The performative requirements of contemporary buildings often eclipse their potential for a formal, elemental beauty. This thesis places a primacy on the element of walls as a means to study fabrication and fragments that unfurl into a folly at Heritage Park. The act of making simultaneously tests a constructive idea and imbues it with a physical presence. Embodied within the forthcoming fragments are ideas and questions that resisted the enclosure of intentionality. As the consequences of their presence unfolded, a space emerged. This proposition offers but one interpretation of the architectural fragments - take from each what you will. / Master of Architecture / The performative requirements of contemporary buildings often eclipse their potential for a formal, elemental beauty. This thesis places a primacy on the element of walls as a means to study fabrication and fragments that unfurl into a folly at Heritage Park.

In the topical abundance or superabundance of Shakespeares King Lear, almost all major thematic patterns, images, and symbols are linked to Lears enigmatic companion, the Fool. The Fool surpasses Shakespeares other fools when he is given a major role, yet he is more than a major figure: he is the pivot for action and interpretation. The presence and the importance of the Fool are emphasized further when almost half of Lears characters are referred to as fools. The stark, barren hinterland of Lear is shot through by the conspicuously forceful presence of folly. The fools propensity for misrule coupled with his centrality to the text results in a dramatic structure that itself breaks the rules. King Lear is the most generically puzzling play in Shakespeares corpus. Lear, a tragedy, draws upon comedy, history, romantic comedy, romance, and morality in indefinable and unparalleled ways. Just as form is juxtaposed in Lear, religious systems or identities are also contrasted. Pagan, Christian, existential, nihilistic, and moralistic interpretations are readily discernable. The fool, a potential nexus for structural questions, may also be at the heart of the question of spiritual identity. To locate the fool at the source of both structural and spiritual problems, and to discern why the fool factors so prominently especially in a play viewed as Shakespeares darkest, are the two endeavours of this thesis.

In the topical abundance or superabundance of Shakespeares King Lear, almost all major thematic patterns, images, and symbols are linked to Lears enigmatic companion, the Fool. The Fool surpasses Shakespeares other fools when he is given a major role, yet he is more than a major figure: he is the pivot for action and interpretation. The presence and the importance of the Fool are emphasized further when almost half of Lears characters are referred to as fools. The stark, barren hinterland of Lear is shot through by the conspicuously forceful presence of folly. The fools propensity for misrule coupled with his centrality to the text results in a dramatic structure that itself breaks the rules. King Lear is the most generically puzzling play in Shakespeares corpus. Lear, a tragedy, draws upon comedy, history, romantic comedy, romance, and morality in indefinable and unparalleled ways. Just as form is juxtaposed in Lear, religious systems or identities are also contrasted. Pagan, Christian, existential, nihilistic, and moralistic interpretations are readily discernable. The fool, a potential nexus for structural questions, may also be at the heart of the question of spiritual identity. To locate the fool at the source of both structural and spiritual problems, and to discern why the fool factors so prominently especially in a play viewed as Shakespeares darkest, are the two endeavours of this thesis.

Thesis (M. Div.)--St. Vladimir's Orthodox Theological Seminary, 1990. / Includes bibliographical references (leaves 72-73).

Thesis (M. Div.)--St. Vladimir's Orthodox Theological Seminary, 1990. / Includes bibliographical references (leaves 72-73).

Made available in DSpace on 2014-06-11T19:35:04Z (GMT). No. of bitstreams: 0 Previous issue date: 2013-02-22Bitstream added on 2014-06-13T19:05:11Z : No. of bitstreams: 1 andrade_mc_dr_assis.pdf: 1430208 bytes, checksum: f003112ad65505a6cf33409c4c76991b (MD5) / Partindo da premissa de que o trabalho constitui-se, no transcurso da história da loucura, como um dos eixos norteadores das práticas de atenção e cuidado em Saúde Mental tenciona-se, através desta tese, discutir e produzir conhecimento sobre esse tema, assim como operar como intercessor no intercâmbio entre Saúde Mental e Economia Solidária em curso no Brasil. Para isso, realizamos pesquisa bibliográfica sobre a relação entre loucura e trabalho no nascimento da Psiquiatria com o advento do tratamento moral; na Reforma Psiquiátrica Francesa tanto na Psiquiatria Social e de Setor quanto na Psicoterapia Institucional; na Reforma Psiquiátrica Italiana e sua Psiquiatria Democrática; na Reforma Psiquiátrica Brasileira e sua Atenção Psicossocial. Além disso, realizamos uma intercessão-pesquisa tendo como recurso metodológico o Dispositivo Intercessor em suas duas inscrições: como práxis de intercessão (DI) e como Meio de produção de conhecimento (DIMPC). A práxis de intercessão foi realizada em um Centro de Atenção Psicossocial I no município de Nova Esperança/PR. O campo de intercessão foi constituído por quatro sujeitos da experiência da loucura interessados em participar das oficinas de geração de trabalho e renda (OGTR) que definiram produzir, coletivamente, ganchos para lona de caminhão a serem comercializados no território fora do CAPS. Construindo, assim, uma práxis produtiva no âmbito do Arte em Oficina – um projeto em ação coletiva. Entretanto, o conhecimento produzido nessa tese não se refere ao campo de intercessão em si, mas sim à intercessão operada por mim como intercessora encarnada junto a este. Tendo em vista que o fazer-saber dos sujeitos da práxis produtiva pertence a eles mesmos, o que cabe ao intercessor-pesquisador é a tarefa de produzir conhecimento sobre sua própria... / Based on the assumption that work has guided Mental Health attention and care practices throughout the history of madness, this thesis aims at discussing and producing scientific knowledge on that theme as well as operating as an intercessor in the exchange between Mental Health and Solidarity Economy practices in Brazilian reality. In order to do so, a series of theoretical studies on the relation between madness and work has been developed. It has considered the relation between madness and work produced at the birth of Psychiatry in the beginning of the development of the moral treatment approach; during the Psychiatric Reform in France, including Social and Sector Psychiatry as well as in Institutional Psychotherapy; during the Psychiatric Reform in Italy and the Psychiatric Reform in Brazil as well as its Psychosocial Attention. Furthermore, an intercession-research has been carried out. The device of intercession has been used as a methodological resource in its two approaches: as intercession praxis (DI) of the intercessor embodied in the intercession field and as means of knowledge production (DIMPC). The intercession praxis has been carried out at the Psychosocial Attention Center I in the city of Nova Esperança, state of Paraná. The intercession field has been produced by the four subjects involved in the madness experience who have been interested in taking part in the work and income generation workshops (OGTR) and who have agreed to collectively produce truck canvas hooks which shall be commercialized outside the CAPS territory. Such action has, therefore, constituted a productive praxis within the scope of Arte em Oficina – um projeto em ação coletiva (a collective action project). However, the knowledge which has been produced does not refer to the intercession field in itself, but to the intercession developed by me... (Complete abstract click electronic access below)

The design, construction, speculation, and observation of a small wooden tower. / Master of Architecture

This thesis illustrates and analyses the appeal of folly to writers of, principally, the late- Soviet era (1960s-1980s). This appeal expressed itself not only in numerous portrayals of evidently foolish characters, but also in the widespread use of first-person narrative in which various masks of folly are worn by narrators to assert their detachment from societal norms and from the scholarly and 'objective' discourse which Soviet culture sought to promote. These tendencies towards folly and subjectivity are examined in their various historical, religious and philosophical implications. Parallels are sought both in the Russian literarycultural heritage, which has accorded exceptional importance to various models of folly, and in West-European literary traditions, especially that established by Erasmus. It is argued that, while the Russian paradigm of holy foolery (yurodstvo) has undoubtedly retained its importance as a literary theme and code, loose analogies with yurodstvo may lead to misleading or simplistic interpretations. In the Introduction I outline further my aims and methodology, while also providing an account of the cultural and literary background to the topic, before and after 1917. In Chapter One I discuss fiction by Vladimir Voinovich, Vasily Shukshin and Venedikt Erofeev, in order to indicate aspects of the general shape of my topic in the given period: how the 'praise of folly' developed and gained in complexity at the end of the 1960s. The bulk of the thesis (Chapters Two to Five) is devoted to more detailed casestudies of the work of three significant, but critically neglected, writers: Yuz Aleshkovsky, Yury Mamleev and the philosopher, Dmitry Galkovsky. The varied 'fool narratives' of each of these writers manifests, in contrasting ways, a profound and paradoxical engagement with the mind, wisdom and learning. If Aleshkovskian folly develops in a sharply drawn historical context (Stalinism and its aftermath) and bears a markedly Christian flavour, Mamleev seeks to exclude Soviet and Christian thematics entirely, seeking deliverance from thought and reason. Dmitry Galkovsky, meanwhile, assesses the entire history of the Russian intelligentsia's love affair with folly from his own radically subjective and unreliable perspective in his 'philosophical novel' Beskonechnyi tupik. The Epilogue is devoted to Viktor Erofeev's highly cynical interpretation of Russia's 'praise of folly', before concluding with examples of the renewal of its traditions in post- Soviet prose.

Orientador: Abílio da Costa-Rosa / Coorientador: Dulce Sauaya / Banca: Marília Veríssimo Veronese / Banca: Ana Maria Rodrigues de Carvalho / Banca: Murilo dos Santos Moscheta / Banca: Silvio Yasui / Resumo: Partindo da premissa de que o trabalho constitui-se, no transcurso da história da loucura, como um dos eixos norteadores das práticas de atenção e cuidado em Saúde Mental tenciona-se, através desta tese, discutir e produzir conhecimento sobre esse tema, assim como operar como intercessor no intercâmbio entre Saúde Mental e Economia Solidária em curso no Brasil. Para isso, realizamos pesquisa bibliográfica sobre a relação entre loucura e trabalho no nascimento da Psiquiatria com o advento do tratamento moral; na Reforma Psiquiátrica Francesa tanto na Psiquiatria Social e de Setor quanto na Psicoterapia Institucional; na Reforma Psiquiátrica Italiana e sua Psiquiatria Democrática; na Reforma Psiquiátrica Brasileira e sua Atenção Psicossocial. Além disso, realizamos uma intercessão-pesquisa tendo como recurso metodológico o Dispositivo Intercessor em suas duas inscrições: como práxis de intercessão (DI) e como Meio de produção de conhecimento (DIMPC). A práxis de intercessão foi realizada em um Centro de Atenção Psicossocial I no município de Nova Esperança/PR. O campo de intercessão foi constituído por quatro sujeitos da experiência da loucura interessados em participar das oficinas de geração de trabalho e renda (OGTR) que definiram produzir, coletivamente, ganchos para lona de caminhão a serem comercializados no território fora do CAPS. Construindo, assim, uma práxis produtiva no âmbito do Arte em Oficina - um projeto em ação coletiva. Entretanto, o conhecimento produzido nessa tese não se refere ao campo de intercessão em si, mas sim à intercessão operada por mim como intercessora encarnada junto a este. Tendo em vista que o fazer-saber dos sujeitos da práxis produtiva pertence a eles mesmos, o que cabe ao intercessor-pesquisador é a tarefa de produzir conhecimento sobre sua própria... (Resumo completo, clicar acesso eletrônico abaixo) / Abstract: Based on the assumption that work has guided Mental Health attention and care practices throughout the history of madness, this thesis aims at discussing and producing scientific knowledge on that theme as well as operating as an intercessor in the exchange between Mental Health and Solidarity Economy practices in Brazilian reality. In order to do so, a series of theoretical studies on the relation between madness and work has been developed. It has considered the relation between madness and work produced at the birth of Psychiatry in the beginning of the development of the moral treatment approach; during the Psychiatric Reform in France, including Social and Sector Psychiatry as well as in Institutional Psychotherapy; during the Psychiatric Reform in Italy and the Psychiatric Reform in Brazil as well as its Psychosocial Attention. Furthermore, an intercession-research has been carried out. The device of intercession has been used as a methodological resource in its two approaches: as intercession praxis (DI) of the intercessor embodied in the intercession field and as means of knowledge production (DIMPC). The intercession praxis has been carried out at the Psychosocial Attention Center I in the city of Nova Esperança, state of Paraná. The intercession field has been produced by the four subjects involved in the madness experience who have been interested in taking part in the work and income generation workshops (OGTR) and who have agreed to collectively produce truck canvas hooks which shall be commercialized outside the CAPS territory. Such action has, therefore, constituted a productive praxis within the scope of Arte em Oficina - um projeto em ação coletiva (a collective action project). However, the knowledge which has been produced does not refer to the intercession field in itself, but to the intercession developed by me... (Complete abstract click electronic access below) / Doutor

Orientador: Mário Eduardo Costa Pereira / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-16T14:42:42Z (GMT). No. of bitstreams: 1 Silva_AlessandroAntonioda_M.pdf: 27048232 bytes, checksum: 9786264048d8b9905161dacd2dbbe075 (MD5) Previous issue date: 2007 / Resumo: Esta pesquisa teve como objetivo, investigar por intermédio do fazer teatral - a partir do contato com usuários do CAPS 1 (Centro de Atenção Psicossocial de Londrina) - a relação artística muitas vezes presente na dinâmica de pacientes psiquiátricos e o reflexo de re-inserção social verificado através o processo de "legitimidade" da arte desses indivíduos marginalizados. Este trabalho é o processo decorrente do projeto intitulado "Roda", realizado fora dos parâmetros da instituição psiquiátrica e que teve como resultado o espetáculo Bricolage. A dissertação é o relato prático sobre dois momentos do processo de oficinas de teatro, verificados nos parâmetros institucionais psiquiátricos: O primeiro momento, ainda no CAPS (Centro de Atenção Psicossocial de Londrina), com a aplicação de atividades de teatro junto da terapia ocupacional do sistema Hospital Dia, e o segundo, fora da instituição, na Casa de Cultura da Universidade Estadual de Londrina, com a presença de apenas um dos usuários do projeto realizado dentro da instituição psiquiátrica. Inicialmente, a pesquisa questiona o processo artístico decorrente das contribuições que os usuários, ainda dentro da instituição, ofereciam para o processo performático. No projeto desenvolvido fora da instituição, toda a percepção observada ainda no CAPS, diante de corpo, voz e processo criativo dos usuários, foi explorada por apenas um indivíduo -diagnosticado como esquizofrênico-paranóide -, sendo incorporadas ao espetáculo, por meio de suas ações desconexas da "realidade". Dessa forma, todas as ações foram exploradas junto à formação de gestos signos presentes no processo do espetáculo em favor da performance. O referencial teórico é baseado na justaposição de linguagens artísticas verificadas na obra de Robert Wilson, a qual, através da união da música, dança, cenografia e indumentária, é resgatado em Bricolage, assim como o conceito de manifestação artística presente em origens arcaicas do teatro ocidental, através da poética imagética / Abstract: This research had the objective of investigate, throughout the teatral practice - from the contact of CAPS 2 users (Center of psycosocial atention of Londrina) - the artistic relashionship present many times in the dinamic of the psychiatric patients and the reflection of the social re-insertion, verified throughout the art "legitimacy" process from the marginalized individuals. This work is a process from a project called "Roda", carried out not in the parameters of the psychiatric institution whose result in the Bricolage play. The final work is a pratical story about two moments in the process of theater workshops, verified in the institutional psychiatric parameters: the first moment, at CAPS (Center of psycosocial atention of Londrina), with teatral activities and occupational therapy in the "Hospital Dia" system; and the second, not in the institution, in the Cultural House of the State University of Londrina, with just one user from the project of the psychiatric institution. Inicially, the research questions the artistic process that results from the users contribution, at the institution, offered to the process of performace. In the project developed out of the institution, all the perception observed at CAPS, concerning about the body, the voice, and creative process of the users, was explored by only one individual - diagnosised as a schizophrenia - that were incorporated to the play throughout the disconnected actions of the "reality". In this way, all the actions were explored together with sign gesture formation present in the process of the play favoring the performance. The theoretical reference is based in the juxtaposition of artistic languages verified in the workmanship of Robert Wilson where the union of music, dance, cenography, and vestiments, is rescued in Bricolage, as well as the concept of artistic manifestation present in ancient origens of the ocidental theater, throughout the poetic imagetic / Mestrado / Artes / Mestre em Artes