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Title of Diploma Thesis: Bioenergetic Analysis and its Application in Physiotherapy. Purpose: To evaluate bioenergetic analysis from the point of view of the physiotherapist and suggest the application of the whole method or some of its components in physiotherapy. Methods: Thesis is conceived as a theoretical work, was based on the literature retrieval of the accessible relevant literary sources. Literature, pressed and electronic monographs, textbooks, professional journals was derived from the professional medical databases, bibliographical databases, library catalogues, were used also sources from the specialization of psychosomatic medicine, psychology, kinesiology. The obtained knowledge was analyzed from the point of wiev of the physiotherapist with the goal to suggest the application of the method or some of its components in physiotherapy. Results: The possibility of the application of the bioenergetic analysis and the therapy as a complex in physiotherapy turn out to be inconvenient. The possibility of the application of the components of the bioenergetic analysis and the therapy seems to be suitable. Key Words: Bioenergetic Analysis, Defense Mechanisms, Character Structure, Posture, Postural and Gestural Expression

Submitted by Geandra Rodrigues (geandrar@gmail.com) on 2018-11-12T13:51:05Z No. of bitstreams: 1 valdevinodealbuquerquejunior.pdf: 3299326 bytes, checksum: 2e6c1aee13b567f777e29f1d5bab2a38 (MD5) / Approved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2018-11-23T11:08:41Z (GMT) No. of bitstreams: 1 valdevinodealbuquerquejunior.pdf: 3299326 bytes, checksum: 2e6c1aee13b567f777e29f1d5bab2a38 (MD5) / Made available in DSpace on 2018-11-23T11:08:41Z (GMT). No. of bitstreams: 1 valdevinodealbuquerquejunior.pdf: 3299326 bytes, checksum: 2e6c1aee13b567f777e29f1d5bab2a38 (MD5) Previous issue date: 2018-10-08 / O espaço ritual constitui-se num locus sagrado de festa. No palco religioso, o sentimento de reconhecer-se cheio do Espírito Santo ou incorporado pelas Entidades reescreve, no próprio corpo do sujeito, a autenticidade de sua tradição mitológica. Simultaneamente, a experiência religiosa reatualiza o poder dessa tradição. E são várias as formas em que a narrativa mítica emerge, vindo à tona e tornando-se tangível à percepção e à emoção. E, neste sentido, a cultura desempenha um papel fundamental: ela é o elo a promover o encontro entre as verdades da crença e as experiências religiosas. Michel Meslin assinala que a religião só alcança o homem através das mediações culturais de seu tempo. Entre essas também variadas “mediações culturais” está a música, com seus gêneros, ritmos e uma força simbólica capaz de funcionar como chave, abrindo as portas das sensibilidades. Para além dos cânticos – mas a eles conexos –, a experiência do transe ritual é um dispositivo de mediação cultural ainda mais poderoso: um dínamo de emoções liturgicamente sacralizadas. Este sentimento religioso de alegria tem suas bases na estrutura do sistema de crenças, e, assim, até a cantiga que coadjuva e complementa os ritos, consubstancia seu status sagrado. Musicalizando o Sagrado, essa arte expressiva de fé e também de cultura potencializa ainda mais o sentimento social de pertença à comunidade religiosa do indivíduo, que também vê alimentada sua esperança de vida. Este trabalho se envereda na trilha da experiência religiosa, em seus percalços sinuosos. Nesse caminho, a intenção é compreender um pouco o funcionamento das engrenagens simbólicas que conferem sentido às manifestações performáticas vividas por pentecostais e umbandistas, em dois grupos religiosos específicos. E, ao analisar a relação entre a dinâmica ritual desses cultos e a produção de sentidos operada nas linguagens gestuais dos sujeitos da crença, refletimos sobre os diálogos semânticos rituais que, construindo experiências de espiritualidade, reconstroem também experiências de vida. É quando a divergência das cosmovisões sucumbe à convergência dos significados religiosos. / The ritual space is a sacred locus of celebration. In the religious stage, the feeling of being recognized full of the Holy Spirit or incorporated by the Entities rewrites, in the subject's own body, the authenticity of his mythological tradition. Simultaneously, religious experience reactualizes the power of this tradition. And there are several ways in which the mythical narrative emerges, coming to the surface and becoming tangible to perception and emotion. And, in this sense, culture plays a fundamental role: it is the link to promote the meeting between the truths of belief and religious experiences. Michel Meslin points out that religion only reaches man through the cultural mediations of his time. Among these also varied "cultural mediations" is music, with its genres, rhythms and a symbolic force capable of functioning as a key, opening the doors of sensitivities. In addition to the chants - but related to them - the ritual trance experience is an even more powerful device of cultural mediation: a dynamo of liturgically sacralized emotions. This religious feeling of joy has its basis in the structure of the belief system, and thus even the song that helps and complements the rites, consubstantiates its sacred status. Musicalizing the Sacred, this expressive art of faith and also of culture further enhances the social feeling of belonging to the individual's religious community, which also nourishes their hope for life. This work lies in the path of religious experience, in its sinuous mishaps. In this way, the intention is to understand a little the functioning of the symbolic gears that give meaning to the performance manifestations experienced by Pentecostals and Umbandists in two specific religious groups. And when analyzing the relationship between the ritual dynamics of these cults and the production of meanings operated in the gestural languages of the subjects of belief, we reflect on the ritual semantic dialogues that, by constructing experiences of spirituality, also reconfirm, reconstruct life experiences. This is when the divergence of worldviews succumbs to the convergence of religious meanings.

Submitted by Renata Lopes (renatasil82@gmail.com) on 2016-01-26T10:30:59Z No. of bitstreams: 1 valdevinodealbuquerquejunior.pdf: 787158 bytes, checksum: edb316f02169eb9febc3d9f1549aa621 (MD5) / Approved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2016-01-27T10:51:55Z (GMT) No. of bitstreams: 1 valdevinodealbuquerquejunior.pdf: 787158 bytes, checksum: edb316f02169eb9febc3d9f1549aa621 (MD5) / Made available in DSpace on 2016-01-27T10:51:55Z (GMT). No. of bitstreams: 1 valdevinodealbuquerquejunior.pdf: 787158 bytes, checksum: edb316f02169eb9febc3d9f1549aa621 (MD5) Previous issue date: 2014-02-28 / CAPES - Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / O culto pentecostal constitui-se num espaço sagrado de festa. Ali, a alegria de sentirse cheio do Espírito Santo reescreve, na experiência do crente, o mito de pentecostes. Mas, ao mesmo tempo, essa alegria reatualiza esse mito. E são várias as formas de se trazer esta narrativa mítica à tona, tornando-a tangível à percepção e à emoção; e, neste sentido, a cultura desempenha um papel fundamental: ela é o elo a promover o encontro entre as verdades da crença e as experiências religiosas. Segundo Michel Meslin, a religião só alcança o homem através das mediações culturais de seu tempo. Entre essas também variadas “mediações culturais” está a música, com seus gêneros, ritmos e uma força simbólica capaz de funcionar como chave, abrindo as portas da emoção. Este sentimento religioso de alegria tem suas bases no sagrado, e, assim, até a música que coadjuva o canto alegre do crente se sacraliza; e, ao musicalizar o sagrado, potencializa ainda mais o sentimento de pertença à comunidade religiosa do indivíduo, que também vê alimentada sua esperança de fé. Este trabalho se envereda na trilha da experiência religiosa, em seus percalços sinuosos. Entendendo que o corinho de fogo, como expressão musical de fé e também de cultura, realiza o papel de lubrificar as engrenagens das manifestações performáticas de algumas denominações pentecostais, influenciando a dinâmica de alguns desses cultos, refletimos sobre as inter-relações entre esses corinhos e a expressão gestual no culto pentecostal. / Pentecostal worship constitutes a sacred space of party. There, the joy of feeling full of the Holy Ghost rewrites, within the experience of the believer, the myth of Pentecost. But at the same time, this joy renews this myth. And there are several ways to bring this mythic narrative up, making it tangible to perception and emotion; and, this way, culture plays a key role: it is the link to promote contact between the truths of belief and religious experiences. According to Michel Meslin, the religion only reaches men through cultural mediations of his time. Among these also varied "cultural mediations" it is the music, with its genres, rhythms and a token force capable of functioning as a key, opening the doors of emotion. This religious feeling of joy has its foundations in the sacred world of religion, and even the music that assists the joyful song of the believer is sanctified, and, becoming the music sacred, further enhances the individual feeling of belonging to the religious community, whose hope of faith is fed. This paper embarks on the religious experience trail and in its meandering mishaps. Understanding that "corinhos de fogo" as a musical expression of faith and also culture performs the role of lubricating the gears of the performing demonstrations of some Pentecostal denominations, influencing the dynamics of some of these services, we reflect on the interrelationships between these choruses and gestural expression in Pentecostal worship.