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This thesis holds that the application of the archaeological method, developed by the French philosopher Michel Foucault, to the field of anthropology reveals a hitherto hidden primitive episteme. Such a project represents a rejection of a search for a fundamental Truth, available through the traditional figures of rationality, either vertically in history or horizontally across cultures. The form of reason posited by this project does not have a constant and universal occurrence but is given in the discontinuous figures of the episteme. The quest for a single manifestation of the conditions of validity in reason is replaced by a study of the conditions of possibility of the truths, discourses and institutions of a primitive peoples. The conditions of possibility for the emergence of the elements of primitive knowledge and practices are available through the application of the explanatory unities of the archaeological method. These unities replace the traditional explanatory role of the subject, with all of its psychological baggage, which has a central role in modern theories of rationality. The subject-knowledge link that dominates traditional anthropological analyses is replaced by a powerknowledge link that postulates the two axes of discursive and non-discursive concerns. The discursive axis is concerned with the objects, concepts, statements and discursive formations of primitive knowledge while the non-discursive axis is concerned with the systems of power that propagate and sustain those discourses. These two axes constitute the nature of the archaeology employed in this study. This thesis is sustained by both negative and positive evidence. The negative evidence takes the form of an antisubjectivist thrust where the subject-dependent explanatory unities of the tradition are replaced by the positivistic elements of archaeology. The positive evidence primarily takes the form of a detailed analysis of the presence of the guiding codes of the episteme amongst the Trobriand Islanders that give rise to their primitive knowledge and practices. In this area, I make extensive use of Malinowski's ethnographic observations for their breath of detail and application without employing his subject-dependent psychobiological conclusions. Further, I am proposing a transformative position such that orality becomes a feature of the episteme rather than its condition of possibility. The guiding codes of the Trobriand episteme take the form of enclosed oppositional figures that are everywhere related to space. The Trobriand episteme provides the conditions for the emergence of primitive discourses and orders the experiences of the Trobrianders. The guiding figures of the episteme are based in a form of complementary opposition, causation as vitality and a dogma of topological space that give rise to primitive knowledge which is a form of divination. A significant part of this dissertation is taken up with an examination of the detail and limitation of these figures where ideas from Levy-Bruhl, Hallpike, and others are employed to produce the most appropriate configuration for my project. A particular form of language as the manipulation of real signs, rather than ideational signs, has its possibility in this configuration which has consequences for the type of knowledge produced. The form of knowledge appropriate to the presence of such a model of language is magic. Writing has no possibility for emerging in this episteme and, therefore, there are significant consequences for the type of knowledge that can be maintained and propagated in a context which must utilise static tradition to the detriment of reflection. An archaeological analysis of the Trobriand Islanders, focusing on discourses on sex and marriage, the nature of tabooed sexual acts, economic relations arising out of marriage and the role of the polygamous chief, the nature of love-magic and magic in general, reveals a shared possibility for all of these discursive realms in the figures of the episteme. These discourses are regulated by the presence of a fundamental opposition between a brother and his sister. This opposition forms the motif for primitive problematizations and constitutes a vulnerable boundary which is the appropriate focus of taboos relating to sex and food, amongst others. This primitive episteme characterises the unity of the experiences of the Trobrianders. This experience is discontinuous with our own and does not involve a role for the individual ego. This project represents a worthwhile contribution to an understanding of human experience and knowledge in general which does not seek to reduce the natural diversity of man to just the monotonous experience of modern man. In conclusion, I tentatively speculate about the appropriateness of the Trobriand figures for primitive experience in general.

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Made available in DSpace on 2015-05-14T12:39:42Z (GMT). No. of bitstreams: 1 ArquivoTotal.pdf: 649429 bytes, checksum: 7abc20777a9d19bd64f2454c13296ffe (MD5) Previous issue date: 2012-03-01 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / The present work aims to analyze Poetamenos s three poems, Augusto de Campos, thought principles of Culture Semiotic, which support the our theoretical and analytical reflections. Each chapter introduces a study of poem, plus relevant theoretical considerations to our investigation. The first chapter brings an intersemiotic dialogue between the poem lygia fingers and Mondrian s pictorial principals, demonstrating our preoccupation to discuss about the interactions among diverse cultures e traditions. In the second chapter, we have like nodal point of our analysis the poem eis os amantes semiotic intercourse with the oriental ideogram, which served to a different layout of the words in the page area. The third and last chapter explains the study of the poem dias dias dias staffed in the interrelations of this art form with the music, that are introduced thought the Webern s music language. / O presente trabalho tem como objetivo a análise de três poemas do livro Poetamenos,de Augusto de Campos, através de princípios da Semiótica da Cultura, que alicerçam asnossas reflexões teóricas e analíticas. Cada capítulo apresenta o estudo de um poema,juntamente com as considerações teóricas pertinentes à nossa investigação. O primeirocapítulo traz um diálogo intersemiótico entre o poema lygia fingers e princípiospictóricos de Mondrian, demonstrando nossa preocupação em discutir sobre asinterações entre culturas e tradições diversas. No segundo capítulo, temos como pontonodal de nossa análise os intercursos semióticos do poema eis os amantes com oideograma oriental, que lhe serviu para uma diferenciada diagramação das palavras noespaço da página. Já o terceiro e último capítulo expõe o estudo do poema dias dias diaspautado nas inter-relações desta modalidade artística com a música, que sãoapresentadas através da linguagem musical de Webern.

In John Fowles's last two novels, he alters his authorial project of discovering freedom for an individual from a social system to how a social system can be changed from within. Using Julia Kristeva's theory of abjection and her interpretation of the semiotic versus symbolic processes of signification, readers can determine how an imbalance in the human signifying process has become corrupted by power. Through Fowles's heroines and semiotic irruptions of the symbolic order in both Mantissa and A Maggot, Fowles reveals weaknesses in the symbolic, and consequently, moments where transformation of a patriarchal, symbolic system can be recognized. These moments of strain on the symbolic are significant because they cause a disruption of the rules and borders that define a social system like patriarchy. By calling attention to these moments, the categorical imperatives that have been imposed on women and perpetuated for the purpose of maintaining power relations can thus be subverted. In Mantissa and A Maggot, Fowles accomplishes a breaking of the boundaries, both within and of the text, by providing a literary space where readers can glimpse the power of the semiotic, the corruption of social conditioning, and gain a new perspective of their own symbolic/social system in the real world. / by Jenifer A. Skolnick. / Thesis (M.A.)--Florida Atlantic University, 2010. / Includes bibliography. / Electronic reproduction. Boca Raton, Fla., 2010. Mode of access: World Wide Web.

Submitted by Filipe dos Santos (fsantos@pucsp.br) on 2018-04-09T13:03:35Z No. of bitstreams: 1 João de Lira Cavalcante Neto.pdf: 48293206 bytes, checksum: 776e4367e7bf723f4083d0763dbac42b (MD5) / Made available in DSpace on 2018-04-09T13:03:35Z (GMT). No. of bitstreams: 1 João de Lira Cavalcante Neto.pdf: 48293206 bytes, checksum: 776e4367e7bf723f4083d0763dbac42b (MD5) Previous issue date: 2018-03-09 / Conselho Nacional de Pesquisa e Desenvolvimento Científico e Tecnológico - CNPq / The urban samba, which is a collective creation born in the midst spaces of black sociability into the communities of Rio de Janeiro at the turn of the 19th century to the 20th century, practiced in the poor backyards and obliviously apart from the modern concepts of originality and authorship, became suitable for the then-rising entertainment industry (characterized by the heyday of the Revue, the consolidation of the music industry, the emergence of radio and the advent of cinema). In this process of continuous traffic, samba and its rhythmic pulse — heirs of large African diaspora cultural ancestries, transmitted by oral tradition — were the object of successive incorporations and elaborations. Sanitized and metamorphosed into an object of the media consumption, elevated to the status of musical symbol by the nationalist project of the “Estado Novo”, samba answered this double, and harassment, developing strategies of a symbolic negotiation, absorbing new thematic of models of expression and textual and sonic possibilities. Backed up in the concept of circularity of Mikhail Bakhtin and, particularly, in Paul Zumthor's reflections on the effects of media coverage of oral culture, this research seeks to investigate, based on the collection of the “Radio Nacional”, today in the custody of the “Museu da Imagem e do Som do Rio de Janeiro” (MIS-RJ), the historical role that the programming of the station played in the phenomenon samba’s resignification, once cursed and peripheral musical gender turned into national hegemonic rhythm / O samba urbano, criação coletiva nascida em meio aos espaços de sociabilidade das comunidades negras cariocas na virada do século XIX para o século XX, praticado nos fundos dos quintais pobres e alheio aos modernos conceitos de originalidade e autoria, passou a ser apropriado pela então nascente indústria do entretenimento (caracterizada pelo auge do teatro de revista, a consolidação do mercado fonográfico, o surgimento do rádio e o advento do cinema). Nesse processo de trânsito contínuo, o samba e sua pulsação rítmica — herdeiros das ancestralidades culturais da grande diáspora africana, transmitida pela tradição oral —, foram alvo de incorporações e reelaborações sucessivas. Higienizado e metamorfoseado em objeto de consumo midiático, alçado à condição de símbolo musical pelo projeto nacionalista do Estado Novo, o samba respondeu a esse duplo assédio desenvolvendo estratégias de negociação simbólica, absorvendo novas temáticas, modos de expressão e possibilidades textuais e sonoras. Lastreada no conceito de circularidade cultural de Mikhail Bakhtin e, particularmente, nas reflexões de Paul Zumthor a respeito dos efeitos da mediatização da cultura oral, esta pesquisa busca investigar, com base no acervo da Rádio Nacional, hoje sob custódia do Museu da Imagem e do Som do Rio de Janeiro (MIS-RJ), o papel histórico que a programação da emissora desempenhou no fenômeno de ressignificação do samba, antes gênero musical maldito e periférico, convertido em ritmo nacional hegemônico

The main topic of this thesis is the role of media in society with respect to the relation between media, society and culture. The thesis aims to reassess selected issues, based on critical theory of media and society, and to verify their relevance in contemporary Czech context. These subjects are theoretically based on several concepts of authors connected with the so called Frankfurt School and on the critical theory developed by their followers. Their opinions are applied on the Czech environment through the perspective of cultural studies because of the shift in social and historical context since the former theories appeared. After media studies left the ideas of technological determinism, their dominant paradigm has changed to social constructivism, being interested in the meaning of media contents. In cultural studies, the meaning is interpreted using tools of structural and semiotic analysis. The same research perspective and method are applied in this thesis. Considering the interpretation of meaning in the representation of art in the program Události v kultuře, we could partly reflect on the mythology and ideology of Czech society in its relation to culture. The primary result of the empirical research is the fact, that media messages about art represent (implicitly or explicitly)...