Monsters are disruptive characters, who cross boundaries and blend categories. They come in various kinds: Non-human monsters, such as Dracula, created-by-human monsters like Frankenstein, human monsters like Hitler, and more-than-human monsters such as the X-men. These monsters can either be dangerous or helpful to humanity. Dangerous monsters appear as infectious, viral forces, while helpful monsters are inoculative forces for positive change. In either case, they penetrate the borders set up between normatively separate categories. Critics and authors have long realized the connection between heroes and monsters, often portraying them as necessary to one another, as two sides of a single coin. However, this analogy is lacking, because it does not allow for the possibility that a single character can display varying degrees of both heroism and monstrosity. Mario Yerro and Bruna Husky present such characteristics in Yeti and Lágrimas en la lluvia, as evidenced by their physical appearance, their relations to scapegoats, the porosity of species and other boundaries, and the decisions they make in regards to the Other.

To confront the inadequate representation of women as heroic figures in American public art, this project investigates the precedent of representing heroines in art. Through researching artwork featuring heroines, and heroic figures in general, this project aims to understand the historical context that new works featuring heroines will fit into. A template for constructing art featuring heroines was developed, showing what features or qualities are generally emphasized for the artwork to read as heroic. As art history has supplied principally man heroic figures, it was interesting trying to discern whether a template for art about heroines is different or essentially the same as a template for heroes. This project also includes three groups of artworks: new portraits for United States paper currency featuring American heroines, propaganda posters featuring Lady Liberty, and proposals for public installations that celebrate American heroines. These works investigate the process of placing women in spaces historically used to celebrate predominantly man heroic figures. In this investigation, I found that many heroic signifiers used for heroes were suitable for heroines. Emphasize physical strength, a performance of masculinity, or an emphasized performance of femininity were not necessary for the portrayal of heroines to read as heroic. By creating these artworks and a template for constructing heroines, this project will hopefully encourage and enable other artists to create works featuring heroines and generate support for better representation of women in public art.

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Doctorat en philosophie et lettres / info:eu-repo/semantics/nonPublished

Made available in DSpace on 2016-07-27T14:21:45Z (GMT). No. of bitstreams: 1 Laura Drummond de Azeredo Coutinho Jardim.pdf: 625995 bytes, checksum: 003129089832e8f2fc79846f74a3472e (MD5) Previous issue date: 2009-04-25 / The present study has the objective of analyzing the possibility of including in Psychological Assistance Institutions, because of the huge demand, Super Heroes Therapeutic Groups. This idea has emerge from the perception of a necessity of group work in institutions, aiming to decrease the waiting list of patients, adding the possibility of inserting the theme Super Heroes as therapeutic mediator, observing that, nowadays, children have been presenting in their speech and play, interest in histories and films about them. The technique developed in this research is an adaptation of Gutfreind (2003) experience with fairytales therapeutic groups. Six children, of both sexes, going to school, age range between five and seven year s old and parents with low income were the group attended. All these kids were in the waiting list of patients, and had claimed of familiar relationship difficulties. These Therapeutic Groups happened in ten dates: two were designated to interview the parents and the other eight to meet and be with the children. At the end of the research, even though some considerations were made, could be seen that the Therapeutic Group helped in the emotional development and also offered some tools to the kids to work with reality. / O presente estudo tem como objetivo analisar a possibilidade de incluir em instituições de atendimento psicológico, onde a demanda é grande, Oficinas Terapêuticas com Super Heróis. Essa idéia surgiu a partir de uma percepção da necessidade de trabalhos em grupos em instituições visando diminuir a espera do atendimento, somado a questão da possibilidade de inserção dos Super Heróis como mediadores terapêuticos, visto que atualmente a criança, tanto em seu discurso quanto em suas brincadeiras, apresenta um grande interesse pelas suas histórias e filmes. A técnica desenvolvida na pesquisa é uma adaptação a partir de a experiência de Gutfreind (2003), com ateliês de contos de fadas. Participaram da pesquisa seis crianças de ambos os sexos e com idades entre cinco e sete anos, de baixa renda e que frequentam escola. Todas essas crianças haviam buscado atendimento na instituição com queixas ligadas a problemas de relacionamento familiar. As Oficinas Terapêuticas aconteceram em dez encontros, no qual dois foram reservados para entrevistas com os pais e os outros oito encontros com as crianças. Ao final da pesquisa, apesar de algumas considerações terem sido levantadas, percebeu-se que as Oficinas auxiliaram no desenvolvimento emocional e também ofereceram recursos para as crianças lidarem com a realidade.

Submitted by Filipe dos Santos (fsantos@pucsp.br) on 2018-06-04T12:34:46Z No. of bitstreams: 1 Neemias Oliveira da Silva.pdf: 12742091 bytes, checksum: 41af331a98c1be3780516d060d7a6551 (MD5) / Made available in DSpace on 2018-06-04T12:34:46Z (GMT). No. of bitstreams: 1 Neemias Oliveira da Silva.pdf: 12742091 bytes, checksum: 41af331a98c1be3780516d060d7a6551 (MD5) Previous issue date: 2018-03-23 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / This thesis proposes the investigation of the myth built regarding Spartacus figure, slaves revolution leader in Ancient Rome and the demystification of this character in contemporaneity. We also analyzed Spartacus uses and appropriations which from eighteenth century on became symbol of revolutions. Thus, Spartacus became part of the popular culture along the time, reviving the epic hero at the cinematographic work from Stanley Kubrick (1960). Resuming in the twenty-first century through the series Spartacus (2010 - 2013), from epic hero to hero of masses. The return of the mythic hero is seen as nostalgia, a hero's model that no longer exists. Based on this we studied how the cultural industry reinforces occidental beauty patterns based on a body model. The hero's body is muscled, considered virility synonym and sexual symbol. Technological and scientific advances contributed to disenchantment of myths, the super natural, demystifying the hero. New hero models were built, ordered and integrated to a globalized media. This way the sources analyzed were Spartacus series, classical and reference works. The methodology used consists on Spartacus iconography analysis as a cultural representative and product of mass culture. At last the fact that Spartacus series was chosen as audio visual source is justified by the symbolic form the body and hero are described as simulacra of contemporaneous man. Spartacus would unfold himself in his lots of myths: “Myths of Spartacus” / Esta tese tem como propósito investigar como se deu a construção do mito em torno da figura histórica de Espártaco, líder da revolta de escravos na Roma Antiga, e a desmistificação deste personagem na contemporaneidade. Também analisamos os usos e as apropriações de Espártaco, que a partir do século XVIII, fez-se símbolo de revoluções. Assim, ao longo do tempo, Espártaco tornou-se parte da cultura popular, revivendo o herói épico na obra cinematográfica Spartarcus de Stanley Kubrick (1960). E, ao ser retomado no século XXI, por meio do seriado Spartacus (2010-2013), passou de herói épico a herói das massas. O retorno do herói mítico é visto como saudosismo, um modelo de herói que não existe mais. Dessa forma, estudamos também como a Indústria Cultural reforça os padrões de beleza ocidental baseado em um modelo de corpo. O corpo do herói é musculoso, considerado sinônimo de virilidade e símbolo sexual. E com o avanço tecnológico e científico, ocorreu um desencantamento dos mitos e do sobrenatural, desfazendo o misticismo em torno do herói. Construiu-se novos modelos de heróis, encomendados e integrados a uma mídia globalizada. Neste sentido, as fontes analisadas foram o seriado Spartacus, obras clássicas e obras de referência. A metodologia utilizada consistiu na análise icnográfica de Espártaco como representante cultural e produto da cultura de massas. Por último, o fato do seriado Spartacus ter sido escolhido como fonte audiovisual, justifica-se pela forma simbólica em que o corpo e o herói foram abordados, como simulacros do homem contemporâneo. Com isto, Espártaco desdobrar ia-se em seus muitos mitos: “Os mitos de Espártaco”