Submitted by admin tede (tede@pucgoias.edu.br) on 2018-10-02T18:18:17Z No. of bitstreams: 1 Ana Rita Marcelo de Castro.pdf: 792037 bytes, checksum: 3767f4f551bb1f84180ebdbfe3457223 (MD5) / Made available in DSpace on 2018-10-02T18:18:18Z (GMT). No. of bitstreams: 1 Ana Rita Marcelo de Castro.pdf: 792037 bytes, checksum: 3767f4f551bb1f84180ebdbfe3457223 (MD5) Previous issue date: 2002-03-27 / The purpose of this thesis is to undestand the Neopentecostal phenomena and its reaching in the yoth universe, in teh Post-modern era. From this focus, we try to perceive the characteristics of the New protestant churches in the post-modern society; undestand the teenagers adehesions to those religions and perceive the practical implications of those adhesions to the daily routine of the young people and the society. This investigation is a tool torument to undestand the symbolic youth universe and, consequently, perceive the tendecies and constructions of the social imaginary. / O propósito deste trabalho é compreender o fenômeno Neopentecostal e sua abrangência no universo juvenil, no contexto da pós-modernidade. A partir deste enfoque geral, quer-se perceber as características das religiões neopentecostais na sociedade pós-moderna; compreender a adesão dos jovens às religiões neopentecostais e perceber quais as implicações práticas desta adesão no cotidiano do jovem e da sociedade. Esta investigação é um instrumento para compreender o universo simbólico juvenil e consequentemente perceber as tendências e construções do imaginário social.

Contrastando com a raridade dos vestígios materiais de supostas maquetes de arquitetos medievais há uma profusão de representações artísticas (mosaicos, afrescos e esculturas) que retratam figuras (Papas, Reis, Príncipes e Santos) portando modelos de arquitetura, particularmente igrejas. Esta pesquisa, apoiada pela FAPESP, concentra-se sobre este motivo artístico da figura portando o modelo de arquitetura relacionando-o à arquitetura real, à representação tridimensional da arquitetura e ao imaginário medieval acerca da criação arquitetônica. Para tanto esta pesquisa identifica, descreve, analisa e interpreta um corpus iconográfico das representações mais significativas do motivo artístico em foco, produzidas entre o séc. VI e o séc. XV na Europa e na Ásia Menor. O estudo iconográfico deste motivo, considerando suas características plásticas, suas possíveis relações formais, e seus aspectos simbólicos, pretende contribuir assim para uma maior compreensão de suas relações com o pensamento acerca da criação do projeto, entre o mundo romano e a Renascença. / In contrast with the material vestiges scarcity of the supposed medieval architects three-dimensional models, there is a profusion of artistic representations (mosaics, frescos and sculptures) that show figures (Popes, Kings, Princes and Saints) holding architectural models, particularly churches. This research, supported by FAPESP, concentrates on the artistic motif of the figure holding the architectural model and its relations with real architecture, architectural three-dimensional representation and the medieval imaginary on architectural creation. Methodological procedure identifies, describes, analyzes and interpretates an iconographic corpus of the most significant representations of the artistic motif in focus produced in Europe and Asia Minor, between the fall of the Occidental Roman Empire (AD V) and the Italian Quatrocento. The iconographic study of this motif, considering its plastic characteristics, its possible formal relations, and its symbolic meanings, aims to contribute for a better understanding of its relations with the architectural design thought, between the Roman world and the Renaissance.

A presente investigação tem como objetivo estudar sobre o futuro do adolescente abrigado no imaginário coletivo de psicólogos. Justifica-se na medida em que, abordando um grupo profissional atento à importância da adolescência, no percurso da vida pessoal, pode contribuir para um debate sobre a condução de vítimas de sofrimentos sociais a abrigos. Articula-se, do ponto de vista metodológico, por meio da realização de entrevistas individuais, estruturadas a partir do uso do Procedimento Desenhos-Estórias com Tema, com oito psicólogos. Tais encontros foram registrados sob forma de narrativas transferenciais que, conjuntamente com os desenhos e as histórias, foram consideradas à luz do método psicanalítico. Por esta via, foi possível chegar à produção interpretativa de três campos de sentido afetivo-emocional ou inconscientes relativos: Fadado ao fracasso, Salvo por mágica e Com ajuda e boa vontade. O quadro geral revela uma tendência dos participantes a considerar que o adolescente abrigado dificilmente escapará a um futuro infeliz. Assim, fica claro que se posicionam de modo crítico à realidade dos abrigos, concebendo-os como instituições que não chegam a dar conta satisfatoriamente de sua função social / This research intends to study the future of adolescents in foster care within the collective imaginary of psychologists.The study can contribute to the debate over the conduction of the victims of social suffering to foster care shelters by addressing a professional group aware of the importance of adolescence during the personal life. This approach consists, from the methodological point of view, in structured interviews conducted with eight psychologists using the story-drawing procedure with a theme. Such meetings were registered under the form of transferential narratives, which, along with the drawings and the stories, were considered through the psychoanalytical method. This way, it was possible to reach the interpretative production of three affective-emotional meaning fields or relative unconsciousness: Bound to fail, Saved by Magic and With help and will. The general framework reveals a trend of the participants to consider that the sheltered adolescent will hardly come off from a miserable future. Thus, it is clear that these professionals position themselves critically to the foster care shelter reality, conceiving them as institutions that are not able to fulfill their social function satisfactorily

O recorte temático desta tese são a Vita Apostolica e o Mistério Sacramental como sentido existencial e missão cristã para os homens do Ocidente Europeu na Idade Média Central (séculos XI-XIII) O documento a ser investigado é a versão alemã de Heidelberg do roman arturiano A Demanda do Santo Graal, cujo manuscrito germânico original foi compilado ao final do século XIII. O corpus corresponde ao códice 147 da Bibliotheca Palatina Germaniae de Heidelberg, não se tratando de mera versão dos originais bretões para o alemão medieval (Mittelhochdeutsch). A presente fonte constitui um corpus inaugural, um texto propriamente alemão, ainda que filiado ao Ciclo da Vulgata (Ciclo do Pseudo-Gautier Map), que correspondeu ao primeiro ciclo de prosificação das narrativas do Graal. Pretende-se perscrutar um elemento central do imaginário que caracterizou a experiência dos homens do Ocidente Europeu no apogeu da Idade Média Central. Tratase do sacramento, e a compreensão do sentido sacramental da existência humana no plano da imanência constitui relevante senha de compreensão e predicação de significado às experiências concretas destes homens. Isso se pode atingir por intermédio da apreensão do elemento axial de seu imaginário. / The thematic cutting of this dissertation are the Vita Apostolica and the sacramental mystery as life meaning and Christian mission for the people of the European Western World during the Central Middle Ages (11th to 13th centuries). The document to be analysed is the German version of the Arthurian romance The Quest of the Holy Grail, whose original German manuscript was compiled by the end of 13th century. The corpus corresponds to the codex 147 pertaining to the Bibliotheca Palatina Germaniae in Heidelberg, and this is no sheer translation of the original Bretonnic version to Middle German (Mittelhochdeutsch). The present source constitutes an original corpus, a properly German text, although linked up to the Vulgate Cycle (Pseudo-Gautier Map Cycle), which corresponds to the first prosification cycle entailing the Grail narratives. This study aims at scruting a central element of the imaginary concerning the historical experience of people of Western European World at the peak the Central Middle Ages. It is the sacrament, and the comprehension of the sacramental meaning of human life in the sphere of immanence builds up a relevant key to understanding and endowing concrete experiences with meaning. This can be achieved by means of aprehending the shaft element concernig their imaginary.

A presente tese realizou uma investigação sobre os sentidos e imagens acerca do mal-estar e da experiência psíquica na cidade de São Paulo visto por meio da literatura urbana contemporânea, mais especificamente, tomando como material de análise a ficção Tango, com violino de Eduardo Alves da Costa. Partindo do pressuposto que relaciona os sofrimentos, desassossegos e desconfortos gerais sentidos na cidade com uma perda de sentido junto ao ambiente e sua paisagem, na sua interferência nos vínculos sociais e em suas relações intersubjetivas, utilizamos em nossa análise uma perspectiva imaginativo-interpretativa fundamentada em referenciais teóricos como Gilbert Durand, James Hillman, Gaston Bachelard e Augustin Berque, entre outros, abordando como a imaginação organiza o campo psicossocial e sua relação com os sentidos do espaço. Foi observado o papel da narrativa literária como um instrumento transformador do sofrimento em um incômodo capaz de estimular uma ampliação da percepção frente à cidade e seus problemas, mas também concluímos que o desconforto investigado poderia traduzir uma espécie de mal-estar da cidade. Sobre o desassossego e desamparo que relaciona os habitantes à cidade, notamos uma fenomenologia cuja variância, traz estados de aceleração e euforia em contraste com aspectos depressivos e melancólicos. Características que apontam para um modo civilizatório que em seu voo ideacional conflita com a necessidade de um lastro de valor, medida e sentido, tendo no retorno à sua imagem mítica uma aproximação para a compreensão da relação entre a experiência subjetiva e o sofrimento que atravessam o espaço urbano, o que aponta para a necessidade de habitar os atravessamentos entre as perspectivas que relacionam o novo com o antigo, o corpo, a cidade e a paisagem / The present thesis has carried out some research into the senses and images about malaise and psychic experience in the city of São Paulo seen through contemporary urban literature, more specifically taking the fiction Tango, with violin by Eduardo Alves da Costa as an analysis material. Starting from the assumption that relates the sufferings, restlessness and general discomforts felt in the city with a loss of sense nearby the environment and its landscape, in its interference in social ties and their intersubjective relations, we use in our analysis an imaginative-interpretive perspective from theoretical references such as Gilbert Durand, James Hillman, Gaston Bachelard and Augustin Berque, among others, approaching how the imagination organises de psychosocial field and its relationship with the meanings of space The role of the literary narrative was seen as a transformative instrument of suffering into a nuisance capable of stimulating an amplification of perception of the city and its problems, but we also concluded that the discomfort researched could translate a kind of malaise of the city. About the restlessness and helplessness that relates the inhabitants to the city, we note a phenomenology whose variance brings states of acceleration and euphoria in contrast to depressive and melancholic aspects. Features pointing to a civilizing mode that in its ideational flight conflict with the need for a ballast of value, measure and sense, having in the return to its mythic image an approximation for the understanding of the relationship between subjective experience and suffering that cross the urban space, which points to the need to inhabit the crossings between the perspectives that relate the new to the old, the body, the city and the landscape

Critics mostly dismiss Victor Villasenor's 1991 Rain of Gold—the supposed biography of the author's father who enters the United States during the Prohibition era. Nevertheless, upon closer examination this narrative explores and erodes corroded human categories and racial reductions present in the Southwestern penal system. According to scholars in critical prison studies and critical race theory, the prison functions as a state-sanctioned method for prosecuting criminals and persecuting minority Americans. Juxtaposing Rain of Gold with these two areas of academic research, however, reveals that penitentiaries produce faulty and fallible notions of personhood that are, in part, responsible for the racialization and decimation that occur with incarceration. In resistance, Rain of Gold's protagonist challenges the carceral's ability to overdetermine identity by outmaneuvering criminal labels, redefining oppressive narratives and refusing to accept a dehumanized existence. As a thirteen-year-old in the Tombstone penitentiary, Juan Salvador Villasenor preserves his dream of a better future. While criminals, especially Mexican American criminals, have little room for redemption or rehabilitation under state law, Juan carefully contradicts social normalization by learning to read The Count of Monte Cristo, escaping several cells and trumped-up criminal charges, and practicing the techniques of a successful bootlegger. Juan, then, changes the material condition of his life, and the lives of his family members, as he turns prison's identity play inside out.

L’objectif général de la thèse est de reconstruire et de périodiser les processus de représentation du brigandage italien à l’époque du Risorgimento, en croisant l’analyse avec le vaste panorama de l’imaginaire social relatif aux identités criminelles du XIXe siècle. La thèse possède une structure de type chronologique, bien que j’aie identifié trois noyaux thématiques fondamentaux, évoqués dans le sous-titre : crime, littérature et politique. Mon hypothèse est que la chronologie relative à l’histoire de l’imaginaire du brigandage italien (et en particulier méridional : Rome et Naples), est dictée par l’interaction entre la construction socio-culturelle de l’identité criminelle, le discours de nature littéraire et les dynamiques du conflit politique lié au processus de l’unification italienne. De telles interactions mettent continuellement en contact les représentations du brigand avec le débat public plus général sur les mécanismes de formation et d’enracinement du crime. L’étude du banditisme rural, en ce sens, ne peut pas être séparée des dynamiques de développement du concept de « classes dangereuses », du crime organisé et de la profession de criminel. Dans le même temps, le développement de modes littéraires détermine des étapes culturelles qui façonnent la sensibilité collective sur le brigandage en Europe et en Italie. Enfin, mettre en relation l’imaginaire du crime avec le thème du Risorgimento permet d’observer à quel point le discours sur le brigandage présente des pics d’intérêt politique, ou, à l’inverse, de relative folklorisation. Ceux-ci sont intimement liés aux luttes entre révolution et contre-révolution, et entre des projets nationaux opposés. Le titre de la thèse, en rappelant l’incipit de l’hymne national italien (« Frères d’Italie »), souhaite souligner l’ambiguïté et le chevauchement entre discours national et discours criminel qui, pour tout le XIXe siècle, accompagne l’imaginaire culturel, social et politique du brigandage. / The main aim of the thesis is to retrace and historicize the processes of representation of Italian brigands during the Risorgimento. The research situates the brigands within the general framework of construction of political and cultural models regarding criminal identities during the 19th century. My dissertation has a chronological structure, even though I identified three fundamental subjects, evoked in the subtitle: crime, literature and politics. The figure of the bandit has played a central role especially in the history and identity of Southern Italy (Rome and Naples). I assume that the chronology related to the imaginary of Italian brigands is the flourishing result of the interaction between the social and cultural construction of criminal identity, the literary discourse and the dynamics of political conflict related to the process of Italian unification. Such interactions constantly merge the representations of brigandage with the public debate about the mechanism at the origin and the embedding of crime. Therefore, the study of rural banditry cannot be separated from the concepts of “dangerous classes”, organized crime and criminal profession, and their dynamics and evolution. At the same time, the development of different literary genres determines the cultural phases shaping society’s sensitivity about brigands in Europe and Italy. Thus, putting into relation the social imaginary of crime with the theme of Risorgimento, the reader will notice to which point the representations of brigands offers insights of political interest, or, on the contrary, of folklorization. These dynamics are intimately linked at the struggle between revolution and counter-revolution, in a wider frame of opposite nation-building projects. The title of the thesis, recalling the beginning of Italian hymn (“Brothers of Italy”), highlights the ambiguity and the overlap of national and criminal discourses, which accompany the cultural, social and political imaginary of brigands and brigandage during the 19th century.

Plusieurs encriers se sont déjà épuisés à écrire sur la Venise des films, mais leurs études étaient avant tout d’ordre historique. Nous tenons compte de cette approche, de cette histoire de l’imaginaire, car nous pensons qu’elle est le passage vers un regard esthétique sur certaines interprétations de l’espace vénitien, tel qu’il est représenté dans le cinéma de fiction. Choisies pour leur éclectisme mais aussi pour leurs éventuelles correspondances, les images de notre corpus filmographique nous entraînent vers une analyse variée de l’espace du plan (le cadre, le champ) et de celui du montage (la « dialectique » des plans). Notre démarche, attachée aussi bien aux rapports spirituels et matériels qu’aux résultats signifiants et inconscients entre le créateur et Venise, retrace la sensibilité perceptible dans chacun des films concernés. Grâce à cette sensibilité, nous voulons mieux connaître les conditions d’une poétique de l’espace vénitien (et urbain) à travers le film, mais aussi le statut de la fiction pour son spectateur. Nous considérons objectivement autant les lieux communs que les visions anti-mythiques de la ville, car la spectacularité, le quotidien et la découverte font tous partie de sa nature. Nous cherchons simplement à comprendre comment les images filmiques et leurs histoires peuvent encore progresser vers une définition plus claire de la « place » de Venise et du cinéma pour chacun de leurs observateurs, pour chacun de leurs auteurs. / Many ink wells have already been exhausted writing about Venice in film, but these studies were primarily historical. We take the following approach: the story of the imaginary; we believe it is the gateway to an aesthetic view of some interpretations of Venetian space as represented in fiction films. Chosen for their versatility but also for their possible interconnections, the images in our filmography lead us towards an analysis of varied space shots and space editing. Our approach, committed to both spiritual and material reports as results and unconscious meanings between the creator and Venice, traces the sensitivity seen in each of the films concerned. With this sensitivity, we want to better understand the conditions of a poetics of urban and Venetian space through film, but also the status of fiction for its audience. We consider objectively all the platitudes and the anti-mythic visions of the city, because the spectacular, the everyday and discovery are all part of its nature. We are simply trying to understand how images in film and their stories can move towards a clearer definition of Venice as a "place” in film for both their observers and their authors.

Esta pesquisa tem como objetivo primeiro investigar as transformações nos textos literários para crianças e jovens, oriundos de mudanças nas relações sociais, e verificar em que medida a literatura infantil e mesmo a juvenil tem exteriorizado no seu universo textual novas maneiras de percepção sobre as narrativas primordiais ou clássicas, consolidadas como tal a partir do século XVII. Na contemporaneidade, sobretudo a partir da segunda metade do século XX no Brasil da releitura do novo texto infantil, observou-se que tais narrativas e seus valores outrora marcados pela presença de uma pedagogia altamente moralizante e excludente, agora reorganizam as estratégias de captação para retomar não só os clássicos ou histórias que caíram no gosto da criança e do jovem, no passado, mas ainda para atualizar narrativas capazes de fazer parecer serem outras, dado o novo arranjo da vestimenta destas novas histórias que intencionam, de modo significativo, evidenciar uma literatura com mais recursos de visualidade e plasticidade, bem como um modo de ser e de estar dessa nova criança e também do jovem num mundo de valores diversos, cujos reflexos corroboram um universo literário de atualizadas prescrições. Assim, tomou-se como corpora as obras Chapeuzinho Amarelo (2006), de Chico Buarque, ilustração de Ziraldo, Chapeuzinho Vermelho (1996), de Charles Perrault, Chapeuzinho Vermelho, dos Grimm (2009), Sapato de salto (2011), de Lygia Bojunga, Antecedentes de uma famosa história (2010), de Carolina Alonso, ilustração de Mariana Massarani, conto publicado em Não era uma vez: contos clássicos recontados coletânea de autores latino-americanos, A outra história de Chapeuzinho Vermelho (2016), de Jean-Claude R. Alphen, ilustrada pelo próprio autor e as intersecções forjadas no texto Preciosidade (1991), de Clarice Lispector, conto publicado em Laços de família. Para tal investigação, foram utilizados como fundamentação teórica elementos dos Estudos Comparados de Literatura, bem como de outras ciências da linguagem afins, além de estudos sobre a gênese e a História da Literatura Infantil e, posteriormente, a Juvenil. Com base em estudos já desenvolvidos sobre essa modalidade de textos, busca-se adentrar mais um pouco nessa floresta ainda vasta de textos que refletem valores humanos e sociais. / This research aims at investigating the transformations in literary texts for children and young people from social relations changes and at verifing the extent to which children\'s and still youth literature has externalized in their textual universe new ways of perception about primordial or classical narratives, consolidated as such from the seventeenth century. In contemporary times, the re-reading of the new children\'s text, especially since the second half of the twentieth century in Brazil, was observed that such narratives and their values were once marked by the presence of a highly moralizing and excluding pedagogy, now reorganize the capture strategies to resume not only the classics or stories that have fallen in the taste of the child and the youth in the past, but still to update narratives capable of making appear to be others, given the new arrangement of the \"clothing\" of these new stories that intend, in a significant way, a literature with more visuality features and plasticity, as well as a way of being of this new child and youth in a world of diverse values, whose reflections corroborate a literary universe of up-to-date prescriptions. Thus, it was taken as corpora the works Chapeuzinho Amarelo (2006), by Chico Buarque and illustrated by Ziraldo, Chapeuzinho Vermelho (1996), by Charles Perrault, Chapeuzinho Vermelho, by Grimm (2009), Sapato de salto (2011), by Lygia Bojunga, Antecedentes de uma famosa história (2010), by Carolina Alonso with illustration by Mariana Massarani, short story published in Não era uma vez: contos clássicos recontados - a collection of latin american authors, A outra história de Chapeuzinho Vermelho (2016), by Jean-Claude R. Alphen, illustrated by the author himself and the intersections forged in the text Preciosidade (1991), by Clarice Lispector, a tale published in Laços de Família. For this investigation, elements of Comparative Literature Studies, as well as other related language sciences and studies on the genesis and History of Children\'s and Juvenile Literature were used as theoretical basis. Based on studies already developed on this modality of texts, it aims at penetrating a little more in the still vast forest of texts that reflect human and social values.

This thesis documents a personal journey that asks the reader to consider the volatility of genres and their use value as a hierarchy and/or in the Academy. It places itself in the limitary disciplines of cultural studies, gender studies and fiction, and offers a map of a journey across disciplines. The thesis (w)rites against the grain of the patriarchal Order, and the author articulates gender as a variable in knowledge making and takes an experimental approach to the collection and analysis of data through reading and writing strategies. The use of the bracket is to make a ritual of (w)riting and a contingency of (k)now-ing. The thesis comes in three parts, all of which are interrelated. Parts one and two contain collections of the author's short stories and poetry and Part three is comprised of her correspondence. / Doctor of Philosophy (PhD)