Thesis (M. Phil.)--University of Hong Kong, 1995. / Includes bibliographical references (leaf 158-160).

Orientador: Fernão Vitor Pessoa de Almeida Ramos / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-23T15:38:42Z (GMT). No. of bitstreams: 1 Maues_JulianaPinheiro_M.pdf: 9529207 bytes, checksum: f09dbf4511fe2a248642488c600339ef (MD5) Previous issue date: 2013 / Resumo: O presente trabalho é resultado de pesquisa sobre o diretor chinês Chang Cheh, atuante no cinema de artes marciais de Hong Kong dos anos 1960 aos 1990. A proposta é traçar um perfil estilístico da obra deste cineasta, tendo como fio da meada a categoria que Noël Burch denomina "tema", ou seja, a matriz da forma cinematográfica. Para isso, foram selecionados dez filmes, de modo a compreender ao menos um de cada uma das fases da carreira do cineasta, sobre os quais foi realizada extensiva análise estilística, segundo parâmetros estabelecidos por David Bordwell. Desse modo, foi possível a identificação de um tema maior, que confere unidade à obra de Chang e cujos desdobramentos permitiram a sua identificação com o conceito de Força, conforme desenvolvido por Simone Weil. Logo, o cerne deste trabalho está no modo como Chang expressa estilisticamente à problemática da Força, com especial atenção para os seus pontos de contato com aspectos como o heroísmo, a violência e o trágico. Este trabalho pretende, ainda, ser uma apresentação do cinema de Chang, o qual, apesar da sua larga influência no cinema de Hong Kong e no filme de ação de modo geral, é pouco presente nos meios acadêmicos e na cinefilia canônica / Abstract: This work is presented as a result of a research on the Chinese director Chang Cheh, a filmmaker who worked in the martial arts cinema made in Hong Kong from the 1960s until the 1990s. The purpose is to trace a stylistic profile of his work, taking as conduction the category Noël Burch called "theme", in other words, the generator of cinematographic form. With this intention, it was selected ten movies, chosen in a way to content at least one representant of each one of the phases of the director's career. It was made extensive stylistic analyse over these movies, following parameters established by David Bordwell. Thus it was possible to identify a major theme that gives unity to Chang's work and whose deployment allowed its identification with the concept of Force, in the way it was developed by Simone Weil. The core of this work is in perceive the way Chang expresses in a stylistic mode the problematic of Force, with special attention to aspects such as heroism, violence and tragic. This work intends to be also a presentation of Chang's cinema. Although his large influence in the Hong Kong cinema and in the action movie altogether, Chang is still a filmmaker not very present in academic circles and in canonic cinephilia / Mestrado / Multimeios / Mestra em Multimeios

[pt] Esta tese apresenta o regime de aprendizado de arte marcial chinesa na Escola Chenjiagou de Taijiquan Brasil, localizada na Santa Cecília (São Paulo/SP). A realização do trabalho de campo, entre 2020-2022, partiu da noção de etnografia em performance: investigando na condição de aprendiz na comunidade de prática cujo epicentro é a figura de Gil Rodrigues, professor fundador e diretor da Escola. Como resultado desse campo, apresento uma etnografia da aprendizagem do Chen Shi Taijiquan (Tai Chi Chuan da Família Chen). Tendo como referencial teórico as obras de Jean Lave, Tim Ingold e Gregory Bateson, a tese tem como foco de análise a organização social da técnica em seus modos de distribuição do acesso às atividades conceituadas contextualmente como taijiquan e cultura chinesa. Para conhecer o mundo do kungfu paulistano dos anos 90 até o presente, componho uma perspectiva etnobiográfica, apresentando a recepção e desenvolvimento das artes marciais chinesas no Brasil a partir da busca pelo taijiquan de Gil. Argumento que sua vivência da arte marcial, partilhada em sua Escola e no Shaosheng Centro de Cultura Oriental que a integra, pode ser compreendida como uma atividade contígua com a diáspora chinesa na capital paulistana. Mobilizando as conceituações de Yuk Hui, François Jullien, Anne Cheng e Stephan Feuchtwang, retomo as noções maussianas de técnicas do corpo e civilização para pensar os conceitos de cultura chinesa, conectando-a aos debates antropológicos sobre cultura, estética e ontologia. Concluo que a aprendizagem desse taijiquan se dirige para gênese de um aprendiz cuja ação se dê na manutenção dos princípios e fundamentos – entendidos duplamente como virtudes em sua vida social e como padrões manifestos em seus movimentos, em uma via de conhecimento e sabedoria própria da cosmotécnica chinesa. / [en] The thesis presents the apprenticeship of a Chinese Martial Arts in the Chenjiagou Brasil School of Taijiquan, located in the Santa Cecília neighborhood (São Paulo/SP). Fieldwork was undertaken between 2020-2022 and dwells on the notion of performance ethnography, as it investigates, from the position of the apprentice, the community of practice centered on the figure of Gil Rodrigues–the school s teacher, founder, and director. Results are presented in an ethnography of on learning Chen Shi Taijiquan (Chen Family Tai Chi Chuan). Departing from the theories of Jean Lave, Tim Ingold, and Gregory Bateson, the thesis explores the analysis of the social organization of technique in its modes of distribution of access to activities conceptualized in context as taijiquan and Chinese culture. To introduce the kung fu world of São Paulo city from the 90s to the present day, I develop an ethnobiographic perspective to present the reception and spread of Chinese Martial Arts in Brasil through Gil s personal pursuit of taijiquan. I argue that his experience of Martial Arts–one that is shared in his school and in the Shaosheng Oriental Cultural Centre–may be conceived as a contiguous activity to the Chinese diaspora in the capital of São Paulo. Using concepts of Yuk Hui, François Jullien, Anne Cheng, and Stephan Feuchtwang, I go back to Mauss techniques of the body and civilization to analyze the concept of Chinese culture, connecting it to the anthropological debate about culture, aesthetics, and ontology. In conclusion, I suggest that this apprentice of taijiquan moves towards the genesis of an apprentice whose action relies upon the maintenance of principles and fundamentals–understood both as virtues in their social lives and as patterns expressed in their movements, in a knowledge and wisdom path characteristic of the Chinese cosmotechnics.

En tant que type particulier d'organisation religieuse séculaire, les organisations traditionnelles d'arts martiaux chinois (TCMAO) sont peu étudiées en ce qui concerne la manière dont l'autorité est accomplie de manière communicationnelle et le rôle des pratiques corporelles. Fondée sur une vision performative de l'autorité relationnelle dans la perspective de la constitution communicationnelle des organisations (CCO), cette thèse propose de répondre à cette omission dans la littérature actuelle. Convaincue de la valeur de l'utilisation de théories indigènes pour étudier les pratiques locales, cette thèse s'appuie sur le concept de chaxugeju (ou mode d'association différentiel) du sociologue chinois Xiaotong Fei et développe l'idée d'autorité différentielle, qui décrit le phénomène par lequel l'autorité d'une personne peut être étendue à d'autres territoires et d'autres acteurs par le biais d'associations. Ensemble, les pratiques corporelles et l'autorité différentielle constituent le cadre conceptuel de cette thèse. Cette thèse adopte une approche ethnographique en mobilisant des méthodes qualitatives. En analysant les données ethnographiques recueillies auprès d'une TCMAO située à Zhengzhou (Chine), j’identifie cinq pratiques corporelles principales dans une TCMAO: l'instruction incarnée, la pose de photos, le rituel corporel, la performance mise en scène et le concours situé. Chaque type de pratique corporelle joue un rôle unique dans l'établissement d'associations significatives qui aident les individus et les organisations à revendiquer une autorité différentielle. L'instruction incarnée présente d’une manière très efficace les artistes martiaux comme les vecteurs légitimes d'un art martial particulier, prouvant ainsi l’association authentique entre l'héritier et l'art qu’ils représentent. Ces personnes utilisent également le photo-posing pour développer leurs associations positives avec des figures d'autorité (humaines ou non) afin de revendiquer l'autorité différentielle des individus et des organisations. Parallèlement, ils évitent toute forme d'association négative qui pourrait nuire à leur autorité. Grâce au mécanisme mutuellement bénéfique de l'emprunt de lumière et de l'ajout de gloire, le maître et ses disciples utilisent ces photos comme dispositifs d'auctorialité différentielle de leur association pour établir leur autorité respective par le biais de l'association maître-disciple. De même, les rituels corporels établissent et réaffirment les associations des disciples avec leurs ancêtres, leurs maîtres et les lignées célèbres. Ces rituels sont essentiels pour accomplir l'autorité différentielle de ces disciples et de l'organisation qu'ils représentent. Les performances mises en scène contribuent ainsi à établir leur autorité en associant les artistes martiaux à des étapes importantes investies de prestige et d'influence. Quant aux performances mises en scène au niveau intra-organisationnel, elles permettent de différencier certains membres de l'organisation des autres en affichant publiquement leur statut au sein de l'organisation, ce qui aide ainsi les membres favorisés à accomplir les bases de leur autorité. Enfin, les concours situés établissent l'autorité des artistes martiaux en les différenciant et en les plaçant dans différentes positions dans la hiérarchie de la communauté des arts martiaux. Ces cinq pratiques corporelles se mêlent les unes aux autres et contribuent à l'accomplissement communicatif de l'autorité dans une TCMAO. Cette thèse apporte des contributions significatives à la littérature sur l'intersection entre religion et organisation. Elle étend la recherche en cours sur la dimension matérielle de la communication. Elle fait progresser la discussion sur l'autorité relationnelle dans une perspective communicationnelle, en particulier la discussion du corps et du rôle de la pratique corporelle dans l'accomplissement de l'autorité. / This dissertation aims to address two omissions in current literature. First, current literature has not examined how authority is communicatively accomplished in traditional Chinese martial arts organizations (TCMAOs), which are one special kind of secular religious organization. Second, in the communicative constitution of organizations (CCO) literature, it is unclear what is the role of body practices in the communicative accomplishment of authority. Grounded in the CCO tradition, this dissertation seeks inspirations from Xiaotong Fei’s chaxugeju (or differential mode of association) theory and develops the concept of differential authority, which refers to the phenomenon that authority can be shared and extended to other actors and territories through meaningful associations established in and through communication. Together, body practices and differential authority constitute this dissertation’s conceptual framework to investigate how body practices contribute to the communicative accomplishment of authority in a TCMAO. To answer my research question, this dissertation takes an at-home ethnographic approach to study a TCMAO located in Zhengzhou (China). I developed an organic iterative approach to analyze data collected through participant observation, conducting interviews, and writing a reflective journal. My analysis summarizes five body practices in a TCMAO: embodied instruction, photo-posing, body ritual, staged performance, and contesting. Each body practice plays unique roles in helping individuals and organizations establish meaningful associations with authoritative figures, and thus claim differential authority. They also intermingle and co-act with one another in the communicative accomplishment of authority in a TCMAO. Through embodied instruction, martial artists show themselves as the legitimate vectors of a particular martial art, thus proving their authentic associations between the inheritors and the art. People use photo-posing to develop their positive associations with authoritative figures (human or non-human) to claim the differential authority of individuals and organizations; and they avoid any form of negative associations that might hurt their authority. Through the mutually beneficial mechanism of borrowing light and adding glory, the master and disciples use photos as differential authoring devices of their associations to establish their authority respectively through the master-disciple association. Body rituals establish and reaffirm disciples’ associations with ancestors, masters, and famous lineages. They are critical for accomplishing the differential authority of these disciples and the organizations they represent. Staged performance establishes authority by associating martial artists with important stages invested with prestige and influence. Intraorganizational staged performance differentiates certain organizational members from others by publicly displaying their status within the organization, thus helping the favored members to accomplish authority. Contesting establishes martial artists’ authority by differentiating them and placing them in different positions in the martial arts community hierarchy. This dissertation contributes to the CCO literature by advancing research on the role of body practices in accomplishing authority from a communicative point of view. Besides forwarding ongoing research on the material dimension of communication, it also extends our understanding of relational authority by integrating an indigenous theory of association from China. Furthermore, it expands our understanding of TCMAOs and secular religious organizations at unfamiliar settings.