O Modelo Padrão (MP) da física de partículas fornece uma descrição extremamente bem sucedida de todos os dados experimentais atuais. No entanto, temos razões para esperar que ele não seja válido até escalas de energia arbitrariamente altas. No MP a massa do bóson de Higgs é quadraticamente sensível a correções radiativas, sofrendo de grandes problemas de ajuste fino. Isso gera o chamado problema da hierarquia de gauge, cuja solução natural requer nova física na escala TeV. O MP também não fornece nenhuma explicação para a grande hierarquia de massas e ângulos de mistura dos férmions. Os problemas de hierarquia podem ser resolvidos naturalmente em teorias com uma dimensão extra curva. No entanto, a sua versão mais simples viola sabor a nível árvore, em conflito com os dados. Nesta tese investigaremos modelos quadridimensionais que descrevem a física na escala TeV obtidos da discretização de teorias em cinco dimensões no espaço AdS5, segundo o procedimento de desconstrução dimensional. As hierarquias de gauge e das massas dos férmions são geradas naturalmente como no modelo extra-dimensional, satisfazendo ainda os vínculos de sabor e de precisão eletrofraca. Estudaremos também um modelo desconstruído em que o Higgs é um pseudo bóson de Nambu-Goldstone, a fim de obter um Higgs naturalmente leve e dinamicamente localizado / The Standard Model (SM) of particle physics provides an extremely successful description of all current experimental data. However, we have reasons to expect that it cannot be valid up to arbitrarily high energy scales. In the SM the Higgs boson mass is quadratically sensitive to radiative corrections and, hence, suffers from a severe fine-tunning problem. This creates the so-called gauge hierarchy problem, the natural solution of which requires new physics at the TeV scale. The SM also doesnt provide any explanation for the large hierarchy of fermion masses and mixing angles. The hierarchy problems can be naturally solved in theories with a warped extra dimension. However, their simplest version violates flavor at tree level, conflicting with experimental data. In this thesis we investigate four dimensional models that describe physics at the TeV scale obtained from a coarse discretization of five dimensional theories in AdS5 space, by the dimensional deconstruction procedure. The gauge as well as the fermion mass hierarchies are naturally generated in the same manner as in the extra-dimensional model, while also satisfying bonds from flavor physics and precision electroweak data. We also study a deconstructed model in which the Higgs is a pseudo Nambu-Goldstone boson, with the motivation of obtaining a naturally light and localized Higgs.

O presente trabalho visa entender como o rádio se distingue dos demais sons do mundo. A hipótese aqui formulada é a de que o rádio, em sua definição, é uma linguagem, e não um aparelho. Dessa maneira, há a busca por uma caracterização da linguagem radiofônica seguindo as ideias implicadas em uma Estética da Linguagem (Derrida e antiessencialistas como Ziff, Weitz e Kennick). Com isso, há um estudo detalhado do rádio em seu jogo de linguagem (Wittgenstein) e em seus diferendos (Lyotard), considerados aqui enquanto parergon e ergon, ou seja, enquanto recorte e modelo operacional da linguagem em sua intersecção com o mundo. Para a investigação do jogo de linguagem, foram utilizados conteúdos relacionados à Filosofia Analítica, à Lógica Algébrica e à Teoria dos Jogos para desenvolver um método analítico denonimado Jogo Lógico, voltado para o estudo de jogos de linguagem comunicacionais. Já para a investigação dos diferendos, foram utilizadas as ideias pragmáticas acerca da performatividade e da lógica ilocucionária (Austin e Searle) para analisar os gêneros radiofônicos (a saber: musical, radiojornalismo, esportivo, variedades [talk radio], humorístico, ficção e publicidade). Essas duas investigações formam aquilo que é chamado aqui de Gramática do Rádio - considerando o conceito wittgensteiniano de gramática -, o ponto nodal que nos permite caracterizar o rádio enquanto linguagem. / The present work aims to understand how the radio distinguishes itself from other sounds of the world. The hypothesis formulated here is that the radio, in its definition, is a language, not a machine. Thus, there is the search for a characterization of radio\'s language following the ideas involved in an Aesthetics of Language (Derrida and anti-essentialists like Ziff, Weitz and Kennick). Here, there is a detailed study of the radio in its language-game (Wittgenstein) and their differends (Lyotard), considered in this work as parergon and ergon, i.e. as the cut and the operational model of language in its intersection with the world. For the investigation of the language-game, we used content related to Analytic Philosophy, to Algebraic Logic, and to Game Theory to develop an analytical method called Logic Game, dedicated to the communicative language-games\' study. As for the investigation of differends, we used the pragmatic concepts about the performative and illocutionary logic (Searle and Austin) to analyze the radio genres (ie: music, radio journalism, sports, talk radio, humor, fiction and advertising). These two studies form what is called here the Radio Grammar - considering the Wittgensteinian concept of grammar - the key point that allows us to characterize the radio as a language.

As the title of this essay suggests, Paul Auster’s 2003 novel Oracle Night is studied with regard to what is here considered to be a search for a way out of estrangement. This search, as narrated from the point of view of the protagonist, is followed by a certain recognition of the limits of human existence – which may be essentially meaningless but is nevertheless portrayed as an intentional state of being, not least through the act of writing as a means of subjectification. Thus, the novel is read with a special focus on the thematic representation of writing and human subjectivity. These overarching themes may be approached with reference to two different philosophies or theoretical positions – postmodernism and existentialism. The purpose of the essay is to study the extent to which Oracle Night may be understood in terms of an existentialist (reconstructive) critique of, or challenge to, a postmodernist (deconstructive) perspective. In order to follow this line of inquiry, the analytic method rests on narrative thematics. This kind of narratological study answers the question what Auster’s novel is about and in what ways the theoretical perspectives in question are expressed in the novel. Thematic motifs are examined within the frame of a six-step model of narrative units. These units are based on Carsten Springer’s (2001) elaboration on the theme of identity crisis in Auster’s fiction and made it possible to put different motifs into a context and convey the point of view of the text in a systematic way.

Made available in DSpace on 2017-07-21T20:31:35Z (GMT). No. of bitstreams: 1 CARINE SCHEIFER.pdf: 4030200 bytes, checksum: a17f82c10aafc178342dc3f47ffff908 (MD5) Previous issue date: 2017-04-26 / The present research focused on the specificities of the Theory of Registers of Semiotic Representation on Geometry for the elaboration of a compiled framework of categories for cognitive analysis of questions. It was based on the methodology of Content Analysis. From this picture, it was possible to point which aspect of the referred theory concerning the learning of Geometry is contemplated in examples of Prova Brasil applied to the elementary school and high school. The objectives sought were:indicating how this theory may theoretically subsidize the organization of the Geometry teaching; evidence, in examples of questions of the Prova Brazil, the occurrence of Duval's propositions relating to the ideas of Geometry; and point out, possible referrals to a teaching with the cognitive approach of the theory. The results of the analyzes allowed to infer that the cognitive specificities are contemplated in superficial andincomplete perspectives, and according to the level of teaching of the questions some views or apprehensions are not required. The category table may be extended for analyzes of other types of questions or resolutions, it allows a broader view of what is being valued or neglected in the teaching of Geometry. / A presente pesquisa se debruçou sobre as especificidades da Teoria dos Registros de Representação Semiótica sobre a Geometria para elaboração de um quadro compilado de categorias para análise cognitiva de questões. Fundamentou-se na metodologia de Análise de Conteúdo. A partir deste quadro foi possível apontar quais aspectos da referida teoria em relação à aprendizagem da Geometria está contemplado em exemplos de questões da Prova Brasil para o ensino fundamental e médio. Os objetivos buscados foram: apontar de que modo esta teoria pode subsidiar teoricamente a organização do ensino da Geometria; evidenciar, em exemplos de questões da Prova Brasil, aocorrência das proposições de Duval relativas às ideias da Geometria; e apontar, possíveis encaminhamentos para um ensino com o enfoque cognitivo da teoria. Os resultados das análises permitiram inferir que as especificidades cognitivas são contempladas de maneira superficial e incompleta, e conforme o nível de ensino das questões alguns olhares ou apreensões não são requeridos. O quadro de categorias pode ser estendido para análises de outros tipos de questões ou resoluções, pois permite uma visão mais ampla do que está sendo valorizado ou deixado de lado no ensino.

Cette thèse interroge la typographie contemporaine au prisme du postmodernisme des années 1980 jusqu'au début des années 2000 afin de montrer que celle-ci va au-delà du simple outil de communication visuelle et de technique d'impression. Dans ce but, cette recherche revient sur l'histoire de la typographie pour en soulever les problématiques récurrentes (idéal de beauté, lisibilité, pluridisciplinarité) retravaillées et ré-étudiées par le postmodernisme. Outre les effets stylistique, le postmodernisme se pose en opposition et réaction au modernisme qu'il remet en cause en tant que modèle dominant. Les problématiques qui découlent de cette remise en question, interrogent la légitimité du designer ainsi que sa place dans la société, dans le processus de création. La typographie et son statut sont parties prenantes de ce débat qui permet de l'extraire du simple objet imprimé. Cette thèse interroge donc la possibilité de considérer la typographie comme objet esthétique et critique qui pense et se pense, à partir des discussions et travaux de cette période, ainsi qu'en s'appuyant tout particulièrement sur la recherche en design. Cette démarche permet également de mettre en perspective la recherche et les savoirs actuels autour de la typographie afin de faire émerger les paradoxes de cette dernière et d'aboutir à sa redéfinition. / This thesis is about contemporary typography in the light of postmodernism from the eighties to the early years of the new millenium in order to show that it goes beyond the mere tool of visual communication and printing technique. So the research relates the history of typography and raises the recurrent issues (ideal of beauty, lisiblility, multi-disciplinarity) worked out and studied by postmodernism. Beside the stylistic effects, postmodernism stands out by reaction to modernism which it questions as a prevailing pattern. The deriving problems raise the question of whether the designer is legitimate and what his/her position in society is, in the creative process. Typography and its status are part and parcel of this issue which helps take it from the mere printed object. Thus, this thesis raises the question of whether it is possible to consider typography as an aesthetic and critical object which thinks, from the talks and works of that period, by particularly drawing upon research in design. This process also helps put into perspective the analysis and current knowledge around typography in order to develop its paradoxes and lead to re-define its goal.

A ideia central da dissertação é a analise da tributação sob uma ótica de justiça. Teorias contemporâneas de justiça são apresentadas para compor o arcabouço teórico do trabalho. São apresentadas a teoria de justiça de John Rawls, que enfatiza o tema da redistribuição de rendas, a concepção de justiça de Nancy Fraser, que enquadra a categoria filosófica do reconhecimento como fundamental e sendo uma dimensão irredutível da justiça, assim como a visão de Jaques Derrida sobre a ideia de justiça. Princípios constitucionais tributários são introduzidos com o propósito de estabelecer esta relação entre a justiça abstratamente considerada e a análise concreta de instituição de um imposto. São analisadas possíveis influências das teorias apresentadas nos princípios constitucionais tributários, principalmente no princípio da capacidade contributiva. E será também analisado o Imposto sobre Transmissões Causa Mortis e Doações (ITCMD) sob a ótica de justiça conforme as teorias apresentadas. As conclusões apresentadas fortalecem a tese de que os atuais contornos e limites impostos à instituição do ITCMD no Brasil enfraquecem os princípios constitucionais relacionados a este imposto, quando estes são vistos à luz das teorias contemporâneas de justiça apresentadas. / The main purpose of this essay is to analyze tax justice. Contemporary justice theories are brought forward to articulate the theoretical outline of this work. Are presented The Theory of Justice of John Rawls - which provides emphasis on income distribution-, Nancy Frasers justice conception - which fits the philosophical aspect of recognition as fundamental and an irreducible dimension of justice-, and Jacques Derridas vision about the concept of justice. Constitutional tax principles are introduced with the purpose of establishing a link between the abstract consideration of justice and a concrete analysis of introducing a tax. Also, the possible influence that the theories above had on the constitutional tax principles are analyzed, mainly on the ability to pay principle. It will be also analyzed the case of Inheritance and Donation Tax from a justice perspective. The conclusions brought forward strengthen the thesis that the current loopholes and imposed limits to the institution of the ITCMD in Brazil weaken the constitutional principles related to this tax when they are viewed in contrast with the contemporary justice theories presented.

La tension politique qui se développait en Colombie depuis les années 40 contre les idéologies conservatrices et les libéraux officieux et dissidents après les élections de 1946, a déclenché un sentiment de mécontentement qui a éclaté le 9 avril 1948 avec l’assassinat de Jorge Eliecer Gaitan, dirigeant libéral à Bogota. Cet événement, connu sous le nom El Bogotazo, provoqua des manifestations violentes, des meurtres, des agressions, de l’harcèlement, de la terreur et des troubles dans tout le pays. Comme conséquence, au cours des années suivantes, les guérillas libérales se sont organisées et pendant une décennie ont laissé plus de 200.000 morts dans le pays et ont provoqué des milliers de migrations rurales vers les grandes villes. Plus tard, certains dirigeants ont formé les guérillas communistes, après l'assassinat de plusieurs ex commandants démobilisés, qui perpétuaient le conflit armé dans le pays, dont certains survivent aujourd'hui. Les FARC, Forces Armées Révolutionnaires de Colombie-Armée Populaire, les plus anciennes du monde, puissantes et nombreuses en Colombie, sont actuellement en pourparlers de paix avec le gouvernement national à La Havane, Cuba. Ces pourparlers de paix sont dans leurs phases finales. L'ELN, l’Armée de Libération Nationale, le deuxième groupe de guérilla en importance et du nombre de combattants en Colombie, est en approchements préliminaires, tendant à entamer des pourparlers de paix avec le gouvernement. Ce conflit a produit un nombre immense de victimes (¡Basta ya!: 2013) et dans ce contexte, les dramaturges et activistes Patricia Ariza et Nohora Ayala proposent un projet artistique qui interroge les actions violentes du pays à partir de la perspective de la femme dans les conflits armés. Leurs productions s’inscrivent dans la création collective du Teatro La Candelaria, où la recherche s’infitre dans l’art de la scène, en déconstruisant la réalité socio-politique et en faisant parler les témoignages. Ainsi, ce travail se prendre sur six œuvres qui explorent les liminalités politico-corporelles qui se déconstruisent dans la mise en scène en tenant compte des réseaux complexes qui sont tissés à partir des femmes et les multiples Antigones créés dans le contexte historique du pays. En outre, l’analyse examine la notion de la corporalité à partir des corps non-absents (victimes de disparition forcée) qui montrent la déterritorialisation des corps dépossédés. Le premier chapitre de la thèse traitée propose une approche théorique centrée sur les concepts de la représentation, du théâtre, de la performance et de la théâtralité politique. Le chapitre mobilise également les notions de corps sans organes et corps dépossédés pour éclairer la coupure épistémologique entre le corps matériel et le corps des disparus dépossédés. Le deuxième chapitre analyse trois œuvres de Patricia Ariza: Antigone (2006), Mujeres en la Plaza (2009) et Somma Mnémosyne (2013), lesquelles montrent un exercice d’artivisme et d'engagement politique par rapport à l'histoire moderne de la Colombie. Le troisième chapitre présente trois œuvres de Nohora Ayala: Fémina ludens (1995), Piel (2010) et Rosas secas (2012) , où l’exploration du corps met en évidence les traces de la mémoire historique du pays. Finalement, le dernier chapitre propose un questionnement face à la réception du spectateur et la théâtralité du pays. / The political tension that developed in Colombia since the 40s, between conservative ideologies and, the divergency in the official liberal party and dissident liberal party, brought out a feeling of disagreement that collapsed when Jorge Eliecer Gaitan, leader of dissident party, was killed in Bogota on 9 April 1948. This event, well known as The Bogotazo, unchained violent protests, murders, assaults, harassment, terror and unrest throughout the country. As a result, in the subsequent years the liberal guerrillas were formed and over a decade the conflict ensued in more than 200,000 murders in the country and thousands of rural migrants in the cities. Later, some leaders formed the communist guerrillas who perpetuated the armed conflict in the country, some of them are known today as FARC, the oldest group of guerillas in the world and the most powerful in Colombia, and ELN. Actually, the FARC are in the final negotiation for peace in Havana, Cuba. This violent historical context has produced a staggering statistics of victims (Basta ya!, 2013), in which the artists and activist dramatists, Patricia Ariza and Nohora Ayala propose a new aesthetic that questions the violent actions of the country from women’s perspective. Their theatrical productions are part of the Collective Creation in the Teatro La Candelaria, where the research is faced with the aesthetics of the scene and confronted with the deconstruction of reality counted, telling or testimonials. This dissertation examines six plays by Ariza and Ayala whose political and bodily liminalities deconstruct dominant ideas of history, while illuminating the complex networks surrounding the women and the Antigones produced by the country. I explore the materiality of non-absent bodies (victims of forced disappearance) which exposes the deterritorialization of dispossessed bodies. The first chapter of the thesis discerns recent theoretical approaches to the concepts of representation, theater, performance and political theatricality which I have found pertinent for my examination of the work by Ariza and Ayala. At the same time, I elaborate on the notions of the body without organs and of dispossessed bodies in order to shed light on the epistemological break between the material present body and dispossessed bodies of the disappeared. In the second chapter, I analyze three plays by Patricia Ariza: Antigone (2006), Mujeres en la Plaza (2009) and Somma Mnemosyne (2013), which evince an exercise in artivism and engagement with the political history of Colombia. The third chapter presents three plays of Nohora Ayala: Fémina Ludens (1995), Piel (2010) and Rosas Secas (2012), where the body is part of a radical practice of questioning colombian historical memory. Finally, the concluding chapter examines the role of political and corporeal theatricality in engaging spectators’ critical participation in the work of Ariza and Ayala.

O Modelo Padrão (MP) da física de partículas fornece uma descrição extremamente bem sucedida de todos os dados experimentais atuais. No entanto, temos razões para esperar que ele não seja válido até escalas de energia arbitrariamente altas. No MP a massa do bóson de Higgs é quadraticamente sensível a correções radiativas, sofrendo de grandes problemas de ajuste fino. Isso gera o chamado problema da hierarquia de gauge, cuja solução natural requer nova física na escala TeV. O MP também não fornece nenhuma explicação para a grande hierarquia de massas e ângulos de mistura dos férmions. Os problemas de hierarquia podem ser resolvidos naturalmente em teorias com uma dimensão extra curva. No entanto, a sua versão mais simples viola sabor a nível árvore, em conflito com os dados. Nesta tese investigaremos modelos quadridimensionais que descrevem a física na escala TeV obtidos da discretização de teorias em cinco dimensões no espaço AdS5, segundo o procedimento de desconstrução dimensional. As hierarquias de gauge e das massas dos férmions são geradas naturalmente como no modelo extra-dimensional, satisfazendo ainda os vínculos de sabor e de precisão eletrofraca. Estudaremos também um modelo desconstruído em que o Higgs é um pseudo bóson de Nambu-Goldstone, a fim de obter um Higgs naturalmente leve e dinamicamente localizado / The Standard Model (SM) of particle physics provides an extremely successful description of all current experimental data. However, we have reasons to expect that it cannot be valid up to arbitrarily high energy scales. In the SM the Higgs boson mass is quadratically sensitive to radiative corrections and, hence, suffers from a severe fine-tunning problem. This creates the so-called gauge hierarchy problem, the natural solution of which requires new physics at the TeV scale. The SM also doesnt provide any explanation for the large hierarchy of fermion masses and mixing angles. The hierarchy problems can be naturally solved in theories with a warped extra dimension. However, their simplest version violates flavor at tree level, conflicting with experimental data. In this thesis we investigate four dimensional models that describe physics at the TeV scale obtained from a coarse discretization of five dimensional theories in AdS5 space, by the dimensional deconstruction procedure. The gauge as well as the fermion mass hierarchies are naturally generated in the same manner as in the extra-dimensional model, while also satisfying bonds from flavor physics and precision electroweak data. We also study a deconstructed model in which the Higgs is a pseudo Nambu-Goldstone boson, with the motivation of obtaining a naturally light and localized Higgs.

Submitted by admin tede (tede@pucgoias.edu.br) on 2018-05-28T16:57:42Z No. of bitstreams: 1 URSULA CONRADO.pdf: 1072931 bytes, checksum: 674e291fef1486dee5ff2e95b7916601 (MD5) / Made available in DSpace on 2018-05-28T16:57:42Z (GMT). No. of bitstreams: 1 URSULA CONRADO.pdf: 1072931 bytes, checksum: 674e291fef1486dee5ff2e95b7916601 (MD5) Previous issue date: 2018-02-23 / There is an inventive procedure, a writing approach in the novel Dom Casmurro by Machado de Assis that works as backbone for the deconstruction of the traditional novel and or the incorporation of the modernity. The composition of the work transports the reader to the instances within the concept of the modern novel in a different point of view, far from the classic mimetic. This derealization process and the way that the art presents goes through, renounces the place of representation and acquires the production way, besides the art is not recognized only as a motif.The form that Machado de Assis build and installs the narrator picture and how he deals with the language work, approximating and connecting his discourse to the others artistic systems, especially to the eccentric and fantastic pieces of the surrealist painter René Magritte;The pictures that Machado de Assis presents in the narrative and the digressives charts invite the readers to take a trip into the inner work itself and to the human being condition. It’s remarkable all the associations both of the plastic and narrative discourse shows the dissociation and the reduction of the being and the narratives procedures / O procedimento inventivo de Machado de Assis no romance Dom Casmurro tem como espinha dorsal a desconstrução do romance tradicional e a incorporação da modernidade. O modo composicional da obra leva o leitor às instâncias da concepção do romance moderno e o modo de construção dentro de uma visão mimética distinta em relação à mimética clássica. O processo de desrealização e o caminho que a arte percorre para abandonar o seu lugar de representação e adquirir um caráter de produção deixando, então, de ser reconhecida apenas tematicamente.A forma que Machado de Assis constrói e instaura a imagem do narrador e como opera no trabalho com a linguagem, aproxima seu discurso com outros sistemas artísticos e sobretudo com a insólita e fantástica articulação plástica do pintor surrealista René Magritte.Os quadros que Machado de Assis apresenta durante a narrativa e os cortes digressivos convidam o leitor a uma viagem para o interior não só da própria obra, mas na própria condição humana. É notável as associações tanto no discurso plástico como no discurso narrativo que mostram a dissociação e a redução tanto do ser humano quanto dos procedimentos narrativos.

Made available in DSpace on 2016-04-26T18:17:52Z (GMT). No. of bitstreams: 1 Marlise Borges.pdf: 35448949 bytes, checksum: 00ce6b2dc00ce0b5a63605fae0304dd5 (MD5) Previous issue date: 2009-05-07 / This research has proposed an analysis of the creation and the recreation process in the verb-sonorous work Tuyabaé Cuaá (The knowledge of the Ancient Pajés), whose author is the composer and writer Walter Freitas, born in Pará, Brazil a work which reverberates the Amazon culture and the author s fundamental knowledge of it. Its objective was to observe the process of cultural translation and the transformative mixes preset at the work, pointing the new ensemble which intercommunicates since ways, presuppositions and vehicles of a complex work of art. About notions of memory and métissage , the thoughts of authors like Jerusa Pires Ferreira and Amálio Pinheiro were utilized, moreover theoretical works such as Jesus Martin Barbero s and Serge Gruzinski s, that think the métissage and the relations between communication and culture in Latin America as a place of multi-confluence of diverse elements. The Semiotics of the Culture, beyond Iuri Lotman, Aron Gurévitch, and also using the party concept formulated by Mikhail Bakhtin, has grounded the followed courses, also providing a backup to its development. Tuyabaé Cuaá fulfils its function of recuperate and activate some kind of collective memory. Besides the intersemiotics translation, other recreation and translation processes were realized since Walter Freitas work. That s another phonographic register, Medievo Cabano . Therefore, it was presented, such as complementary experience of this paper, a sonorous re-lecture, funding the composer music with elements from medieval, baroque and renaissance period elements. It was also realized an experience in the visual creative field: the sense of sound has turn into image (eight paintings), established above the poetic and musical universe of Walter Freitas. To finalize, it was elaborated a proposition of a documentary work which, sharing new esthetics and diverse languages, could fit the kind of cinematographic production that, in the future, will be able to considerate the dimensions that point to ethnographic, overall to its deconstruction, and to the elements of the autobiography. Into this, everything also remits to subjective and reflexive discourses about the world / Esta pesquisa procurou fazer uma análise do processo de criação e recriação na obra de arte verbo-sonora Tuyabaé Cuaá (A Sabedoria dos Antigos Pajés), de autoria do compositor e escritor paraense Walter Freitas, uma obra que repercute a amazonidade e o conhecimento fundamental desta cultura. Teve como objetivo observar o processo de tradução cultural e as mesclas transformadoras, apontando o novo conjunto que se intercomunica, a partir de caminhos, pressupostos e veículos de uma obra de arte complexa. Sobre noções de memória e mestiçagem, foram utilizados pensamentos de autores como Jerusa Pires Ferreira e Amálio Pinheiro e de teóricos como Jesus Martin Barbero e Serge Gruzinski, que pensam a mestiçagem e relações entre comunicação e cultura na América Latina, como um lugar de multiconfluências de elementos diversos. A semiótica da cultura, através de Iuri Lotman, Aron Gurévitch e também utilizando a noção da festa em Mikhail Bakhtin fundamentaram os caminhos, dando apoios ao seu desenvolvimento. Tuyabaé Cuaá cumpre, portanto, sua função de recuperar e ativar certa memória coletiva. Além da tradução intersemiótica, outros processos de recriação e tradução foram realizados, partindo da obra de Walter Freitas. Trata-se de outro registro fonográfico, Medievo Cabano . Assim, esteve presente, como experiência complementar deste trabalho, uma releitura sonora, fundindo a música do compositor com elementos dos períodos medieval, renascentista e barroco. Foi também realizada uma experiência no campo do criativo visual. Aí, o sentido do som transformou-se em imagem (oito telas), plasmadas a partir do universo poético e musical de Walter Freitas. Para terminar, foi pensada uma proposta de documentário que, compartilhando novas estéticas e várias linguagens, pudesse se encaixar no tipo de produção cinematográfica que venha futuramente a considerar as dimensões que apontam para o etnográfico mas sobretudo para a sua desconstrução e elementos do autobiográfico. Aí tudo remete também para discursos subjetivos e reflexivos sobre o mundo