O presente trabalho se propõe à análise da obra Sonho interrompido por guilhotina (2006), do escritor mato-grossense Joca Reiners Terron, considerando-a nos jogos críticos realizados por suas narrativas. Para isto, concentra-se nas apropriações dos escritores Valêncio Xavier, José Agrippino de Paula, Glauco Mattoso e Raduan Nassar, que emergem como personagens, tema ou citações ao longo do livro, através de procedimentos que permitem às narrativas que percorram textualmente as suas obras. Tais lances é que são aqui entendidos como poéticas da leitura, configurações estruturais de um tipo de captação crítico-criativa dos objetos, em sintonia com as proposições do teórico Paul Zumthor acerca da imaginação crítica. É fundamental, para a análise de tais mecanismos na obra, a compreensão de cultura tal como encontrada no conceito e campo de estudos da semiosfera, inaugurado pelo semioticista Iuri Lotman, especialmente nos conceitos de memória da cultura e fronteira semiótica. Começando por situar a pesquisa no campo da Comunicação em seu vínculo com a Semiótica da Cultura, em seguida passando à análise da obra de Joca Reiners Terron, o trabalho se encaminha para uma concepção de leitura que ao mesmo tempo é extraída do objeto e replicada na pesquisa. / The present dissertation proposes an analysis of the critical games in Joca Reiners Terrons book Sonho interrompido por guilhotina (2006). The analysis is concentrated on the appropriation of writers Valêncio Xavier, José Agrippino de Paula, Glauco Mattoso and Raduan Nassar, who emerge along the book as characters, subject or by quotations, through procedures which make the stories on the book to textually cross their work. Such strategies are herein understood as poetics of reading, i.e., structural configurations of a kind of critical-creative assimilation of objects, consonant to the propositions of theorist Paul Zumthor on critical imagination. It is fundamental, to the analysis of such strategies along the book, the understanding of culture as found on the concept and field of research of the semiosphere, opened by semiotician Yuri Lotman, especially on its concepts of memory of culture and semiotic boundary. Beginning by inserting the research on the field of Communication studies in its connection to Semiotics of Culture, proceeding with the analysis of Joca Reiners Terrons book, the dissertation turns out to an understanding of reading which is simultaneously extracted from the object and replicated in the research.

A dissertação narra o percurso da pesquisadora em torno do conceito “materialidade”, a fim de discutir e ilustrar uma proposta de abordagem imagético-apresentativa, à luz da psicologia analítica. O conceito é cotejado com termos correlatos utilizados por autores que também se ocuparam do tema, como Gaston Bachelard, Alvaro Gouvêa e outros mais alinhados ao pensamento de D. W. Winnicott. Explora, também, aproximações e distanciamentos semânticos em relação a termos similares, como “matéria” e “matéria-prima”, para especificar o sentido atribuído à materialidade neste trabalho. A discussão avança com a apresentação de alguns conceitos da psicologia analítica, principalmente sobre a consciência e o aspecto dinâmico da psique na concepção de C. G. Jung. Além disso, tece considerações sobre o processo de individuação numa perspectiva alquímica, tomando a materialidade como uma opus cum natura. A seguir, apoiada em conceitos de James Hillman, propõe o resgate da noção de anima mundi e aisthesis para fundamentar o aspecto apresentativo da materialidade numa relação dialética com a consciência. Preocupa-se em questionar a postura interpretativa em relação à materialidade, quando tomada em termos exclusivamente representacionais, e retoma o método proposto por Jung – pautado numa postura fenomenológica frente às imagens psíquicas – para sustentar a abordagem imagético-apresentativa, diferenciando-a das práticas de terapia com arte ou arteterapia, que abordam a materialidade como recurso expressivo. A dissertação também faz uma breve incursão no tema “processo grupal” no campo da psicologia analítica, uma vez que são utilizados relatos de sessões de um grupo terapêutico-vivencial para ilustrar a discussão. Embora não proponha um estudo de caso do grupo, identifica alguns temas que se constelaram no atendimento. Finalmente, aponta transformações observadas simultaneamente no grupo e na identidade da pesquisadora – que culminaram na elaboração de uma nova proposta de abordagem da materialidade no setting individual e/ou grupal, aqui denominada imagético-apresentativa. / This dissertation relates the path followed by the researcher around the notion of “materiality” in order to discuss and illustrate an imagetical-presentative approach in the light of the Analytical Psychology. This notion is compared to correlative terms used by authors that also worried about it, like Gaston Bachelard, Alvaro Gouvêa and others closer to Winnicott´s thoughts. It also explores semantic similarities (approximations) and differences that refer to some similar terms like “material” and “raw-material” in order to specify the meaning attributed to “materiality” in this research. The discussion moves forward to the presentation of some notions in the Analytical Psychology field – mainly about consciousness and the dynamic aspect of the psyche, according to C.G.Jung. Besides, the research makes some considerations about the individuation process under an alchemical perspective, taking “materiality” as an "opus cum natura". Afterwards, supported by James Hillman, it proposes the recuperation of "anima mundi" and "aisthesis" notions in order to sustain the presentative aspect of materiality in a dialectical relation with the consciousness. The research aims at questioning the interpretative posture related to materiality when taken exclusively as representational terms and reviews the method proposed by Jung, under a phenomenological point of view towards the psychic images in order to support the proposal of an imagetical-presentative approach, distinguishing it from the therapy practices with arts or art therapy – that consider materiality as an expressive resource. It also makes an incursion in the topic “group process” in the Analytical Psychology field – as some reports of sessions of an experiential group are used in order to illustrate the discussion. Although it does not propose a case study of the group, this dissertation identifies some topics that were constellated throughout the sessions. Finally, this research points transformations observed simultaneously in the group and in the identity of the researcher that ended up in the elaboration of a new proposal towards materiality in the individual/group setting – that here is called imagetical-presentative.

Submitted by Renata Lopes (renatasil82@gmail.com) on 2017-06-02T12:17:00Z No. of bitstreams: 1 carloseduardopalettaguedes.pdf: 2451030 bytes, checksum: 78337d494b448a90e35151900cd791ad (MD5) / Approved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2017-06-02T16:18:38Z (GMT) No. of bitstreams: 1 carloseduardopalettaguedes.pdf: 2451030 bytes, checksum: 78337d494b448a90e35151900cd791ad (MD5) / Approved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2017-06-02T16:19:05Z (GMT) No. of bitstreams: 1 carloseduardopalettaguedes.pdf: 2451030 bytes, checksum: 78337d494b448a90e35151900cd791ad (MD5) / Made available in DSpace on 2017-06-02T16:19:05Z (GMT). No. of bitstreams: 1 carloseduardopalettaguedes.pdf: 2451030 bytes, checksum: 78337d494b448a90e35151900cd791ad (MD5) Previous issue date: 2017-03-14 / A presente pesquisa parte de uma análise crítica da educação jurídica brasileira, primordialmente voltada para a linguagem oficial do Estado, pouco reflexiva, enciclopédica e afastada de qualquer imaginação ou empatia. Nesse contexto, iniciativas inovadoras que quebrem esse paradigma merecem ser pesquisadas, tal como a disciplina Instituições de Direito, da Universidade Federal de Juiz de Fora, com seu método pedagógico que inclui filmes e plataforma online, objeto dessa dissertação. A pergunta de pesquisa consiste em verificar se a disciplina Instituições de Direito, na forma como foi estruturada e organizada, pode auxiliar na promoção do pleno desenvolvimento do educando no processo de formação jurídica, para além de uma análise dogmática estrita. Utilizando o conceito de cultivo da humanidade de Martha C. Nussbaum como marco teórico, realizou-se uma pesquisa empírico-qualitativa a partir de dois filmes trabalhados em aula (Grande Sertão: Veredas e Senhor das Moscas) e textos produzidos pelos estudantes, como unidades de análise, a fim de verificar se aquele método desenvolvia as capacidades elencadas por Nussbaum, notadamente a imaginação narrativa. A análise qualitativa indica que as inovações têm se mostrado eficazes ao desenvolver essas capacidades, incluindo uma maior percepção cívica e empática por parte dos estudantes. / The present research begins with a critical account of Brazilian legal education, devoted primarily to official State language, lack of reflexiveness, encyclopaedic and far from any imagination of empathy. In this context, innovative initiatives that break this paradigm deserve to be researched, such as the focus of this dissertation, the discipline Institutions of Law taught at the Universidade Federal de Juiz de Fora, which adopts a pedagogical method, which encompasses movies and an online platform. The research question is whether Institutions of Law, as it has been conceived and organized, may contribute to the development of the student in the acquisition of juridical skills beyond the exclusive dogmatic analysis. Using Martha C. Nussbaum concept of cultivating humanity as theoretical reference, empirical-qualitative research was implemented, taking two movies presented during the classes (Grande Sertão: Veredas and Lord of the flies) as well as the collaborative texts elaborated by the students as units of analysis, so as to verify if this method has been effective in fostering the capacities Nussbaum describes, especially the narrative imagination. The data and the qualitative analysis indicate that those innovations have been successful in developing those capacities, especially an increased civic and empathic perception.

Les premiers lecteurs de la « Trilogie de Pan » (1929-1930) puis l’historiographie stylistique tout entière ont systématiquement rapproché l’écriture de Jean Giono de celle de Charles Ferdinand Ramuz, et singulièrement de celle de son roman de 1926, La Grande Peur dans la montagne. Or, quelque soit l’observable linguistique choisi (la référence à la langue orale, la pratique de la répétition, les formes de l’analogie), de nettes différences apparaissent entre les deux pratiques rédactionnelles. C’est que la perception d’une parenté stylistique entre deux écrivains est contrainte par bien autre chose que des faits linguistiques. Dans le cas présent, on a, d’une part, projeté sur des formes langagières dissemblables une évidente communauté d’imaginaire. On a, d’autre part, préjugé de la similarité des formes langagières à partir de la proximité du projet esthétique : les deux oeuvres mettent en effet en tension la revendication d’une fidélité à une langue parlée régionalement inscrite, et une pratique de la langue qui emprunte aux codes « poétiques » conventionnels. / The first readers of the “Trilogie de Pan” (1929-1930) and the whole stylistic historiography havesystematically compared Jean Giono’s style with that of Charles Ferdinand Ramuz, and notably withthe style of his 1926 novel, La Grande Peur dans la montagne. Whatever linguistic criterion one maychoose (the reference to oral speech, the uses of repetition, the forms of analogy), it neverthelessappears that there is not so much in common between these two prose styles. The reason of thatfrequent comparison is simple: one often judges stylistic features from a non linguistic point of view.In the present case, readers have had the impression that both writing styles were similar because theauthors shared a common imaginary backround, but also because they had the same literary project:they both wanted to remain faithful to popular and local manners of speaking and at the same timedecided to resort to the same poetical stylistic conventions.

This master thesis presents the design of an implementation of a working prototype for an augmented motion capture acting environment. Motion capture (MoCap), the recording of movements to be applied to characters or objects in computer graphics simulations, is widely used in video games, advertisement, and cinema. MoCap is realized through different techniques, where one common problem is the efficiency to capture actor’s motion performances. To capture motions without obstacles for the motion detectors, actors act blindly, without graphic references while acting. Mistakes or a poor correlation between the actors performances and the computer graphics simulation requires the scene either to be taken many times or to be corrected afterwards in time-consuming post-production. These issues slow down the production process or lead to a low quality product.We suggest that one way to limit the problem of efficiency in motion capture is to let actors perform in a virtual environment. To this end, this master thesis presents a simple prototypeenvironment with the goal to support actors’ performances to improve motion capture efficiency. The idea is to surround an actor with four screens which display the virtual environment. A Microsoft Kinect camera is utilized for motion capture. Gestures are usedto trigger interactions between the actor and the virtual environment. Furthermore, the thesis explores the applicability of open source libraries, game engines, and inexpensivegeneral purpose technology. We suggest, as indicated by demonstrated validity, that virtual environments and augmented motion capture improve the conditions for actors, thus providing more efficient motion capture shots. However, further research and quantitative measurements are needed to understand and fully evaluate the effect of the presented prototype tool.

This thesis examines the practice of an Argentine Tango dance community in the East Midlands, England. It is an ethnographic study whose objectives are to investigate this instance of a local transcultural dance practice in order to learn about participants’ motivations; their experience of and identification with Argentine Tango; and the meanings produced in the process of their participation. As a social dancer, teacher and insider researcher, I employ embodiment as a key methodological strategy in order to engage with and share the experience of dancing with participants; to gain sensory understanding and bodily knowledge of the practice; and in the process to gain access to further avenues of meaning-making amongst participants. The study considers questions arising directly from my teaching role to do with the transmission and reproduction of the dance, authenticity, the production of meaning, the construction and performance of identity and the imaginative construction of post-modern cultural practices. The nature of space and place is considered, as is Turner’s distinction between liminoid and liminal activity with regard to ritual and communitas in relation to Argentine Tango. Alongside participant discussions, I explore various perspectives on the cosmopolitan appropriation and exoticisation of Argentine Tango; the diffusion, re-territorialisation and globalisation of Argentine Tango since the late 1980s. Data was produced using ethnographic tools, including video recording, shared reviewing and feedback from participants. The thesis analyses findings to show how participants project narratives of the imagination into their dancing, thereby providing frameworks of meaning which crucially underpin and sustain this practice. These imagined narratives are compared to journeys, both literal and of the imagination, enabling the creative construction of new identities, the exploration of self in relation to others and an escape from everyday life in postmodernity.

The purpose of this thesis is to examine Michelle Cliff’s No Telephone to Heaven (1996), and to scrutinize, through Christopher’s mental illness, the couched, unspoken, and deeply embedded presence of imperial hegemony in the Caribbean. I shall argue that Christopher’s mental illness is not, as one might have it, an inexplicable lapse into insanity, but both a fitting, polyrhythmic expression of longstanding postcolonial/neocolonial abuse, and a dynamic form of counterhegemonic resistance. Thus, my use of the term, imperial illness, refers to colonial impacts on the Caribbean, and how those impacts continue to play a significant role in postcolonial/neocolonial societies and, concurrently, the strategies imagined by postcolonial subjects to resist. Christopher’s mental illness, then, is the result of sustained imperial socio-psychological torment, which produces, quite ironically, the conditions that make possible his acts of resistance.

Since 1999 Colombia has experienced dramatic increases in emigration, particularly the emigration of women towards the U.S. as fiancées of U.S. citizens or residents. Parallel to this trend is the increased number of websites facilitating these Colombian-American matches. This dissertation investigates the agency of Colombian women and American men who pursue romantic courtship through the services of International Marriage Brokers (IMBs) from the “Gendered Geographies of Power” (GGP) framework of analysis. It examines how both groups’ social locations, their positioning in multiple axes of differentiation including gender, nationality and social class, affects how and why they exert their agency across and within different geographic scales. Most importantly, it investigates the role the imagination plays (imagination work) in both men and women’s agency, an aspect of the GGP framework that has been under-researched and theorized to date. The research also finds that this imagination work is promoted and cultivated in deeply gendered ways by IMBs seeking to profit off this transnational courtship. Employing data collected via interviews and content analysis of IMBs’ websites, the dissertation analyzes comparatively the expectations each group (women, men and IMBs) bring to their imagination work and experiences of the courtship marketplace. A central question posed and answered in the dissertation is “What do women and men courting each other in cyberspace seek and do they find it?” The dissertation finds that the men seek “traditional” women and the women seek “liberated” less “macho” men. Ironically, the men find Colombian women who are among the most “liberated” women in their homeland but who downplay this aspect of themselves in order to strategically find a more modern man and migrate abroad where they expect to find greater personal and professional opportunities.

Des origines de l'écologie politique à nos jours, beaucoup d'écologistes pensent qu'ils participent à la réalisation d'une transformation politique et sociale de leur univers social, ainsi que de l'univers scientifique, cela dépasse les limites d'un pays et d'un continent, mais cela recouvre aussi certaines particularités au niveau national. Nous nous proposons d'étudier les spécificités de l'écologie politique française en la mettant en relation avec l'écologie politique américaine, puis en insistant sur le rôle des acteurs radicaux pour redéfinir une écologie radicale moins consensuelle que l'écologie institutionnalisée. Au XXIe siècle, l'intensité du besoin social d'un courant politique et d'une science écologique s’accroît avec la multiplication des catastrophes humaines et naturelles et avec l'augmentation de leur visibilité dans les médias. L'écologie radicale se propose de répondre à ces nouveaux défis. Nous pouvons en dégager une spécificité de l'écologie politique française placée à la fois à proximité des acteurs politiques conventionnels acceptant les règles du jeu existant et à la fois à la lisière, ainsi qu'à l'écoute, des marges politiques. / From the origins of the political ecology to now days, many ecologists think they are involved in the process of political and social transformation of their social and scientific universes. But it exceeds national borders and also continental limits. We will study the specificity of the French political ecology and outlook it with the American political ecology and, then, we will incite on the role of radical actors to redefine a radical ecology less consensual that the institutionalized ecology. In the 21st century the social need for a political stream and an ecological science increases trough the multiplication of human and natural disasters and the rise of their visibility in medias. Radical ecology suggests answers to those new challenges. We could then draw the specificity of the French political ecology which is, at the same time, close to conventional political actors by accepting the rules of the political field, at its frontiers, and, finally in touch with political margins.

Cette thèse se propose d'interroger l'écriture littéraire de l'esclavage dans une perspective diachronique et comparée entre la France et ses colonies et les États-Unis, et en regard de la construction de la mémoire de l'esclavage transatlantique et de sa transmission. La dimension diachronique vise à éclairer l'écriture contemporaine de l'esclavage, notamment à partir d'un constat initial : plusieurs centaines de témoignages d'esclaves – regroupés sous le terme générique "slave's narrative" – ont été publiés aux États-Unis, plus rarement en Angleterre, à partir du XVIIIe siècle ; aucun texte de ce type n'a été recensé dans la sphère francophone. Une disparité saisissante qui a semblé un signe fort à analyser, posant la question des causes ou de l'origine de cette disparité, mais aussi de ses conséquences sur la mémoire et surtout sur l'écriture de l'esclavage. En effet, la littérature africaine américaine est souvent présentée comme une héritière de ces témoignages. Sous la désignation de « neo-slave narratives », la critique américaine a même réuni et analysé nombre de romans africains-américains portant sur l'esclavage depuis la fin des années 60. Point d'aboutissement de ce travail, l'écriture caribéenne francophone de l'esclavage est ainsi appréhendée au regard de la production africaine-américaine et de sa différence notable quant à l'héritage mémoriel et discursif des slaves' narratives. Constatant leur absence dans le champ critique francophone, il s'agit également de proposer les premiers jalons d'un appareil critique et d'une analyse de l'écriture caribéenne francophone contemporaine de l'esclavage ainsi qu'une terminologie générique : récit d'esclave francophone. / This thesis proposes a two-fold examination of the literary writing of slavery in France and its former colonies, and in the United States, using both a diachronic and comparative approach. It also takes into account the perspective of the construction and transmission of the memory of transatlantic slavery. The diachronic dimension adopted in this work aims to enlighten on the contemporary writing of slavery. Indeed, several hundreds accounts of slaves– known as “slave narratives” – had been published in the United States, more rarely in England, as early as the 18th century, but there were no such narratives in the francophone world. This striking disparity turned out to be a case worth analyzing to find out about its causes, its origins and its consequences on both the memory and the writing of slavery. As a matter of fact, African American literature bears the direct influence of these testimonies. Identified as “neo-slave narratives”, African American novels dealing with slavery have been collected and analyzed by critics since the 1960's. The last part of this dissertation focuses on the Francophone Caribbean writing of slavery. It is examined in comparison with the African American production and the striking difference noted in the historic and discursive heritage of the slave narratives. This lack in the francophone critical field led us to prepare the ground for the analysis and the review of the contemporary Francophone Caribbean writing of slavery, and for a generic expression: francophone slave narratives.