O tema desta pesquisa é a atribuição de valor no campo do Patrimônio Cultural e o Sítio Alagadiço Novo, em Fortaleza, Ceará, é seu objeto de estudo. O Sítio Alagadiço foi o local de nascimento do romancista José de Alencar e teve suas terras remanescentes tombadas em 2012 pelo Instituto do Patrimônio Histórico Nacional (IPHAN). Propriedade da Universidade Federal do Ceará (UFC) desde 1965, o lugar abriga a instituição Casa de José de Alencar (CJA), órgão subordinado diretamente à Reitoria da UFC. A CJA é, inclusive, a denominação por que o Sítio é mais comumente conhecido pela comunidade fortalezense hoje. Isso posto, a questão de pesquisa da dissertação é: O que legitimou o tombamento do Sítio Alagadiço Novo? A fim de responder tal pergunta primeiro levantou-se a historiografia do Sítio em ordem com a história dos Alencar e com a evolução urbana de Fortaleza. Foram estipuladas três fases que correspondem aos ciclos econômicos da cidade, bem como coincidem com os ciclos em que (I) o Sítio Alagadiço Novo não existia como tal (1700-1810); (II) em que os Alencar viveram no lugar (1810-1930) e (III) ao ciclo pós-Alencar (1930-2018). A interpretação desse recorte historiográfico foi feita por meio do uso dos conceitos de Valor e Imaginário que serviram à provação da hipótese de que o tombamento do Sítio, em sua gênese, deveu-se à introjeção de um imaginário em torno da figura do escritor José de Alencar transformado em herói local no início do século XX. / This research explores the value attribution in the field of Cultural Heritage and the Sítio Alagadiço Novo, in Fortaleza, Ceará, is the object of the study. The Sítio Alagadiço was the birthplace of the novelist José de Alencar and had its remaining lands listed in 2012 by the National Historical Heritage Institute (IPHAN). Property of the Federal University of Ceará (UFC) since 1965, the place houses the institution Casa de José de Alencar (CJA), a subordinate body of the UFC’s Board. The CJA is even the denomination by which the site is most commonly known by the community of Fortaleza nowadays. With that being said, the research question of this dissertation is: What values did legitimize the heritage listing of Sítio Alagadiço Novo? In order to answer such a question, the historiography of the Site was elaborated in parallel with the history of the Alencar family and the urban evolution of Fortaleza. Three phases were stipulated corresponding to the economic cycles of the city as well as coincide with the cycles in which (I) the Sítio Alagadiço Novo did not exist as such (1700-1810); (II) in which the Alencar family lived in the place (1810-1930) and (III) the Post-Alencar cycle (1930-2018). The interpretation of this historiographic clipping was made through the use of the concepts of Value and Imaginary that served to test the following hypothesis: the listing of the Site, in its genesis, was due to the introjection of an imaginary around the figure of José de Alencar, whom was transformed into a local hero in the early 20th century.

L’Université d’Entreprise est un objet peu traité par la littérature. Elle est ainsi majoritairement perçue comme une structure devant, notamment par la formation et le développement des compétences, contribuer à l’atteinte des objectifs stratégiques de son organisation-mère, mais également favoriser le renforcement d’une culture interne. Par-delà cette définition instrumentale, à quoi sert une Université d’Entreprise ? La dénomination même de ce type de structure interroge. Y aurait-il, outre la mission gestionnaire qui lui est confiée, des « fonctions latentes » pour l’Université d’Entreprise ? Comment dépasser la vision culturelle pour en questionner les motivations profondes ? Nous avons souhaité mobiliser au cours de ce travail un cadre interprétatif permettant de dépasser la fonction visible de l’objet et ainsi interroger sa dimension imaginaire. Pour ce faire, nous avons eu recours à deux plans théoriques différents, l’un prescriptif et l’autre analytique, afin d’interroger dans un mouvement itératif les différents rôles et fonctions qui pourraient être ceux de l’Université d’Entreprise. Un dispositif particulier issu de méthodes qualitatives a été construit. Il repose sur le recueil de deux types de discours différents, l’un contrôlé, l’autre spontané, afin de favoriser l’analyse des deux plans théoriques. Par ailleurs, nous avons souhaité interroger l’ensemble des parties prenantes de l’Université d’Entreprise. Dans cette optique, différentes techniques (données secondaires, entretiens, observation et recueil de dessins) ont été utilisées. Les résultats de cette recherche doctorale sont multiples. Ils permettent tout d’abord le dévoilement d’une institution seconde de l’imaginaire organisationnel, l’Université d’Entreprise. Celle-ci, créatrice de liens particuliers entre une organisation et les individus qu’elle emploie va favoriser l’effectivité de l’imaginaire organisationnel. Cela repose sur la formulation d’une promesse faite par l’organisation-mère aux individus. Le développement et la mise à disposition de leur capital humain permettraient ainsi de leur offrir des perspectives de carrière. Cette promesse repose sur trois principes imaginaires qui fondent le rôle de l’Université d’Entreprise : les valeurs promues par l’organisation-mère, le prestige procuré par le partenaire académique et les attentes de reconnaissance que manifestent les individus. C’est sur la base de ce triptyque imaginaire que nous proposons de repenser le rôle institutionnel de l’Université d’Entreprise. / The study of the Corporate University is a topic that has received little attention in the literature. It is thus largely seen as a structure dealing with training issues which has to contribute both to the strategic development of its parent organization and to foster the internal culture. Beyond this instrumental definition, what is really a Corporate University? The very name of this structure raises some questions. Is there, in addition to the visible managerial mission statement, some “latent functions” for the Corporate University? How is it possible to go beyond the cultural issue in order to question the hidden motivations? We have mobilized during this work an interpretative framework that helps to question the imaginary dimension of the object beyond its visible function.To do this, we used two different theoretical “frameworks” The first one is prescriptive and the second one is analytical. Our aim is to question in an iterative movement the different roles and functions that could be those of the Corporate University. A particular framework based on various qualitative methods was built. It is based on the collection of two different types of discourse, one controlled and one more spontaneous in order to mobilize the two theoretical frameworks we mentioned. Furthermore, we wanted to interview all stakeholders of the Corporate University. Different techniques (secondary data, interviews, observation and collection of drawings) were used to reach this goal.The results of this doctoral research are numerous. First, they allow the unveiling of a secondary institution of the organizational imaginary, here the Corporate University. It creates a special relationship between an organization and the people it employs and will promote the effectiveness of the organizational imaginary. This is based on the formulation of a promise made by the parent organization to individuals. By offering their human capital to the organization, individuals will expect career opportunities in return. This promise is based on three principles underlying the imaginary role of the Corporate University: the valuespromoted by the parent organization, the prestige provided by the academic partner and expectations of recognition shown by individuals. We propose to rethink the institutional role of the Corporate University on this imaginary triptych basis.

Submitted by Noeme Timbo (noeme.timbo@metodista.br) on 2016-09-08T17:56:44Z No. of bitstreams: 1 Patricia Santos Machado.pdf: 1937071 bytes, checksum: c8fc421ac4ce74e154de64ca34d6f0db (MD5) / Made available in DSpace on 2016-09-08T17:56:44Z (GMT). No. of bitstreams: 1 Patricia Santos Machado.pdf: 1937071 bytes, checksum: c8fc421ac4ce74e154de64ca34d6f0db (MD5) Previous issue date: 2016-04-28 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / A study on the symbolic and self-defining constructions of the Woman in the narrative and the structures of female characters in the Disney Studios production Maleficent (2014) – USA. The plot is inspired on the fairy tale “The Sleeping Beauty in the Wood” but from a feminine standpoint, widening the possibilities of interpretation and allowing for a rupture from the dichotomic paradigm related to the struggle between “Good versus Evil”. This research aims at studying the evolution of the archetypical imaginary constructs of the characters in Maleficent in contrast with female identity in contemporary culture. For that end, the theoretical frame of reference includes the study of social imaginaries through the works of Durand, Edgar Morin and, most notably, Michel Maffesoli; psychoanalytical concepts from the works of de C.G. Jung, Erich Neumann, Marie-Louise Von Franz and Clarissa Pinkola Estés; Stuart Hall’s, Laura Mulvey’s and Gilles Lipovetsky’s theories of Cultural Studies with an emphasis on gender; and also ecofeminism, through the works of authors such as Vandana Shiva and Maria Mies. Our selected theoretical-methodological reference is the Depth Hermeneutics, with a view to the interpretation of the symbolic structure of our study. As a result of this research we verify a process of saturation of identity and symbolic patterns originated in Modernity, and the evolution of new dynamics in mediatic and communication narratives. / Estudo sobre as construções simbólicas e identitárias da mulher presentes na narrativa e na estrutura das personagens femininas do filme Malévola (2014) – produção dos estúdios Disney (EUA). A narrativa é inspirada no conto de fadas “A Bela Adormecida do Bosque” e distingue-se pela perspectiva feminina, modificando as possibilidades de interpretação, além de possibilitar a quebra do paradigma dicotômico relacionado ao Bem e ao Mal. A pesquisa tem por objetivo estudar a evolução das construções imaginárias da mulher no cinema e traçar paralelos entre as características arquetípicas das personagens de Malévola em relação à identidade da mulher na contemporaneidade. Para tal, será tomado como referencial teórico os estudos do imaginário social, com as obras de Gilbert Durand, Edgar Morin e, em especial, Michel Maffesoli; conceitos da psicanálise a partir dos trabalhos de C.G. Jung, Erich Neumann, Marie-Louise Von Franz e Clarissa Pinkola Estés; as teorias de Stuart Hall, Laura Mulvey e Gilles Lipovetsky relacionadas aos estudos culturais com ênfase em gênero; e também o ecofeminismo através dos trabalhos de autoras como Vandana Shiva e Maria Mies. Nosso referencial teórico-metodológico é a Hermenêutica de Profundidade (HP) visando à interpretação da estrutura simbólica de nosso objeto. Resultam desta pesquisa a verificação de um processo de saturação de padrões identitários e simbólicos provindos da modernidade e a evolução de novas dinâmicas nas narrativas presentes nas mídias e na comunicação.

Dans l'univers imaginaire d'Henry Bauchau, l'appel récurrent au minéral, par ses propriétés de froideur et de silence, semble à première vue consonner avec une thématique de la rupture et de la séparation, très présente dans ses premiers écrits. Mais, dès son premier roman, l'image de la Grande Muraille convoque deux valeurs opposées, l'une liée à l'absence de chaleur et de parole ( attachée à la figure de la mère), l'autre à l'affect et à l'avènement de la parole (attachée à la figure de l'analyste). Le paradoxe de ce double investissement métaphorique empêche de fixer toute valeur symbolique a priori et invite à analyser les rapports relationnels complexes tissés autour des images du minéral.Surgi du dialogue étroit avec le cosmos et de l'appartenance au mouvement littéraire de son époque, l'imaginaire minéral d'Henry Bauchau apparaît structuré selon les principes de la complémentarité et la réversibilité.Par l'ambivalence qui lui est constitutive, le minéral rend possible le passage du désenchantement, apparemment sans issue, à la promesse de sérénité. Lié à un mouvement de retour vers le sensible, l'accueil du minéral favorise le renforcement du sujet, après avoir contribué à sa fragilisation. Le minéral oriente l'être dans le dépassement de la conscience tragique vers une conscience cosmique, par le contact intime avec les forces visibles et invisibles de l'univers.Ainsi, le minéral ne met pas en doute chez Bauchau la notion de cohérence et d'unité, mais participe pleinement à sa réalisation, en dressant une relation entre le sujet et le monde en termes de continuité et de liaison. Le monde n'est pas seulement le lieu des épreuves et des doutes, mais également l'occasion de moments privilégiés, comme la pratique artistique, qui rétablit la cohérence entre l'homme et la matière du monde, et prolonge l'expérience individuelle dans l'expérience universelle.Le poème, à l'instar de l'homme, s'avère partie prenante de la matérialité du monde. La matière minérale apparaît au centre de l'interrogation sur l'origine des mots et sur leurs caractéristiques. La pierre, le sable, le sel, les phénomènes telluriques sont autant de référents qui structurent un métadiscours sur la matière verbale, située entre silence et émergence. De l'extraction à l'abstraction, le travail d'écrivain comporte une double démarche : s'il doit d'une part solidifier le langage soumis à l'effritement, d'autre part, il se voit obligé de tailler la matière amorphe et de sortir le langage de son inertie.L'analyse de la naissance de l'œuvre et de sa maturation, à travers les modifications successives, permet de constater combien les éléments apparemment disparates tendent à s'intégrer dans une structure organique par la recherche des connecteurs entre les parties. Ce qui fait le sens de l'œuvre, ce ne sont pas les éléments pris séparément, mais les relations qui se tissent entre eux. Pourtant, il n'est pas question pour Bauchau d'un idéal classique d'unité, conçu comme mesure et proportion, même si l'image de la pyramide, évoquée dans quelques épisodes, pourrait le laisser croire. L'érosion et la tectonique restent les principes actifs d'une écriture qui ne vise pas à reproduire le réel, mais à combler l'écart qui l'en sépare. Dès lors, le nombre d'or convoqué comme principe esthétique par un des personnages bauchaliens, n'est pas lié à l'image de la pyramide, mais au principe de la pyramide, qui vise l'équilibre entre les parties et l'ensemble.La hantise de l'architecturation, qui clôt notre parcours dans l'univers minéral bauchalien, montre le désir d'une inscription stable et cohérente et infirme le postulat initial sur le monde minéral, celui de la discontinuité.Finalement, l'unité à laquelle parviennent le moi et l'œuvre chez Bauchau est celle de la mosaïque, qui dans l'unité d'ensemble ne nie pas les différences et les singularités, qui ne refuse pas le discontinu, mais l'intègre et le dépasse. / The recurrent appeal to the mineral in the work of Henry Bauchau might appear, due to its features reminding of coldness and silence, in close relationship with the poetry of breach and separation which the Belgian writer has been often connected to. Yet, this primary intuition is contested ever since the first novel, where the mineral integrates both its repulsive and attractive features. Thus, erecting from a double-levelled interrelationship, from the tight dialogue with the Cosmos and the belonging to the literary movement of his age, the mineral universe of Bauchau shall be structured following the principles of the complementary and the reversible. Through its constitutive ambivalence, the mineral makes possible the passing over from the unpleasant, seemingly hopeless, to the promise of serenity. Linked to a movement of returning to the sensible after “God's death” in a new manner of grasping the world, in the immediate space, the receipt of the mineral favours the strengthening of the subject after having previously contributed to its becoming fragile. The mineral urges human being from surpassing tragic conscience towards acquiring cosmic conscience, using intimate contact with both visible and invisible forces of the Universe. The tendency to blur the demarcation lines between various species is nothing but a statement of belonging to a single wholeness to which the writer is willing to reach. Hence the mineral with Bauchau does not question the notion of coherence and unity, but fully participates to its achievement, through creating a link between the subject and the world in terms of continuity and connection. The world is not only the place of attempts and doubts, but also the chance of outstanding moments, such as the artistic work, where the coherence between the human being and the world's matter is possible to reinstate, while extending the individual experience in the universal one.

En dépit de la pléthore d’ouvrages existant sur le travail poétique d’Aimé Césaire et de Léopold Sédar Senghor, il en existe peu concernant l’exploitation de l’imaginaire à travers les concepts littéraires de l’épopée et du lyrisme. Bien que partageant une même histoire, Césaire et Senghor vivent une réalité politique, identitaire et culturelle différente. Ils abordent ainsi différemment les concepts d’épopée et de lyrisme qui prennent en compte l’histoire, le combat, l’expression des sentiments, le chant, l’art, l’intrusion de l’imaginaire et des mythes.Plus précisément, en fond de toile d’un imaginaire marqué, l’épopée narre la gloire d’un héros ou l’histoire d’un peuple. Et le lyrisme s’articule comme l’expression des sentiments personnels où le poète chante ses émotions, ses joies, ses peines et ses aspirations vers un idéal. On pourrait donc se demander quelles sont les empreintes épiques et lyriques qui participent à l’herméneutique de cette poésie négro-africaine. Et en quoi cette proposition de lecture nous invite à un croisement entre l’histoire, l’imaginaire et à la visée d’un idéal. / Despite the plethora of existing structures on the poetic work of Aimé Césaire and Léopold Sédar Senghor, there is little about the operation of the imagination through the literary concepts of the epic and lyricism. While sharing a common history, Senghor and Césaire experiencing a political, cultural identity and different. They thus address the different epic and lyrical concepts that take into account the history, the struggle, the expression of feelings, singing, art, the intrusion of fantasy and myth. Specifically, a backdrop of a marked fantasy, epic narrates the glory of a hero or the history of a community. And lyricism is structured as an expression of personal feelings which the poet sings his emotions, joys, sorrows and aspirations towards an Ideal.

Este estudo propõe uma leitura do século 21 de Robinson Crusoe, do escritor inglês Daniel Defoe, buscando identificar as razões que fazem a história do náufrago que vive numa ilha deserta por 28 anos permanecer excepcionalmente popular no mundo ocidental por três séculos. A leitura é um exercício prático do pensamento complexo, que constitui um dos três pilares da transdisciplinaridade, definido pelo pensador francês Edgar Morin. Esse enfoque consiste na identificação de padrões e inter-relações entre elementos internos do texto e externos a ele. O pensamento complexo conecta o conhecimento empírico/lógico/racional à sabedoria simbólica/mitológica/mágica. O estudo tem início com um retrospecto da carreira de Robinson Crusoe, considerando os textos fundadores que podem ter influenciado sua criação, e os inúmeros textos imitativos que se seguiram à sua publicação, originando um subgênero literário, das Robinsonadas. Uma síntese da biografia de Defoe ilustra o cenário de um mundo europeu de mudanças científicas, políticas e sociais radicais. O contexto e a fortuna crítica do autor são colocados lado a lado com a contribuição de estudos de filosofia da ciência, psicologia analítica, mitologia, antropologia e religião, na investigação do imaginário inscrito no romance. O capítulo quatro apresenta minha leitura transdisciplinar de Robinson Crusoe, destinada a demonstrar que a popularidade duradoura do romance é devida a seu poder de transmitir significados velados, conectados com elementos constitutivos do imaginário do mundo ocidental. / This study proposes a twenty-first-century reading of Robinson Crusoe, by British writer Daniel Defoe, aiming to identify the reasons why the story of the castaway who lives on an uninhabited island for 28 years has remained remarkably popular in the Western world for almost three centuries. The reading is a drill on Complex Thinking, as defined by French epistemologist Edgar Morin, one of the pillars of Transdisciplinarity. This approach consists of the identification of patterns and interrelationships among elements inside the text and elements external to it, in the light of a number of disciplines involved in the study. Complex Thinking connects empirical/logical/rational knowledge to symbolic/mythological/magical wisdom. The study starts with a review of the career of the book, considering the founding texts which might have influenced the creation of Robinson Crusoe, and the myriad of mimetic texts that followed its publication, giving birth to a literary subgenre, the Robinsonade. A glance at the life of Defoe is also offered, so as to illustrate the context of a European world of radical scientific, political and social changes. Contexts and the critical heritage of the work are put together with symbolic data that prove relevant for the research on the imaginary inscribed in the novel. Chapter three acknowledges the aid of a number of studies in the fields of philosophy of science, analytical psychology, mythology, anthropology and religion, which enabled me to interrelate diverse levels of reading. Chapter four offers my transdisciplinary reading of Robinson Crusoe, in which I endeavor to demonstrate that the continued popularity of the novel derives from its capacity to convey concealed meanings connected with elements constitutive of the Imaginary of the Western world.

Este trabalho investiga a presença da Igreja Católica no oeste do Estado do Paraná no período de 1930 a 1990. O período é relativo ao momento em que a Igreja marca presença através de sua institucionalização na região. A atuação da Igreja junto aos fiéis possibilitou a construção de um imaginário religioso através do qual, ao mesmo tempo em que a Igreja valorizou a presença dos colonos, estes tiveram a possibilidade de se instalarem na região, e estabeleceram uma relação de valorização ao papel desempenhado pela Igreja. A Igreja Católica utilizou-se de práticas e discursos que possibilitaram marcar presença na região, desenvolvendo uma estratégia que a caracterizou como uma instituição de necessidade ímpar junto aos colonos, a fim de provê-los dos "bens espirituais". Ao mesmo tempo, construiu a imagem do colono enquanto um homem abnegado ao trabalho e voltado aos interesses da coletividade. A recepção do discurso católico e as ações pastorais para que os discursos encontrassem receptividade por parte dos fiéis também foi uma questão analisada. Ao apontar para a construção do imaginário religioso, procurou-se investigar a partir das práticas e discursos feitos pelo clero católico junto aos colonos e a maneira como estes foram recebidos pelos colonos. Inúmeras ações foram desenvolvidas pelo clero católico e ainda hoje continuam, visando a melhor forma de atingir os fiéis, nos mais diversos níveis sociais. A realização do Concílio Ecumênico Vaticano II foi um momento de redefinição da Igreja Católica. O trabalho mostra a Igreja e sua atuação no espaço regional e as interferências que ela começou a sofrer a partir do pensamento conciliar que a perpassou em âmbito mundial, reelaborando um novo conceito de igreja e a repercussão destas mudanças na região. Por fim, os processos de tecnificação do campo e de urbanização que se intensificaram a partir da década de 1970, provocaram uma situação de redefinição da ação da Igreja a qual passou a remodelar seus discursos e reconstruir outras representações frente às mudanças ora registradas. Somado a isso, se percebe que a recepção dos discursos por parte dos fiéis também passou a exigir, dos emissores, estratégias mais elaboradas e convincentes. A abordagem conclusiva do trabalho consiste na demonstração das representações construídas pelos agentes da Igreja que atuaram durante os processos de colonização e de modernização. / This work investigates the presence of the Catholic Church in west of Paraná State in the period of 1930 a 1990. The period is relative to the moment that the Church is made institutional in the region. The role of the Church with the settlers presents a wealth of elements that built a body of representations, which contributed in a two-way process. At the same time the Church valorized the presence of the settlers, these had the possibility of settling in the region, and they established a relation of valorization and of importance in the role played by the Church. The Catholic Church, in settling its presence in the region, developed an own strategy of performance with the settlers, using the discourses that made possible to build itself as an institution of single necessity to the settlers, to provide them with “spirituals blessings”. At the same time, it searched to build the settler’s image as an unselfish man to the work and turned to the interests of the group as well. The reception of the catholic discourse and the pastoral actions to make the discourse find receptiveness by the churchgoers it was also an analyzed issue. In pointing out to the construction of the imaginary religious, it searched to investigate from the practices and discourses done by the catholic cleric with the settlers and the way as these were received for the settlers. Many actions were developed by the catholic cleric and continue until today, aiming the best way to get to the churchgoers in the several social levels. The realization of the Vatican Ecumenical Council II was a moment of redefinition of the Catholic Church. The work shows the Catholic Church and its performance in the region and the interferences that it started to suffer from the conciliatory thought that passed it by in a world scope, elaborating again a new concept of Church and the repercussion of this changes in the region. At last, the process of mechanization and urbanization of the field, which was intensified from the decade of 1970, provoked a situation of redefinition of the Church role, which began to remodel its discourses and rebuild other representations before the changes registered at this period. Adding to this, it is realized, that the reception of the discourses by the churchgoers also began to demand, from the speakers, more elaborated and convincing strategies. The conclusive approach of the work consists in the demonstration of the representations built or by the agents of the Church that worked during the process of colonization, or by the agents of the Church that worked during the process of modernization.

O presente trabalho é uma interpretação crítica da prática artística de Mário de Andrade que interroga como a apropriação da figura do Arlequim, que atravessa sua obra, é transformada numa proposta estética e numa conformação de artista. É realizado um panorama histórico da formação da Commedia dell’arte e conceitualiazam-se suas principais máscaras e personagens. Centra-se então a atenção na figura do Arlequim para analisar, a partir de suas fontes folclóricas, ritualísticas e iconográficas como ela ganha características diabólicas, animalescas e intermediárias entre mundos diversos (o selvagem e o urbano, o além e o terreno, etc.) Estuda-se a escolha de Mário de Andrade por essa “máscara” e do que ela significa no contexto da recorrência do fenômeno do “artista enquanto saltimbanco” na arte européia, acompanhando sua intensificação nas vanguardas (cubo e futurismo bem como no movimento Dada). Olhando para o modo como a crítica percebeu o Arlequim dentro da escrita de Mário de Andrade, dialogamos com esses aspectos e propomos uma ampliação do significado dessa figura, vendo-a como fundamento do ato improvisado de escrever e representar uma arte e uma identidade cuja totalidade seria impossível ainda no Brasil. Parte-se para a análise específica de Macunaíma, obra cuja feição rapsódica indica já a proximidade com o improvisar de várias fontes símile à prática arlequinal da Commedia dell’arte. Além do aspecto da narrativa, se elencam outros elementos que aproximam o herói indígena do trabalhador braçal italiano, principalmente o caráter intermediário do ser diabólico que atravessa mundos, conectando duas realidades diversas. É ressaltado o traço do embate entre a nova e a velha geração, presente tanto nas apresentações da Commedia dell’arte, na prática dos charivari, bem como na criação de Macunaíma. Abordada através de uma perspectiva da crítica do imaginário, a obra pretende ser compreendida como um conjunto de imagens que gera uma figura central, a guiar a poética do artista, simbolizando nela a simbiose que Mário de Andrade propõe entre estética, práxis e vida. / This paper is a critical interpretation of Mario de Andrade’s artistic practice and interrogates how the appropriation of the Harlequin character throughout his work is transformed into an aesthetic proposal and in a conformation of the artist. A historical overview of the Commedia dell’arte formation process and a conceptualization of its main masks and characters are also carried out in order to understand the nature and origin of the Harlequin mask. The attention is then focused on the Harlequin character in order to analyze, from its iconographic, ritualistic and folkloric sources, how it gains animal, evil characteristics in between diverse worlds (the savage and the urban, the earthy and the spiritual, etc.) A study is carried out of Mario de Andrade’s choice for this mask and its meaning in the context of the recurrence of the phenomenon of the “artists as a street entertainer [saltimbanco]” within European art, following its intensification in the Vanguard movements (Cubism, Futurism and Dada). Looking at the way critics perceived the Harlequin in Mario de Andrade’s writings, we dialogue with those perceptions and propose a stretching of the character’s meaning, seeing it as the basis for the improvised act of writing and representing an art and an identity which would not still be possible in Brazil. From that point on we make a specific analysis of Macunaíma, a rhapsodic work that indicates the proximity with the improvising in many sources similar to the Harlequin practice in Comedia dell’arte. Besides the narrative aspects, some other elements bring the indigenous character close to the Italian laborer, specially the intermediary character of the evil being who crosses worlds, connecting two diverse realities. We discuss the confrontation between the old and the new generation seen in the performances of Comedia dell’arte, the practices of the charivari, as well as in the creation of Macunaíma. Approached through a critical perspective of the imaginary, the work is intended as a set of images that generates a central figure orienting the artist’s poetics, symbolizing in it the symbiosis between aesthetic, praxis and life proposed by Mario de Andrade.

A partir de duas temáticas principais - paisagem e imaginário - esta investigação buscou identificar valores patrimoniais na paisagem, reconhecendo-a como um bem cultural, que envolve os conceitos de patrimônio material, imaterial e natural. A pesquisa teve como objetivo buscar os traços e registros do passado que identificassem as atribuições de valor à paisagem da cidade de São Francisco do Sul, SC, do início do século XX, bem como seus elementos mais representativos, suas identidades e seus lugares de memória. O estudo deu-se a partir da análise da representação da paisagem de São Francisco do Sul em cartões-postais produzidos e circulados no período de 1900-1930, entendendo o estudo das representações como um meio de aproximação ao imaginário da época. Adotou-se uma visão integradora da paisagem, considerando tanto suas características subjetivas/simbólicas como suas características objetivas/morfológicas. Sendo assim, montou-se uma grade interpretativa que possibilitou a análise de descritores icônicos e descritores sociais e de circulação. A interpretação dos dados revelou que a paisagem estudada foi possuidora de valores patrimoniais que foram entendidos como valores estéticos; valores naturais e ecológicos; valores produtivos; valores de uso social; e valores simbólicos e identitários. / Taking two subjects as focus - landscape and imaginary - this research aimed to identify heritage values in landscape, as we recognize landscape as a cultural property that includes concepts of tangible, intangible and natural heritage. The investigation had the objective of searching vestiges and registers of the past that could identify the attribution of values in the landscape of São Francisco do Sul, SC, as well as its most representative elements, its identities and its places of memory. The study used postcards of São Francisco do Sul produced and distributed from 1900 to 1930, as we considered the study of representations as one means of proximity to the imaginary of that period. We used an integrated vision of landscape, considering not only its morphological but also its symbolic characteristics. Constructing an interpretative frame, that made possible the reading of iconic, social and circulation describers, we could conclude that the landscape of São Francisco do Sul had significant social use, aesthetical, natural, ecological, productive and symbolical heritage values.

The study deals with the imaginary frontiersman referring to the gunman Alagoas José Rocha popularly known as Zé Crispim (1947-1968). Tracing the trajectory of a man who was involved with the criminal world, responsible for 16 murders of command, among them, the Robson Mendes in 1967 - a prestigious politician in the state – by which gained notoriety. Zé Crispim eventually intertwine with the local policy, based on this character will try to analyze the popular imagination of Crispim figure. We build sources and analyzed from the perspective of cultural history in order to map the unique and contradictory symbolism around gunman and enigmatic political episode in the late 1960s, in Alagoas. Thus we point problematizations on the fluid relationship between truth and fiction in the construction of narratives of historical memories. / Fundação de Amparo a Pesquisa do Estado de Alagoas / O estudo versa sobre o imaginário sertanejo referente ao pistoleiro alagoano José Rocha popularmente conhecido como Zé Crispim (1947-1968). Traçando a trajetória de um homem que se envolveu com o mundo do crime, responsável por 16 assassinatos de mando, dentre eles, o de Robson Mendes em 1967 – um político de prestígio no estado – pelo qual ganhou notoriedade. Zé Crispim acaba por se entrelaçar com a política local, partindo deste personagem procuraremos analisar o imaginário popular da figura de Crispim. Construímos fontes e as analisamos pela perspectiva da História Cultural a fim de cartografar os singulares e contraditórios simbolismos em torno pistoleiro e do enigmático episódio político no final da década de 1960, em Alagoas. Desta maneira apontamos problematizações sobre as fluídas relações entre verdade e ficção na construção das narrativas das memórias históricas.