Submitted by admin tede (tede@pucgoias.edu.br) on 2017-03-09T13:00:26Z No. of bitstreams: 1 MARIA CRISTINA DE FREITAS BONETTI.pdf: 54646146 bytes, checksum: 2af7e8d83bbcc0d568d09f094c06001b (MD5) / Made available in DSpace on 2017-03-09T13:00:26Z (GMT). No. of bitstreams: 1 MARIA CRISTINA DE FREITAS BONETTI.pdf: 54646146 bytes, checksum: 2af7e8d83bbcc0d568d09f094c06001b (MD5) Previous issue date: 2013-08-14 / This thesis investigates the survival and the camouflage of the Myth of the Serpent and the Cult to the Great Mother in mythic and ritualistic performances of the Sacred Circle Dances nowadays. For this, it remakes the myth trajectory since ancient times, exploring the imagery of creation and its various expressions in archaic cultures in the Western World. The main objective of the research is to demonstrate the survival the symbolism of the Mother Goddess and the Serpent Myth in different cultural expressions in dialogue with the Sacred Circle Dances. It also takes into to identify the hidden message that externalizes through body movements that generate archetypical expressions codified in the ritualistic dances and performances, and explores in the same way, the domains of the Great Mother and the Serpent; its symbolic polysemy and the way they are organized in artistic and spacial terms. The main issue of this thesis is that whether the symbolism of the serpent can be considered as a mythical theme survival in the contemporary Sacred Circle Dance. Taking as methodological inspiration the hermeneutic conception of analysis, in this thesis the purpose is to connect the Myth of the Serpent with the most relevant works regarding the Sacred Feminine, history, anthropology and the ritualistic performances. The literature will be reviewed in its thematic axles and in particular the authors and the known experts in the Sciences of Religion. Amid the conceptual interpretations this research produces surveys of recent works on the subject of study to discuss the meanings and the ramifications inspired by ancient traditions and with deep power refresher mythical; and in this discussion, focuses on the aspect of the dances that revive the serpent symbolism and ritually reframe the archaic myths. Traditional and Folk Dances, realized as artistic performances, or even spontaneously, come upon the space created by the traditional parties, replace and vivify myths and prehistoric rituals nowadays. It is considered, therefore, that the Serpent symbology is a mythical theme of the Mother Goddess who survived the performed and ritualistic acts in the contemporary Sacred Circle Dances. / Esta tese investiga as sobrevivências e a camuflagem do Mito da Serpente e do culto à Grande Mãe nas performances mítica e ritualística das Danças Circulares Sagradas na contemporaneidade. Para isso, refaz a trajetória do mito desde a antiguidade, explorando o imaginário da criação e suas diversas expressões em culturas arcaicas no mundo ocidental. O principal objetivo da pesquisa é demonstrar a sobrevivência da simbologia da Deusa Mãe e do Mito da Serpente nas diferentes expressões culturais em diálogo com as Danças Circulares Sagradas. Busca, ainda, identificar a mensagem oculta que se externaliza mediante os movimentos corporais que geram expressões arquetípicas codificadas nas danças e performances ritualísticas; e explora, do mesmo modo, os domínios da Grande Mãe e da Serpente, sua polissemia simbólica e a maneira como se organizam em termos artísticos e espaciais. A principal questão da tese é se a simbologia da serpente pode ser considerada como temática mítica sobrevivente na Dança Circular Sagrada na contemporaneidade. Tendo como inspiração metodológica a concepção hermenêutica de análise, nesta tese busca-se conectar o Mito da Serpente às obras mais relevantes no que tange ao Sagrado Feminino, à história, à antropologia e às performances ritualísticas. A literatura será revista em seus eixos temáticos e, em especial, nos autores e estudiosos reconhecidos nas Ciências da Religião. Em meio às interpretações conceituais, a pesquisa realiza levantamentos das produções recentes sobre a temática de estudo para discutir as acepções e os desdobramentos inspirados em tradições ancestrais e com intenso poder de reatualização mítica; e, nesta discussão, aborda-se o aspecto das danças que revivem o simbolismo da serpente e ressignificam ritualisticamente os mitos arcaicos. As Danças Tradicionais e Folclóricas, realizadas como performances artísticas, ou mesmo espontaneamente, sobrevêm ao espaço criado pelas festas tradicionais, reatualizam e vivificam mitos e rituais pré-históricos na contemporaneidade. Considera-se, portanto, que a simbologia da Serpente é uma temática mítica da Deusa Mãe que sobreviveu nos atos performatizados e ritualísticos das Danças Circulares Sagradas contemporâneas.

Made available in DSpace on 2016-07-27T13:46:27Z (GMT). No. of bitstreams: 1 MARIA CRISTINA DE FREITAS BONETTI - PARTE 1.pdf: 4528097 bytes, checksum: b102021c0421e0f11965fe8fadf10afb (MD5) Previous issue date: 2013-08-14 / This thesis investigates the survival and the camouflage of the Myth of the Serpent and the Cult to the Great Mother in mythic and ritualistic performances of the Sacred Circle Dances nowadays. For this, it remakes the myth trajectory since ancient times, exploring the imagery of creation and its various expressions in archaic cultures in the Western World. The main objective of the research is to demonstrate the survival the symbolism of the Mother Goddess and the Serpent Myth in different cultural expressions in dialogue with the Sacred Circle Dances. It also takes into to identify the hidden message that externalizes through body movements that generate archetypical expressions codified in the ritualistic dances and performances, and explores in the same way, the domains of the Great Mother and the Serpent; its symbolic polysemy and the way they are organized in artistic and spacial terms. The main issue of this thesis is that whether the symbolism of the serpent can be considered as a mythical theme survival in the contemporary Sacred Circle Dance. Taking as methodological inspiration the hermeneutic conception of analysis, in this thesis the purpose is to connect the Myth of the Serpent with the most relevant works regarding the Sacred Feminine, history, anthropology and the ritualistic performances. The literature will be reviewed in its thematic axles and in particular the authors and the known experts in the Sciences of Religion. Amid the conceptual interpretations this research produces surveys of recent works on the subject of study to discuss the meanings and the ramifications inspired by ancient traditions and with deep power refresher mythical; and in this discussion, focuses on the aspect of the dances that revive the serpent symbolism and ritually reframe the archaic myths. Traditional and Folk Dances, realized as artistic performances, or even spontaneously, come upon the space created by the traditional parties, replace and vivify myths and prehistoric rituals nowadays. It is considered, therefore, that the Serpent symbology is a mythical theme of the Mother Goddess who survived the performed and ritualistic acts in the contemporary Sacred Circle Dances. / Esta tese investiga as sobrevivências e a camuflagem do Mito da Serpente e do culto à Grande Mãe nas performances mítica e ritualística das Danças Circulares Sagradas na contemporaneidade. Para isso, refaz a trajetória do mito desde a antiguidade, explorando o imaginário da criação e suas diversas expressões em culturas arcaicas no mundo ocidental. O principal objetivo da pesquisa é demonstrar a sobrevivência da simbologia da Deusa Mãe e do Mito da Serpente nas diferentes expressões culturais em diálogo com as Danças Circulares Sagradas. Busca, ainda, identificar a mensagem oculta que se externaliza mediante os movimentos corporais que geram expressões arquetípicas codificadas nas danças e performances ritualísticas; e explora, do mesmo modo, os domínios da Grande Mãe e da Serpente, sua polissemia simbólica e a maneira como se organizam em termos artísticos e espaciais. A principal questão da tese é se a simbologia da serpente pode ser considerada como temática mítica sobrevivente na Dança Circular Sagrada na contemporaneidade. Tendo como inspiração metodológica a concepção hermenêutica de análise, nesta tese busca-se conectar o Mito da Serpente às obras mais relevantes no que tange ao Sagrado Feminino, à história, à antropologia e às performances ritualísticas. A literatura será revista em seus eixos temáticos e, em especial, nos autores e estudiosos reconhecidos nas Ciências da Religião. Em meio às interpretações conceituais, a pesquisa realiza levantamentos das produções recentes sobre a temática de estudo para discutir as acepções e os desdobramentos inspirados em tradições ancestrais e com intenso poder de reatualização mítica; e, nesta discussão, aborda-se o aspecto das danças que revivem o simbolismo da serpente e ressignificam ritualisticamente os mitos arcaicos. As Danças Tradicionais e Folclóricas, realizadas como performances artísticas, ou mesmo espontaneamente, sobrevêm ao espaço criado pelas festas tradicionais, reatualizam e vivificam mitos e rituais pré-históricos na contemporaneidade. Considera-se, portanto, que a simbologia da Serpente é uma temática mítica da Deusa Mãe que sobreviveu nos atos performatizados e ritualísticos das Danças Circulares Sagradas contemporâneas.

L’interdisciplinarité est une pratique largement employée dans le spectacle vivant contemporain. Que l'on aborde le concept de coopération ou celui d’intégration, il s’agit d’une procédure de fusion qui, dans le cas des arts du spectacle, se concrétise par la croisée des disciplines artistiques entre elles, avec d’autres sciences, ou d’autres arts. Dans la scène théâtrale l’interdisciplinarité se présente sous plusieurs formes. La présente étude se concentre sur les spectacles contemporains mariant théâtre, musique et danse et leur relation avec le genre interdisciplinaire par excellence que représente le Musical. Ce dernier est par nature un genre hybride, car il combine plusieurs arts en une seule entité. Ces arts doivent à la fois maintenir leurs intégrités propres et se combiner pour former une unicité organique. Malgré sa complexité, il réussit à être un genre à part entière qui a influencé d’autres genres, ainsi que plusieurs essais artistiques contemporains. En tant que genre autonome, il possède des lois de fonctionnement, des signes récurrents, des règles esthétiques. Nous avons choisi de traiter cinq spectacles interartistiques afin d’en dégager les caractéristiques du genre et parallèlement d’ordonner ces singularités. Notre recherche s’établie sur Out Loud de STOMP, Tubes du BLUE MAN GROUP, Perseus d’ithakArts, Elektra Fragments mise en scène par Michael HACKETT et 2, mise en scène par Dimitris PAPAIOANNOU. Ces spectacles qui échappent à toute catégorisation, présentent des similarités avec le Musical. Cette thèse se focalise ainsi sur la recherche des éléments du genre au sein de ces spectacles et propose un choix de conventions qui définissent le Musical. / Interdisciplinarity is a widely employed practice in the contemporary arts scene. Whether the term refers to the collaboration or notion of integrating different disciplines, we can infer to a process of fusion, which in the field of the performing arts, takes numerous forms. This dissertation focuses on contemporary inter-artistic performances that combine theatre, music and dance, and their relation to the interdisciplinary genre of Musicals. Musical Theatre is by definition a hybrid entity, combining different artistic expressions. The latter, are at all times maintain their separated integrity, while they must be fused in such a way in order to form an organic unity. Despite its complexity, Musical Theatre manages to be a genre in itself, which in turn has influenced other genres, including many contemporary experimental performances. Thus, as an autonomous form of expression, it possesses laws of operation, technical characteristics and aesthetic rules that defines it. The purpose of this research is to identify elements and influences of Musical Theatre within five contemporary interdisciplinary shows, while tracing the theoretical aspects and conventions that determine this genre. The examined shows are Out Loud by STOMP, Tubes by the BLUE MAN GROUP, Perseus by ithakArts, Elektra Fragments directed by Michael HACKETT and 2, directed by Dimitris PAPAIOANNOU. These autonomous fusion works defy categorization; however, they share fundamental characteristics with Musicals.

The diploma thesis The survival strategy used by children and youth imprisoned in the Terezin ghetto between 1942 - 1945 based on their diaries is a study, which analyze some extant diaries written by children deported during Word War II to the Terezin ghetto. As the main sources served archive materials, especially unpublished children's diaries kept in the Jewish Museum of Prague and in the Terezin Memorial. Terezin ghetto (Theresienstadt) was exist between November 1941 and May 1945. Part of this work is concise representation of the ghetto's beginning and function and overall conditions. In the following chapter is briefly described children's homes, which were established thanks to Jugendfürsorge, department which cared about youth in the ghetto. This part deals with the moral influence on children given by the specific conditions and it was presented supporting function of the arts performed by adult prisoners and children too. The main part of this work consists in a researching of the diary entries sorted in predermined aspects. One of them is the space-time aspect. It was selected some entries which described the past, the present and the future. Other entries included reflecting of space out of the ghetto and space in. It was made many hypothesis which contributed to the next analyses....