Thesis (M.S.)--University of Wisconsin--Madison, 1960. / Typescript. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves [128]-134).

Thesis (Ph. D.)--University of California, Santa Cruz, 1994. / Typescript. Includes bibliographical references (leaves 282-293).

Thesis (Ph. D.)--University of Wisconsin--Madison, 1965. / Typescript. Vita. Description based on print version record. Includes bibliographical references (leaves [394]-424).

Submitted by Programa Pos-Graduação Estudos Etnicos Africanos (posafro@ufba.br) on 2013-09-30T14:26:31Z No. of bitstreams: 1 XDissertacao_Nivea_Santana_08_2013.pdf: 2747549 bytes, checksum: 5fe11a77ae53daccf385a6cfc7a05d00 (MD5) / Approved for entry into archive by Rodrigo Meirelles (rodrigomei@ufba.br) on 2013-11-26T16:02:11Z (GMT) No. of bitstreams: 1 XDissertacao_Nivea_Santana_08_2013.pdf: 2747549 bytes, checksum: 5fe11a77ae53daccf385a6cfc7a05d00 (MD5) / Made available in DSpace on 2013-11-26T16:02:11Z (GMT). No. of bitstreams: 1 XDissertacao_Nivea_Santana_08_2013.pdf: 2747549 bytes, checksum: 5fe11a77ae53daccf385a6cfc7a05d00 (MD5) / A presente dissertação se insere no campo da biografia. Tem como pretensão retratar parte da trajetória de Luiza Franquelina da Rocha – Gaiaku Luiza, sacerdotisa do Candomblé da nação jeje Mahi. O seguinte trabalho pretende desvelar o seu papel enquanto mulher negra e religiosa na sociedade baiana, e a sua contribuição para a difusão do conhecimento sobre a religiosidade afro-baiana, em destaque o Candomblé de origem jeje mahi. Obedecerá a um recorte temporal entre 1909 e 2005 compreendendo este período, o seu nascimento e falecimento. Será destacado o contexto histórico, sócio cultural e religioso onde a mesma se insere, as experiências vivenciadas por essa sacerdotisa, a fundação do Humpame Ayono Huntoloji, as tensões e conflitos gerados a partir da fundação do terreiro. E por fim analisar as relações de poder e prestigio religioso. / Centro de Estudos Afro-Orientais

This thesis examines the use of the participatory forum theatre methodology for HIVIAIDS education ina factory setting in Durban, 2003. The paper explores the field of Entertainment Education (EE), which is the strategic use of entertainment forms for health education and behaviour change. This thesis offers an overview of some of the modern theories of behaviour change and how EE is used in development communication. I investigate participatory communication theory, the work of Brazilian educationalist Paulo Freire, and the principles that inform Augusto Boats forum theatre methodology. EE strategies and communication and behavioural change theories inform the design and practice of the PST (problem solving theatre) projec( which is the case study for this thesis. This thesis outlines the process of the PST project, researching the environment at the chosen factory site, and the prevailing knowledge and attitudes towards HIV/AIDS, the creation of an appropriate forum theatre play, as well as observations and comments on the performance at the factory. Final summative research investigates the impact that the forum theatre had on the audience. The conclusion points to the tensions in theory and practice that were highlighted through the PST project, and suggests how forum theatre, as an EE strategy, can be further used in a factory setting. / Thesis (M.A.)-University of Natal, Durban, 2003.

Submitted by Maike Costa (maiksebas@gmail.com) on 2016-06-21T11:50:50Z No. of bitstreams: 1 arquivo total.pdf: 1337450 bytes, checksum: e3fe65ca349fb0f55797ab50469a23b7 (MD5) / Made available in DSpace on 2016-06-21T11:50:50Z (GMT). No. of bitstreams: 1 arquivo total.pdf: 1337450 bytes, checksum: e3fe65ca349fb0f55797ab50469a23b7 (MD5) Previous issue date: 2016-12-17 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / Willy Loman, the protagonist of Arthur Miller’s Death of a Salesman (1949) is a simple, flawed, middle class salesman. Can a common man such as Willy Loman be considered as a tragic hero? Does tragedy still exist in modern drama? Could the dark side of the “American dream” be the external flaw that provoces Loman’s fall? The objective of studying Arthur Miller’s play Death of a Salesman is focused on the possibility whether the protagonist, Willy Loman, can be considered a tragic hero. This study consists of a literary and historical perspective and is of a qualitative-descriptive character. The problem focuses on the question: what could be the influence, or rather, the illusion of the “American dream” that causes Willy’s tragic fall? This study is constructed by three cornerstones: first, the analysis of drama and tragedy from the perspective of Aristotle’s theory; second, the analysis of social drama and ultimately, the historical and literary perspective of the concept of the “American dream” as a reason for Willy Loman’s fall. The results of this study indicate that Death of a Salesman is not a period piece and that this play highlights issues from the past that are still current. It is noticed that Willy Loman meets his inglorious end because he is fooled and deluded by the “American dream”. The development of tragedy, culminating in modern social drama, indicates that a common man can be tragic, exactly because of the fact that Willy is an ordinary human being, which even more provoces feelings such as fear and pity, once what happened to him can happen to anyone of us. / A Morte de um Caixeiro-Viajante (1949) de Arthur Miller tem como protagonista Willy Loman, um simples vendedor fracassado da classe média baixa. Um homem comum como Willy Loman pode ser considerado como herói trágico? Existe ainda tragicidade no drama moderno? Seria o lado sombrio do “sonho americano” a falha trágica externa para a queda de Loman? O objetivo do estudo da peça de Arthur Miller, A Morte de um Caixeiro-Viajante, está centrado na possibilidade do protagonista, Willy Loman, ser considerado um herói trágico. Esta é uma pesquisa que abrange a perspectiva históricoliterária, bibliográfica e de carater qualitativo-descritiva. A problemática trabalhada centra-se na questão: qual seria a influência, ou melhor, a ilusão, do “sonho americano” que provoca a queda trágica de Willy? O estudo é desenvolvido sob três frentes: em primeiro lugar, a análise da dramaticidade e tragicidade sob a ótica da teoria de Aristóteles; em segundo lugar, a análise do drama social e, finalmente, a perspectiva histórico-literária do conceito do “sonho americano” como uma razão para a queda de Willy Loman. Os resultados do estudo apontam na direção de que A Morte de um Caixeiro-Viajante não é uma peça de época, e que esta peça ressalta questões do passado, ainda atuais. Percebe-se que Willy Loman encontra seu fim inglório porque é enganado e iludo pelo “sonho americano”. O desenvolvimento da tragédia culminando no drama social moderno mostra que um homem comum pode ser trágico, pois, o fato de Willy ser um ser humano comum, provoca sentimentos tais como terror e piedade, e estes ficam maiores, uma vez que aconteceu com ele pode acontecer a qualquer um de nós.

Made available in DSpace on 2014-12-17T14:20:27Z (GMT). No. of bitstreams: 1 VioletaMSH_TESE.pdf: 2999264 bytes, checksum: 17887d99e733ff550e080e54e26bd5c3 (MD5) Previous issue date: 2013-03-20 / The tradition and living in African-Brazilian religious spaces, called yards, reveal how dynamic the reproduction and exchange of knowledge are, and that through their worldview, reveal ways of dealing with health and disease. The yards are culturally rich territories, in which people shape concepts, practices, and beliefs about health, disease and forms of healing, passed on from generation to generation through oral tradition. With the advent of HIV/AIDS from the 80s, a new challenge is established in the community of the yards and in the individual trajectories of people affected by the disease, who since an early age participate in this religious practice. The objective of this research is the analysis on the stigma in living with HIV/AIDS in yards of Umbanda in Fortaleza-Cear?, considering the (re)production of social dramas experienced by the community in question. During the investigation we adopted two basic parameters: the first one considers the understanding of the reproduction of stigma (or deteriorated identity) in relation to HIV/AIDS in its socio-historical dimension and its effects in the investigated context (Goffman, 1988). And the second one refers to the creation and reproduction of social dramas as a social experience carried through learning, handling and symbolic performance, which is reproduced in four stages: rupture, crisis, corrective action and reintegration (Turner, 1971) / A tradi??o e a viv?ncia nos espa?os religiosos afro-brasileiros, denominados terreiros, revelam o qu?o din?mico ? a reprodu??o e troca de saberes e conhecimento que, atrav?s de sua vis?o de mundo, revelam formas de lidar com a sa?de e a doen?a. Os terreiros constituem territ?rios ricos, culturalmente, em que pessoas moldam concep??es, pr?ticas e cren?as a respeito da sa?de, das enfermidades e das formas de cura, repassados de gera??o a gera??o, atrav?s da oralidade. Com o advento do HIV/Aids a partir dos anos 80, um novo desafio se estabelece na comunidade dos terreiros e nas trajet?rias individuais das pessoas afetadas pela doen?a que desde idade tenra participam dessa pr?tica religiosa. O objetivo desta pesquisa ? a an?lise sobre o estigma no conv?vio com o HIV/Aids em terreiros de Umbanda na cidade de Fortaleza-Cear?, considerando a (re)produ??o dos dramas sociais vivenciados pela comunidade em quest?o. Durante a investiga??o foram adotados dois par?metros fundamentais: primeiro, que considera a compreens?o da reprodu??o do estigma (ou da identidade deteriorada) em rela??o ao HIV/Aids em sua dimens?o s?cio-hist?rica, e seus efeitos no contexto investigado (GOFFMAN, 1988). E segundo, que se refere ? cria??o e reprodu??o dos dramas sociais, enquanto experi?ncia social realizada atrav?s do aprendizado, manuseio e atua??o simb?lica, que se reproduz em quatro fases: ruptura, crise, a??o corretiva e reintegra??o (TURNER, 1971). PALAVRAS-CHAVE:

Submitted by Luciana Ferreira (lucgeral@gmail.com) on 2018-05-07T12:10:17Z No. of bitstreams: 2 Dissertação - Maria do Socorro Pereira Lima - 2018.pdf: 8884808 bytes, checksum: 9db5d7bd63960f7488937a887cf325c0 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Approved for entry into archive by Luciana Ferreira (lucgeral@gmail.com) on 2018-05-07T12:57:40Z (GMT) No. of bitstreams: 2 Dissertação - Maria do Socorro Pereira Lima - 2018.pdf: 8884808 bytes, checksum: 9db5d7bd63960f7488937a887cf325c0 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Made available in DSpace on 2018-05-07T12:57:40Z (GMT). No. of bitstreams: 2 Dissertação - Maria do Socorro Pereira Lima - 2018.pdf: 8884808 bytes, checksum: 9db5d7bd63960f7488937a887cf325c0 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Previous issue date: 2018-04-09 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / The emphasis of this study relies on the arpillerista women`s movement and their arpilleras, an embroidery technique that served as a tool to speak out against the the military dictatorship of Augusto Pinochet (1915-2016). The movement characterized itself by political resistance, the denouncing and the defense of human rights, inspired by various groups in Chile and in other countries, such as Brazil. The experience of arpilleristas consists in what the British anthropologist Victor Turner would call a “social drama” (TURNER, 2005a, p.182). The goal of this research is to identify the possibilities of artistic practices in the arpilleras as events of cultural performativity in that we can observe the occurrence of a “social drama” according to the authors who have written in this field. The methodology chosen for this study was the cartographic method and the investigation tools we used were: observation, semi-structured interviews with the representatives of the movement of Brazilian arpilleristas (arpilleras do MAB) and of Chilean arpilleristas (Memorarte) as well with as the curator of current expositions in Northern Ireland, Roberta Bacic, and the curator and facilitator of expositions and workshops of arpilleras, Esther Conti; my participation in workshops of production of this technique, as well as photographs taken to register the process. We understand that the importance of this study to the interdisciplinary field of Cultural Performances is valuable because it delves into the social, political and artistic experiences which deals with significant transformations yet to be explored by the academic world at large as well as in our country. / A ênfase deste estudo recai no movimento de mulheres arpilleristas e suas arpilleras, técnica de bordado tradicional que serviu de instrumento de denúncia durante a ditadura militar do general Augusto Pinochet (1915-2006). O movimento se caracterizou pela resistência política, denúncia e defesa dos direitos humanos, inspirando vários grupos no Chile e em outros países como no Brasil. A experiência das arpilleristas se configura no que o antropólogo britânico Victor Turner denomina de “drama social”? (TURNER, 2005a, p.182). O objetivo desta pesquisa foi identificar as possibilidades das práticas artísticas nas arpilleras como eventos liminares de performances culturais, em que se pode observar a ocorrência do “drama social” conforme definem autores do campo. A metodologia transcorreu pelo método cartográfico e os instrumentos de investigação foram: a observação, entrevistas semiestruturadas com representantes de movimentos de arpilleristas brasileiras (arpilleras do MAB) e do Chile (Memorarte), além da curadora de exposições que atua na Irlanda do Norte, Roberta Bacic, e a curadora e facilitadora de exposições e oficinas de arpilleras Esther Conti; minha participação em oficinas de produção da técnica, além de fotografias para registrar o processo. Entendemos que a importância deste estudo para o campo interdisciplinar das Performances Culturais é valiosa por tratar de uma experiência social, política, e artística que envolve transformações significativas, ainda pouco exploradas no meio acadêmico e em nosso país.

This thesis is a theoretical-empirical study divided into nine chapters. After the introduction, the second chapter focuses on the theoretical basis, defines the terms applied theatre (drama) and social theatre, which relates to the empirical part, and presents them in a broader context. The third chapter then provides an overview of projects implemented in the Czech Republic. The fourth chapter defines the immigrant experience and the psychosocial events connected with immigration. The fifth chapter provides a brief overview of the practical use of applied drama in the Czech conditions, in the Archa Theatre. The sixth chapter contains qualitative research on the theme of formative influences of theatre-music projects at the Archa Theatre and on several immigrants who participate in them. The seventh chapter is an empirical survey that profiles the audiences of these performances and describes their motivation for attending theatre projects with social outreach. The final, eighth chapter, provides a concluding overview of the whole work. The ninth chapter contains a bibliography and list of sources. KEY WORDS Applied drama, applied theatre, formative influences, immigration, immigrant, social theatre.

Made available in DSpace on 2014-12-17T13:54:47Z (GMT). No. of bitstreams: 1 JorgeHTLM_DISSERT.pdf: 3836230 bytes, checksum: 8bed85be36e33fe7fd8c7710523e581f (MD5) Previous issue date: 2010-10-10 / Coordena??o de Aperfei?oamento de Pessoal de N?vel Superior / This paper proposes to analyse a situation of social drama involving the Krah? Indians (classified in ethnology as belonging to J?-Timbira group) and the Museu Paulista of the Universidade de S?o Paulo, which we can classify as two distinct social fields. The understanding of the drama is conveyed through an examination of each of these fields and the coming together of both on the basis of the positions taken up, within the network of relationships established during the social process, by actors representing both the Krah? field and what we may call here the academic-administrative field. A multi-sited ethnographic approach is adopted, seeking the complexity of the drama and the positions in the aforementioned network, taking into consideration institutional political projects, personal projects and personal trajectories within a historical perspective. The aim is to encourage discussion of the relationship between the formation of the historical-scientific and ethnographic museums and the practices of the anthropological discipline, as well as the social role of these institutions and the processes of signification of objects belonging to the indigenous material culture / O presente trabalho prop?e a an?lise de uma situa??o de drama social envolvendo a etnia Krah? (classificada na etnologia como pertencente ao grupo J?-Timbira) e o Museu Paulista da Universidade de S?o Paulo, os quais classificamos como dois campos sociais distintos. O entendimento do drama se objetiva por meio do exame de cada um desses campos e da aproxima??o de ambos com base nas posi??es assumidas, dentro da rede de rela??es estabelecidas durante o processo social, por atores representativos tanto do campo Krah? quanto do que convencionamos chamar aqui de campo acad?mico-administrativo. ? realizada uma abordagem etnogr?fica multi-situada, que busca complexificar a constru??o do drama e as posi??es na referida rede, levando-se em considera??o projetos pol?ticos institucionais, projetos pessoais e trajet?rias de vida inscritos em uma perspectiva hist?rica. Pretende-se levantar discuss?es sobre a rela??o da forma??o dos museus hist?rico-cient?ficos e etnogr?ficos com pr?ticas da disciplina antropol?gica, bem como o papel social dessas institui??es e os processos de significa??o de objetos de cultura material ind?gena