Submitted by Filipe dos Santos (fsantos@pucsp.br) on 2017-03-21T12:44:57Z No. of bitstreams: 1 Tese revisada_formatada_20jan2017 (1).pdf: 12277220 bytes, checksum: 755f546db33b83b40efa9f45296cbd00 (MD5) / Made available in DSpace on 2017-03-21T12:44:57Z (GMT). No. of bitstreams: 1 Tese revisada_formatada_20jan2017 (1).pdf: 12277220 bytes, checksum: 755f546db33b83b40efa9f45296cbd00 (MD5) Previous issue date: 2017-03-10 / The concept of intergenerational historical trauma is a valid concept to understand the impact of genocide, war, terrorist attacks and/or public calamities over certain populations as it was the case, for example, of descendants of survivors from the concentration camp holocaust and descendants of slaves. The theory of cultural complex enables analyses of the intergenerational historical trauma impact on the production of complexes that develop unconsciously on those populations and undermine their resources. This research was based on a mixed method. The analysis of the cultural production of 42 Quilombolas, (men and women from the Quilombola community of Mel da Pedreira, Macapá, in the state ôf Amapá in northern Brazil) was conducted via qualitative and quantitative methods as a result of participant observation, ethnologic and ethnographic observations, semi-guided interviews, content analyses, Adriano Vaz Serra Self-concept Assessment, Rosenberg Self-esteem Scale, and simple statistical, analyses. From these theories, methods and field observations were confirmed the hypotheses below: I. The trauma intergenerational history resulting from the memories of slavery remains present in the narratives and a cultural production of Afro- brazilians. II. The historic trauma intergeracional generates a cultural complex of inferiority in the population maroon. IV. T here was a low self esteem in the population as quilombola symptom of cultural complex. V. The cultural complex negatively affects the way of life of quilombola communities and contributes to the impoverishment of the population. VI. What defines the life in the quilombo is the concept of resistance/resilience. The hypothesis III. T here was a low self-concept in population as quilombola symptom of cultural complex; it is not confirmed. Finally, using the model adapted by Martha Kent and Mary C. Davis, P9Sitive Factors and Resilience Promoters, the Quilombolas scored very well in Six of eight items evaluated. That shows the capacity of Quilombolas to adapt, resist and endure facing extreme adversity imposed by intergenerational trauma, by the cultural complex that generates poverty and by social exclusion / O conceito de trauma histórico intergeracional é um constructo válido para se compreender o impacto de genocídios, guerras, atos terroristas elou calamidades públicas sobre determinadas populações, como ocorreu, por exemplo, com os descendentes dos sobreviventes de campos de concentração do holocausto e com os descendentes de escravos. A teoria do complexo cultural possibilita, por sua vez, analisar o impacto do trauma histórico intergeracional na produção de complexos que se desenvolvem inconscientemente, nessas populações, e minam os seus recursos. Esta pesquisa assentou-se sobre o método misto, em sua execução. A análise da produção cultural de 42 sujeitos quilombolas, homens e mulheres, do Quilombo do Mel da Pedreira, em Macapá — Amapá, realizou-se por métodos quantitativos e qualitativos: a observação participante; a observação etnológica e etnográfica; a entrevista semidirigida; a análise de conteúdo; o Inventário de Autoconceito de Adriano Vaz Serra; a Escala de Autoestima de Rosenberg; e a análise estatística simples. A partir dessas teorias, métodos e observações de campo foram confirmadas as hipóteses a seguir: I. O trauma histórico intergeracional decorrente das memórias da escravidão permanece presente nas narrativas e na produção cultural de quilombolas. II. O trauma histórico intergeracional gera um complexo cultural de inferioridade na população quilombola. IV. Observa-se uma baixa autoestima na população quilombola como sintoma do complexo cultural. V. O complexo cultural afeta negativamente o modo de vida de quilombolas e contribui para o empobrecimento da população. VI. O que define a vida no quilombo é o conceito de resistência/resiliência. A Hipótese III, observa-se um baixo autoconceito na população quilombola como sintoma do complexo cultural; não se confirmou. Finalmente, quando se utilizou o modelo adaptado de Fatores Positivos e Preditores de Resiliência de Martha Kent e Mary C. Davis, os quilombolas saíram-se muito bem em seis dos oito itens avaliados. Isso demonstra a capacidade quilombola de adaptação, resistência e resiliência frente à extrema adversidade imposta pelo trauma intergeracional e pelo complexo cultural, geradores de empobrecimento e da exclusão social

Diploma thesis "The collapses of distant worlds" deals with interpretations of the conquista of Mexico and Peru (i.e. the conquests of Aztec and Inca empires). The basic question, which all the works considering the conquista deal with, is: how could the arrival of small groups of Spanish conquerors disrupt great Indian empires in such a short time? My thesis has two main goals: to define the typology of interpretations of the conquista and offer my own interpretation which places emphasis on the role of mentalities and cultural complexes. I have distinguished four basic types of interpretations of the conquista: 1. the metaphysical ones; 2. the technological ones; 3. the environmental ones; 4. the mentalistic ones. I used the conception of mentalities (derived from the work of Lucien Lévy-Bruhl) and the system conception of cultur, where I worked with the term "cultural complex" especially. After my approach the conquista represented the clash between two different types of mentalities: the archaic one (which Indian societies featured) and the literary one (which was developed in European societies). Differences in mentalities and cultural complexes provided advantages to the Spaniards in their struggles with the Aztecs and the Incas. So finally the Spanish conquest of Indian empires is...

Diploma thesis "The collapses of distant worlds" deals with interpretations of the conquista of Mexico and Peru (i.e. the conquests of Aztec and Inca empires). The basic question, which all the works considering the conquista deal with, is: how could the arrival of small groups of Spanish conquerors disrupt great Indian empires in such a short time? My thesis has two main goals: to define the typology of interpretations of the conquista and offer my own interpretation which places emphasis on the role of mentalities and cultural complexes. I have distinguished four basic types of interpretations of the conquista: 1. the metaphysical ones; 2. the technological ones; 3. the environmental ones; 4. the mentalistic ones. I used the conception of mentalities (derived from the work of Lucien Lévy-Bruhl) and the system conception of cultur, where I worked with the term "cultural complex" especially. After my approach the conquista represented the clash between two different types of mentalities: the archaic one (which Indian societies featured) and the literary one (which was developed in European societies). Differences in mentalities and cultural complexes provided advantages to the Spaniards in their struggles with the Aztecs and the Incas. So finally the Spanish conquest of Indian empires is...

No / This book is dedicated to the memory of Dr Volodymyr Kruts, whose studies on the Cucuteni-Trypillia cultural complex made a major contribution to world archaeology. The volume includes chapters in English, Polish, Russian and Ukrainian, which chronologically span from the Neolithic to the Bronze Age in Central and South-eastern Europe, focusing in particular on the Eneolithic/Chalcolithic period. The various papers discuss the general development of the Cucuteni-Trypillia cultural complex, including the giant-settlements (mega-sites), their different aspects of population identity, subsistence in relation to environment, and their archaeological data interpretation. There are also in-depth accounts on the relationship between the Cucuteni-Trypillians (and their settlements) and the neighbouring contemporaneous populations of Central and Southeastern Europe, with a special emphasis placed on the settlement structure, the house construction, the ritual destruction of dwellings, and the different mortuary practices. What makes the volume even more interesting is the combination of recent research, with old data from earlier excavations

In this dissertation I propose an ethical framework for "meeting mosses." At first glance, mosses are a tiny type of plants that have been uncritically understood as "primitive plants," to the extent that they are defined by negation as "non-vascular plants." Hence, mosses have been considered as "primitive" relatives of "true" vascular plants. This distortion is linked to the fact that mosses have been overlooked and represented as a radical otherness in Western civilization. To critically examine this distortion of, and injustice toward mosses, I use the methodology of field environmental philosophy within the conceptual framework of biocultural ethics developed by Ricardo Rozzi. I complement these concepts with foundational philosophical work by continental philosophers Martin Buber and Immanuel Levinas, and ethnobotanist and indigenous writer Robin Wall Kimmerer, with emphasis on their discourses of meeting, "face-to-face," otherness, heterogeneity, and alterity. Collectively thinking with these philosophers, I address the possibility of genuinely "meeting mosses," valuing them as such and not merely as a primitive "relative" or "ancestor" of vascular plants. Drawing on several botanists' accounts of plant language and plant wisdom has sharpened my reading of human-moss interactions and enriched my engagement with the heterogeneity and alterity of the Western philosophical tradition. In his book Gardens: An Essay on the Human Condition, Humanist scholar Robert Pogue Harrison argues that care (for plants and life) is the human vocation. Harrison's discussion of the diversity of "gardens" helped me to clarify multi-dimensional human-moss interactions. In terms of content and structure, I organize my analysis based on two central dimensions of human-plant interactions stated in Rozzi's biocultural ethics: biophysical and cultural, particularly, symbolic-linguistic dimensions. I explore the biophysical dimension of biocultural conservation focusing on mosses in a region where they represent the most diverse and abundant type of plants, southwestern South America. In this region, I conducted fieldwork at three reserves in Chile, Senda Darwin Biological Reserve on Chiloe Island, Magallanes National Reserve, and Omora Ethnobotanical Park in the Cape Horn Biosphere Reserve, south of Tierra del Fuego. I investigate the linguistic-cultural dimension, through the scientific binomial nomenclature as well as through the traditional naming by indigenous cultures, particularly in China. Additionally, I examine the arts as an important cultural expression of interacting with mosses that inspires biocultural conservation. I examine the role that the arts play in the education and conservation programs at the Omora Ethnobotanical Park in Chile and Shenzhen Fairy Lake Botanical Garden in China, as a way to invite students and others to have direct encounters with mosses which lead to hands-on (tactile and place-based) moss conservation. I begin this study with a deliberation of the multiple injustices embedded in contemporary social-ecological-cultural dimensions of global change, and I suggest pathways towards caring for plants and the diversity of life. Caring for mosses is not a one-way human-plant-directed process. By nourishing our physical and cultural lives, we can metaphorically say that mosses "take care" of humans. Once we integrate both "caring for mosses" and being sensitive to the "mosses caring for us," then biocultural conservation moves towards a more reciprocal conviviality. In addition to collectively thinking with other humans, metaphorically I aim to think and feel with the mosses, and therefore I am transformed by them. This is the ultimate meaning of "meeting mosses."

A seguinte pesquisa trata das origens e projetos arquitetônicos do Setor Cultural de Brasília e busca compreender os antagonismos e similitudes existentes entre o Plano Piloto realizado por Lucio Costa e as diversas propostas elaboradas por Oscar Niemeyer e outros arquitetos para o local, algumas das quais construídas e consolidadas. A Esplanada dos Ministérios em Brasília é o ponto mais representativo do urbanismo e arquitetura da cidade e após cinquenta e três anos da inauguração da capital o Setor Cultural é o único trecho da Esplanada ainda não executado plenamente. Essa situação associada ao tombamento do conjunto urbanístico de Brasília em 1991 e à portaria 314/92 que estabelece exclusividade de intervenção aos dois arquitetos autores de Brasília fortalece a preocupação entre arquitetos, cidadãos e Estado em conciliar os propósitos de Costa e Niemeyer. Apesar da referência afirmativa de ambos sobre o modelo progressista na idealização do plano urbanístico e ainda um consenso e maturação dos conceitos e críticas ao urbanismo moderno, associados a uma postura respeitosa dos arquitetos em relação aos precedentes arquitetônicos, há contradições explícitas entre projetos executados de Oscar Niemeyer e o plano-­‐piloto levando até hoje a diversos projetos inconclusos e à polêmicas discussões sobre o Setor. A compreensão do desenvolvimento desse processo resulta da análise crítica dos projetos concebidos confrontados ao Plano Piloto de Lucio Costa e seus precedentes históricos, além da organização do inventário de projetos para o setor. / This research deals with the origins and architectural projects of the Cultural Sector of Brasília and pursues to understand the antagonisms and similarities between the Pilot Plan conducted by Lucio Costa and the various proposals made by the architect Oscar Niemeyer and other architects to the site, many of them built and consolidated. The Esplanade of Ministries in Brasilia is the most representative site of the urbanism and architecture of the city and fifty-­‐three years after the foundation of the capital, the Cultural Sector is the only part of the Esplanade that has not yet completely implemented. This situation associated with the legally protection of the urban site of Brasilia sanctioned in 1991 and the decree number 314/92 establishing exclusivity of architectural intervention to the two authors of Brasilia signs the concern among architects, citizens and government to conciliate the purposes of Costa and Niemeyer. Despite the positive reference of both architects about progressive urbanism model in the idealization of the urban plan of Brasília and even a consensus and maturation of concepts and critiques of modern urbanism, associated with a respectful attitude towards the architectural precedents, there are explicit contradictions between projects executed by Oscar Niemeyer and the pilot plan designed by Lucio Costa that leave until today many unfinished projects and controversial discussions about the sector. The understanding of this process development results in the critical analysis of architectural projects confronted to the Pilot Plan of Lucio Costa and its historical precedents, beyond the inventory organization of the Cultural Sector projects.

Ce travail de doctorat vise à valoriser la pertinence du concept du - complexe culturel atlantique -, pour les périodes du Bronze ancien et du Bronze moyen, à partir de l'analyse des manifestations funéraires documentées de la façade nord de l'Espagne jusqu'au sud-ouest de la France. Nous avons, effectivement, choisi pour cette réflexion, d'étudier les régions les moins visibles de la documentation du domaine atlantique afin, d'une part, de les valoriser individuellement, et d'autre part, de comprendre les relations qu'elles ont entretenues entre elles, mais aussi avec celles du domaine continental Ibérique. Sur cet espace méridional atlantique, les données ont été considérablement renouvelées ces trente dernières années, grâce au développement de l'activité archéologique préventive, et permettent ainsi de contextualiser celles issues des anciennes explorations. Notre objectif consiste à caractériser les solutions funéraires ainsi que les mobiliers qui ont été adoptés sur cet espace afin de définir et de délimiter les groupes culturels en présence. Pour cela, nous avons mis en place une double échelle d'analyse : - une micro-échelle centrée sur la Galice et le bassin de l'Adour, et - une macro-échelle, sur les régions centres et orientales de la façade atlantique Ibérique. La première échelle nous permet d'analyser la documentation de façon exhaustive, en intégrant des données inédites, tandis qu'avec la seconde, globale et synthétique, nous dressons un panorama général et critique sur celle des régions cantabriques et du Pays Basque espagnol. La conjugaison de ces deux approches nous permet d'effectuer des comparaisons variées sur la documentation de ces espaces et d'identifier de nombreuses convergences, en particulier à partir d'aspects de la culture matérielle qui n'avaient pas été abordés lorsque le concept du Bronze Atlantique a été bâti. Elles concernent, notamment, des mobiliers céramiques, mais aussi la réponse unanime de ces régions atlantiques face aux cultures de la Meseta : celle de l'immobilisme. Ces éléments ainsi que les changements funéraires qui se sont opérés entre le Bronze ancien et le Bronze moyen nous permettent de caractériser ce qu'il convient de considérer comme des dynamiques atlantiques communes. Enfin, notre base documentaire, constituée de plus de 260 sites, nous amène, également, à aborder la question des facteurs qui ont été à l'origine de la constitution des groupes culturels, multiples, de cet espace, en valorisant la place des influences extérieures, des substrats locaux ainsi que des obstacles topographiques dominants du paysage. / This doctoral work to highlight the relevance of the - atlantic cultural complex - concept, spanning the ancient and middle Bronze age, based on the analysis of funeral manifestations documented throughout Northern Spain and South-Western France. The choice to study regions which remain less visible with respect to the available documentation on the atlantic domain, as a point of reference for this research, was done in order to acknowledge their individual value and to understand the relationships between these regions and with those of the continental iberian domain. Data for the meridional atlantic zone has considerably expanded over the past thirty years, thanks to the development of preventive archaeological activities, thus enabling the contextualisation of data from past explorations. The main objective of this research is to characterise the funeral finalities and furniture used by people in this area, in order to define and delimit different cultural groups. In order to do this we used a double-scale for analysis : a micro-scale centered on Galicia and the Adour basin, and a macro-scale encompassing the central and east-central front of atlantic Iberia. The first scale allowed us to analyse the data in a very exhaustive manner, integrating brand-new data, whereas with the second scale, which is much more global and synthetic, we established a general and critical panorama of the data for the cantabrian and Basque regions of Spain. The combination of these two approaches allows us to establish a variety of comparisons on the documentation about these areas, and to identify many convergences, especially with regards to material culture that had not been addressed when constructing the Atlantic Bronze concept. This includes pottery items, as well as a certain immobilism on behalf of the atlantic regions in response to the Meseta cultures. These elements, along with funeral changes that occurred between the ancient and middle Bronze age allow us to characterise what can be considered as the common atlantic dynamics. Lastly, our database of over 260 sites, raises the question of what factors might have caused the composition of the various different cultural groups in the area, emphasizing the role played by exterior influences, local substrates and topographical obstacles. / Ese trabajo de doctorado pretende valorar la pertinencia del concepto del - complejo cultural atlántico -, para los periodos del Bronce antiguo y medio, mediante el análisis de las manifestaciones funerarias documentadas de la fachada norte de España hasta el suroeste de Francia. Hemos elegido para esta reflexión el estudio de las regiones menos visibles de la documentación del ámbito atlántico con el fin, por una parte, de valorar cada una de ellas individualmente, y por otra, de comprender los tipos de relaciones que mantenían entre ellas, pero también, con las del ámbito continental Ibérico. Sobre ese espacio meridional atlántico, los datos se incrementaron de forma significativa estos últimos treinta años, gracias al desarrollo de la actividad arqueológica preventiva, y permiten, por lo tanto, contextualizar las que provienen de las antiguas exploraciones. Nuestro objetivo consiste en caracterizar las soluciones funerarias así como los mobiliarios que han sido adoptados, para definir y delimitar los grupos culturales presentes en ese espacio. Para eso, hemos procesado a una doble escala de análisis: - una micro-escala centrada sobre Galicia y la cuenca del Adour, y una macro-escala, sobre las regiones centrales y orientales de la fachada atlántica Ibérica. La primera escala nos permite analizar la documentación de forma exhaustiva, integrando datos inéditos a nuestro discurso, mientras que, con la segunda, global y sintética, establecemos un panorama general y crítico de Asturias, Cantabria y del País Vasco. La combinación de estos dos tipos de enfoques nos permite efectuar unas variadas comparaciones sobre la documentación de esos espacios e identificar numerosas convergencias, en particular en relación con aspectos de la cultura material que no habían sido tratados cuando el concepto del Bronce Atlántico nació. Estas implican, especialmente, los recipientes cerámicos, pero también la respuesta unánime de las regiones atlánticas hacia las culturas de la Meseta: la del inmovilismo. Esos elementos, así como los cambios funerarios que se operan entre el Bronce antiguo y el Bronce medio, nos permite caracterizar lo que conviene considerar como una dinámica atlántica común. Por fin, nuestra base documental, constituida por más de 260 yacimientos, nos lleva a abordar la cuestión de los factores que han estado en el origen de la constitución de los grupos culturales, múltiples, de este espacio, valorizando el papel de las influencias exteriores, de los substratos locales, así como de los obstáculos topográficos dominantes del paisaje.

A seguinte pesquisa trata das origens e projetos arquitetônicos do Setor Cultural de Brasília e busca compreender os antagonismos e similitudes existentes entre o Plano Piloto realizado por Lucio Costa e as diversas propostas elaboradas por Oscar Niemeyer e outros arquitetos para o local, algumas das quais construídas e consolidadas. A Esplanada dos Ministérios em Brasília é o ponto mais representativo do urbanismo e arquitetura da cidade e após cinquenta e três anos da inauguração da capital o Setor Cultural é o único trecho da Esplanada ainda não executado plenamente. Essa situação associada ao tombamento do conjunto urbanístico de Brasília em 1991 e à portaria 314/92 que estabelece exclusividade de intervenção aos dois arquitetos autores de Brasília fortalece a preocupação entre arquitetos, cidadãos e Estado em conciliar os propósitos de Costa e Niemeyer. Apesar da referência afirmativa de ambos sobre o modelo progressista na idealização do plano urbanístico e ainda um consenso e maturação dos conceitos e críticas ao urbanismo moderno, associados a uma postura respeitosa dos arquitetos em relação aos precedentes arquitetônicos, há contradições explícitas entre projetos executados de Oscar Niemeyer e o plano-­‐piloto levando até hoje a diversos projetos inconclusos e à polêmicas discussões sobre o Setor. A compreensão do desenvolvimento desse processo resulta da análise crítica dos projetos concebidos confrontados ao Plano Piloto de Lucio Costa e seus precedentes históricos, além da organização do inventário de projetos para o setor. / This research deals with the origins and architectural projects of the Cultural Sector of Brasília and pursues to understand the antagonisms and similarities between the Pilot Plan conducted by Lucio Costa and the various proposals made by the architect Oscar Niemeyer and other architects to the site, many of them built and consolidated. The Esplanade of Ministries in Brasilia is the most representative site of the urbanism and architecture of the city and fifty-­‐three years after the foundation of the capital, the Cultural Sector is the only part of the Esplanade that has not yet completely implemented. This situation associated with the legally protection of the urban site of Brasilia sanctioned in 1991 and the decree number 314/92 establishing exclusivity of architectural intervention to the two authors of Brasilia signs the concern among architects, citizens and government to conciliate the purposes of Costa and Niemeyer. Despite the positive reference of both architects about progressive urbanism model in the idealization of the urban plan of Brasília and even a consensus and maturation of concepts and critiques of modern urbanism, associated with a respectful attitude towards the architectural precedents, there are explicit contradictions between projects executed by Oscar Niemeyer and the pilot plan designed by Lucio Costa that leave until today many unfinished projects and controversial discussions about the sector. The understanding of this process development results in the critical analysis of architectural projects confronted to the Pilot Plan of Lucio Costa and its historical precedents, beyond the inventory organization of the Cultural Sector projects.

A seguinte pesquisa trata das origens e projetos arquitetônicos do Setor Cultural de Brasília e busca compreender os antagonismos e similitudes existentes entre o Plano Piloto realizado por Lucio Costa e as diversas propostas elaboradas por Oscar Niemeyer e outros arquitetos para o local, algumas das quais construídas e consolidadas. A Esplanada dos Ministérios em Brasília é o ponto mais representativo do urbanismo e arquitetura da cidade e após cinquenta e três anos da inauguração da capital o Setor Cultural é o único trecho da Esplanada ainda não executado plenamente. Essa situação associada ao tombamento do conjunto urbanístico de Brasília em 1991 e à portaria 314/92 que estabelece exclusividade de intervenção aos dois arquitetos autores de Brasília fortalece a preocupação entre arquitetos, cidadãos e Estado em conciliar os propósitos de Costa e Niemeyer. Apesar da referência afirmativa de ambos sobre o modelo progressista na idealização do plano urbanístico e ainda um consenso e maturação dos conceitos e críticas ao urbanismo moderno, associados a uma postura respeitosa dos arquitetos em relação aos precedentes arquitetônicos, há contradições explícitas entre projetos executados de Oscar Niemeyer e o plano-­‐piloto levando até hoje a diversos projetos inconclusos e à polêmicas discussões sobre o Setor. A compreensão do desenvolvimento desse processo resulta da análise crítica dos projetos concebidos confrontados ao Plano Piloto de Lucio Costa e seus precedentes históricos, além da organização do inventário de projetos para o setor. / This research deals with the origins and architectural projects of the Cultural Sector of Brasília and pursues to understand the antagonisms and similarities between the Pilot Plan conducted by Lucio Costa and the various proposals made by the architect Oscar Niemeyer and other architects to the site, many of them built and consolidated. The Esplanade of Ministries in Brasilia is the most representative site of the urbanism and architecture of the city and fifty-­‐three years after the foundation of the capital, the Cultural Sector is the only part of the Esplanade that has not yet completely implemented. This situation associated with the legally protection of the urban site of Brasilia sanctioned in 1991 and the decree number 314/92 establishing exclusivity of architectural intervention to the two authors of Brasilia signs the concern among architects, citizens and government to conciliate the purposes of Costa and Niemeyer. Despite the positive reference of both architects about progressive urbanism model in the idealization of the urban plan of Brasília and even a consensus and maturation of concepts and critiques of modern urbanism, associated with a respectful attitude towards the architectural precedents, there are explicit contradictions between projects executed by Oscar Niemeyer and the pilot plan designed by Lucio Costa that leave until today many unfinished projects and controversial discussions about the sector. The understanding of this process development results in the critical analysis of architectural projects confronted to the Pilot Plan of Lucio Costa and its historical precedents, beyond the inventory organization of the Cultural Sector projects.