This research investigated the issue of identity within a historical reenactment group called the Society for Creative Anachronism, the SCA. This international organization numbering in the tens of thousands of participants offered an unusual setting with which to investigate the issue of identities due to identities' fluid nature among SCA members. Whether or not a member was satisfied with their modern world identity, members were free to create a medieval persona, an identity based on a medieval time and culture. Identity Theory provided the conceptual framework to analyze and understand the nature of transient identities that become more permanent through continued participation within the organization. Research hypotheses examined the relationships between subjects' perceived feelings of belonging and their participation in the organization, perceived sense of emotional closeness with subjects' biological family and their participation as well as the relationship between subjects' occupational prestige ranking and their degree of involvement in the SCA. It was found that subjects' participation within the SCA was significantly impacted by perceived sense of belonging within the group as well as by occupational prestige ranking.

This research investigated the issue of identity within a historical reenactment group called the Society for Creative Anachronism, the SCA. This international organization numbering in the tens of thousands of participants offered an unusual setting with which to investigate the issue of identities due to identities' fluid nature among SCA members. Whether or not a member was satisfied with their modern world identity, members were free to create a medieval persona, an identity based on a medieval time and culture. Identity Theory provided the conceptual framework to analyze and understand the nature of transient identities that become more permanent through continued participation within the organization. Research hypotheses examined the relationships between subjects' perceived feelings of belonging and their participation in the organization, perceived sense of emotional closeness with subjects' biological family and their participation as well as the relationship between subjects' occupational prestige ranking and their degree of involvement in the SCA. It was found that subjects' participation within the SCA was significantly impacted by perceived sense of belonging within the group as well as by occupational prestige ranking.

Thesis (Ph. D.)--University of Texas at Austin, 1998. / Vita. Includes bibliographical references (leaves 369-387). Available also in a digital version from Dissertation Abstracts.

Thesis (Ph. D.)--Oregon State University, 2010. / Printout. Includes bibliographical references (leaves 152-162). Also available on the World Wide Web.

In this thesis, I am examining how a small branch of the Society for Creative Anachronism, Loch an Fhraoich, whose values and identity center around camaraderie and narrative and aesthetic coherence, attempts to balance these two often contradictory principles. To better illustrate the negotiations taking place, I have used ethnographic fieldwork to focus on the areas of material culture, ethno-kinetics, persona, knowledge, and events. These areas are tightly interwoven, and almost never operate independently, but the exercise of isolating them is useful in seeing the complexities of choices that members must make to navigate the social world of the Society for Creative Anachronism. The Society for Creative Anachronism is a large, international non-profit organization and is often depicted and discussed as a large homogeneous organization. Instead, in this work I have analyzed the smaller group within the larger organization. I have focused on the smaller group in order to bring to light new details of how this group and the individual members operate within a self-selected international organization in a network of personal connections. These groups attain a feeling of distinctness within this large organization by creating an identity for themselves, which expresses their values within the larger SCA framework. Sometimes these values contradict each other or subvert the larger overriding SCA ethos, and members will mediate their participation in order to avoid breaking from the SCA framework entirely while still protecting their group identity. This can be examined in light of narrative construction and maintenance. The Society for Creative Anachronism supports an official homogenous metanarrative. It is this narrative that is most often heard and examined by outsiders. Despite the initial perceived dominance, this metanarrative acts as a frame or matrix narrative, and contained within are multiple hyponarratives and little narratives. As one allows their view to slip further towards the idio and unicultural level, these hyponarratives increase in number while decreasing in scope. They go from representing a kingdom, to principality, to a barony, to a shire, to a group of friends within that shire to an individual member. At every level these narratives connect the individual and group to others, creating a network of relationships and shared narratives that help create a sense of unity and prevent a fracturing of voices and thus support the overriding metanarrative. In order to prevent this system from collapsing inward or fracturing apart, a certain amount of playful transgressive metalepsis and edgeplay must be allowed. The negotiation of this edgeplay is debated, and the style and amount tolerated is often a distinguishing mark between groups. Some key contestations that I have focussed on where this debate occurs include the levels and types of anachronism allowed, the types of partying and practical jokes encouraged or discouraged, gender, media influence, and the understanding of honor and chivalry.

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / Pensando a fotografia enquanto fenômeno comunicativo, numa perspectiva cartográfica associada à Teoria do Ator-Rede de Bruno Latour (2012), passamos a traçar os vínculos sociais, visuais e sensíveis que hoje põem em evidência o fazer lomográfico. Aqui, sob os relatos dos modos de fabricação e circulação da lomografia, pudemos adentrar estas redes de mediações sociotécnicas que desenham sua prática, bem como perceber o modo como construímos, no presente, a história das imagens nesse contexto. Já sob a diversidade de elementos que hoje reordenam nossas formas de ver, junto à noção de anacronismo (AGAMBEN, 2009; BENJAMIN; 1994; DIDI-HUBERMAN, 2010; RANCIÈRE, 2012), este gesto cartográfico nos levou tanto a buscar aspecto relacional e comunicativo da imagem lomo, quando a compreender a construção deste sentido visual frente à montagem de tempos heterogêneos. Processo onde as formas de apresentação e os atuais valores de uso lomo revelam, na imagem, seu caráter movente onde lugares do visível que se deslocam de seus contextos anteriores, renegociando socialmente suas condições de possibilidade no contemporâneo, podem ser redimensionados / Considering photography as a communicative phenomenon, based on a cartographic perspective associated to Actor-Network Theory by Bruno Latour (2012), this research enable us to outline the social, visual and sensitive bonds that highlight the modes of existence of lomographic experience. Here, reporting the modes of production and circulation of lomography, we were able to enter these networks of sociotechnical mediations that draw its practice, as well as we can perceive the way we build in the present the history of images in this context. Among the diversity of elements that reorder our ways of seeing, with the notion of anachronism (AGAMBEN, 2009; BENJAMIN; 1994; DIDI-HUBERMAN, 2010; RANCIÈRE, 2012) this cartographic gesture took us either to look at the relational and communicative aspect of the lomo image and to understand the construction of its visuality regarding the assembly of heterogeneous times by which it is made. This is a process where forms of presentation and current values of lomos use reveal within the image its moving characteristics. Where the visible is dislocated from its prior contexts, socially renegotiating the conditions of its possibilities in the present and where in so doing, it can be redimesioned

Made available in DSpace on 2016-12-08T16:18:54Z (GMT). No. of bitstreams: 1 113882.pdf: 7507894 bytes, checksum: a4c4dddf3b1a28f23c60d001d422823b (MD5) Previous issue date: 2013-07-29 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / Esta dissertação de mestrado compreende uma reflexão sobre o processo criativo de Arthur Omar na construção de uma obra que é uma montagem de tempos heterogêneos. A partir de um rosto que surge como um relampejo nos desertos do Afeganistão, a memória involuntária do artista é acionada, e ele passa a criar situações de encontros, apropriações e desvios onde os contornos da pintura de Johannes Vermeer Moça com brinco de pérola esfacelam-se para dar lugar a um rosto que oscila entre o aparecimento e o desaparecimento. A imagem que o levou a Vermeer é o retrato de uma menina afegã que vestia um casaco marrom, um lenço azul na cabeça e um brinco de pérola na orelha. Com os lábios entreabertos, o mesmo olhar e o mesmo brinco, ela estava ali, refugiada no canto direito do cromo brincando com outras crianças que se mostravam para a câmera e, desse cromo, o artista capta um fragmento que conecta tempos distintos, criando uma obra de anacronismo que emerge no choque entre imagens de diferentes tempos. No percurso da pesquisa, nos aproximamos da fotografia e de sua inserção no circuito de arte, para compreender de que forma fotógrafos e artistas buscaram expandir os limites dessa linguagem para além de seu uso comum, enquanto outros encontraram nesse uso comum uma brecha para interrogar o sistema da arte. Nos questionamento dos artistas, vemos que a fotografia foi amplamente usada para alterar o modelo tradicional da arte e, nessa alteração, ela instala-se ao lado da pintura e da escultura problematizando a questão da aura discutida por Walter Benjamin. A pesquisa encontrase num caminho de reflexão sobre a História da Arte formulada por teóricos que sobrevoam a linha cronológica do tempo para elaborar conexões atemporais através de deslocamentos, fragmentos e vestígios.

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / Pensando a fotografia enquanto fenômeno comunicativo, numa perspectiva cartográfica associada à Teoria do Ator-Rede de Bruno Latour (2012), passamos a traçar os vínculos sociais, visuais e sensíveis que hoje põem em evidência o fazer lomográfico. Aqui, sob os relatos dos modos de fabricação e circulação da lomografia, pudemos adentrar estas redes de mediações sociotécnicas que desenham sua prática, bem como perceber o modo como construímos, no presente, a história das imagens nesse contexto. Já sob a diversidade de elementos que hoje reordenam nossas formas de ver, junto à noção de anacronismo (AGAMBEN, 2009; BENJAMIN; 1994; DIDI-HUBERMAN, 2010; RANCIÈRE, 2012), este gesto cartográfico nos levou tanto a buscar aspecto relacional e comunicativo da imagem lomo, quando a compreender a construção deste sentido visual frente à montagem de tempos heterogêneos. Processo onde as formas de apresentação e os atuais valores de uso lomo revelam, na imagem, seu caráter movente onde lugares do visível que se deslocam de seus contextos anteriores, renegociando socialmente suas condições de possibilidade no contemporâneo, podem ser redimensionados / Considering photography as a communicative phenomenon, based on a cartographic perspective associated to Actor-Network Theory by Bruno Latour (2012), this research enable us to outline the social, visual and sensitive bonds that highlight the modes of existence of lomographic experience. Here, reporting the modes of production and circulation of lomography, we were able to enter these networks of sociotechnical mediations that draw its practice, as well as we can perceive the way we build in the present the history of images in this context. Among the diversity of elements that reorder our ways of seeing, with the notion of anachronism (AGAMBEN, 2009; BENJAMIN; 1994; DIDI-HUBERMAN, 2010; RANCIÈRE, 2012) this cartographic gesture took us either to look at the relational and communicative aspect of the lomo image and to understand the construction of its visuality regarding the assembly of heterogeneous times by which it is made. This is a process where forms of presentation and current values of lomos use reveal within the image its moving characteristics. Where the visible is dislocated from its prior contexts, socially renegotiating the conditions of its possibilities in the present and where in so doing, it can be redimesioned

No description available.

Made available in DSpace on 2016-04-28T19:58:43Z (GMT). No. of bitstreams: 1 Rosangela Freitas de Assis.pdf: 302894 bytes, checksum: 93ba03989ca776da99c6372e13c3f98c (MD5) Previous issue date: 2011-10-25 / Secretaria da Educação do Estado de São Paulo / The study of Cinzas do Norte novel written by the manauara Milton Hatoum (2005) is about the reminder report of the Amazon history built by the redesigning of time and space connections. Dissolving the inventive past, correspondent relations between chronotopes and anachronism articule the writing of memory experience to the narrator characters in metafictional labor without marking social and geographic frontiers. In this event, the artistic and epistolary genres have a mediator role in the hybrid speech of the relate between narrators, and characters while sharing the communication among the past memories, felicity appeal, and future dreams of a new Amazon. The demonstration of metafictional construction of Cinzas do Norte relate is announced in a triadic context: in the errant frontiers of the time, space and place, in the bivocal discurse of the letters, and the visual art, and in the physical and human space up dated by the ironic and parodic discurses questioning supports of historical-social chronotope. The reached interpretation expands the history of Amazon by the semantic ambiguity, by the historical critical and the poetic revitalization of ecologic and humanist local language / O estudo do romance Cinzas do Norte do escritor manauara Milton Hatoum (2005) refere-se ao relato rememorativo da história da Amazônia construído pelo redesenho das relações tempo e espaço. No desfazer inventivo do passado, relações correspondentes entre cronotopos e anacronias articulam a escritura da experiência da memória à vivência das personagens narradoras em trabalho metaficcional, sem marcar fronteiras sociais e geográficas. Neste evento, o gênero artístico e epistolar têm um papel mediador no discurso híbrido do relato, entre narradores e personagens, ao compartilhar a comunicação entre as lembranças do passado, os apelos de felicidade e sonho futuros de uma nova Amazônia. A demonstração da construção da metaficção do relato de Cinzas do Norte é apresentada em contexto tríplice: nas fronteiras errantes do tempo, espaço e lugar, no discurso da bivocalidade das cartas e arte visual, e nos espaços físicos e humanos atualizados pelo questionamento dos discursos irônico e paródico, suportes do cronotopo histórico-social. A interpretação alcançada amplia a história da Amazônia pela via da ambiguidade semântica, da crítica histórica e da revitalização poética da linguagem ecológica e humanista local