et phénoménologique, la présente recherche vise à saisir l’expérience du religieux chez les daimistes du Québec dans laquelle ils nouent des relations privilégiées avec les êtres de l’astral, jardin de l’au-delà. En ce sens, les expériences mystiques et la clairvoyance sont deux phénomènes que nous abordons comme les catalyseurs de ces relations. À travers l’examen du processus d’insertion du culte dans la réalité québécoise des membres, nous verrons qu’apprendre la religion constitue une première étape essentielle passant par la compréhension de la langue et des symboles du Santo Daime. Face à cet apprentissage, l’assemblage d’éléments religieux avec les croyances antérieures peut s’opérer afin de formuler un nouvel ensemble sensé, intelligible et s’intégrant à leur quotidien. Nous verrons que dès lors un engagement du membre envers les êtres de l’astral est possible et que se développe une véritable relation de disciples (les membres) et de maitre (les esprits). / The Santo Daime, an Amazonian Brazilian religion, expanded into the Belle Province almost twenty years ago. This syncretic religion, stemming from indigenous traditions, Afro-Brazilian religions, Catholicism, European esoteric currents and Spiritism, is intrinsically connected to Brazilian culture and more specifically to the Amazon rainforest through the use of ayahuasca, a hallucinogenic substance. The fardados (uniformed members) make contact with the divine thanks to this entheogen called Daime. This thesis examines the expansion of Santo Daime in the province of Quebec through the history of a group we call the Église daimiste québécoise. An ethnography of the Daimista group will help us to explore the mechanisms that are implemented by members to make sense of this culturally distant religion. Inspired by both experiential and phenomenological approaches, this research aims to understand the religious experience amongst Quebec’s Daimistas, in which they build special relationships with the beings of the Astral, the beyond. In that sense, mystical experiences and clairvoyance are two phenomena that we will address as a catalyst of these relationships. By examining how Santo Daime enters into members’ everyday life, we will see that the process of learning the religion establishes an understanding of the language and the symbols of Santo Daime. Along with this apprenticeship, and connecting elements of Santo Daime with the other faiths they have experienced forms an intelligible ensemble that can be integrated into their everyday life. We will see that from this point on, a commitment of the members to the beings of the Astral is possible and that a real disciple (the members) / master (the spirits) relationship can develop.