A formação de cuidadores de idosos da saúde pública deve ser considerada, atualmente, questão de grande relevância, num pais em que expressiva parcela da população não conta com recursos para enfrentar despesas que surgem a partir do envelhecimento. Esta capacitação deve incluir não apenas conhecimentos específicos em relação a cuidados corporais, mas também preparo de caráter psicológico, que permita a instauração de vinculação suficientemente saudável entre cuidador e idoso. Neste contexto, a presente investigação visa estudar empiricamente o imaginário coletivo de cuidadores de idosos profissionais da saúde pública a respeito da pessoa idosa. Concebida e realizada a partir do uso do método psicanalítico, em todas as suas etapas, esta pesquisa articulou-se ao redor de uma entrevista com cuidadores, durante a qual o Procedimento de Desenhos-Estórias com Tema foi usado como recurso facilitador da comunicação emocional, bem como da consideração de experiências vivenciadas, no cotidiano institucional, em situações formais e informais, junto a idosos, cuidadores e da equipe, constituída por profissionais de várias formações. O conjunto do material emergente permitiu a elaboração de duas narrativas transferenciais, a partir das quais seis campos de sentido afetivo-emocional, ou inconscientes relativos, puderam ser criados/encontrados: cuidar enobrece a alma, cuidado com esse velho!, mas eu sou de confiança!, perdendo a autonomia, empobrecendo a convivência e vontade de viver(?). A condição de idoso frágil gera impactos emocionais e os cuidadores são sensíveis aos delicados aspectos que ligam a dimensão relacional inerente ao cuidado do idoso. Os seis campos criados/ encontrados indicam, de modo suficientemente preciso, quais são as principais questões psicológicas em processos de capacitação de cuidadores de idosos: apresentar-lhes a dramática de vida do idoso frágil e prepará-los para lidar com as delicadas interações que este tipo singular de intimidade certamente vai gerar / The training of caretakers for the elderly in public health must be considered, nowadays, a matter of great importance, in a country in which a considerable part of the population does not have the means to handle expenses that come with aging. This training must include not only specific knowledge on physical care, but also psychological preparation which allows for the creating of a bond strong and healthy enough between caretaker and elderly citizen. In such context, this investigation aims to study empirically the collective imaginary of professional public health caretakers of the elderly regarding older citizens. Conceived and executed using the psychoanalytic method, in all its steps, this research was organized based on an interview with the caretakers, during which the Drawing-Stories with Theme Procedure was used a facilitating resource for emotional communication, in discussing experiences lived, in the institutional daily happenings, in formal and informal situations, together with the elderly, caretakers and the staff, which is constituted by professionals from several backgrounds. The resulting material allowed for the creation of two transferential narratives, from which six affective-emotional or relative unconscious, fields could be created/derived: care-taking ennobles the soul, take care around that old man/woman!, but I\'m trustworthy!, losing autonomy, crippling relationships and will to live(?). The condition of frail elderly citizen impacts emotionally and caretakers are sensitive to the delicate aspects that connect the relationship dimension inherent to taking care of an older person. The six fields created/found indicate, in a sufficiently precise manner, which are the main psychological issues in the training process of caretakers for the elderly: presenting them the dramatic life of a frail elderly citizen and preparing them to deal with the delicate interactions this singular kind of intimacy will certainly bring

As poéticas simbolista e decadentista surgiram no último quarto do século XIX, em Paris, como reação ao movimento naturalista e ao pensamento positivista e cientificista de então; logo se espalharam para outros países, dentre os quais se destacam Bélgica, Portugal e Brasil, cujos autores continuaram a manter intenso diálogo com a produção da capital francesa. As obras escritas nesse contexto costumavam apresentar preocupações quanto ao aspecto metafísico da existência, buscando correspondências entre mundo natural e mundo espiritual, ao mesmo tempo em que propunham uma série de inovações estético-formais, como o verso livre e a prosa poética. No plano temático, voltavam-se a mitos e lendas difundidos no imaginário ocidental, resgatando símbolos antigos para instaurar novas significações e atualizar imagens já desgastadas. Tendo em vista esse contexto e os recentes estudos sobre a representação dos animais na literatura, a presente tese procurou verificar em que medida os animais se fazem presentes e se revelam importantes no imaginário finissecular e de que maneira houve inovação na forma como foram retratados. Paralelamente, pretendeu-se confirmar a existência de um imaginário animal comum aos poetas e prosadores simbolistas e decadentistas, independentemente de seu país de origem, e apesar das particularidades próprias de cada autor ou obra. Para tanto, partindo das imagens da águia, do cisne e do verme, três dos animais mais recorrentes e significativos para o contexto finissecular, em autores de língua francesa e portuguesa, buscou-se interpretá-las em seu próprio contexto e comparálas com as simbologias atribuídas pela tradição de modo a averiguar as inovações propostas pelos simbolistas e decadentistas e as particularidades de seu imaginário animal. / Symbolist and Decadent poetics emerged in the last quarter of the 19th century, in Paris, as a reply to Naturalism and its contemporary positivist and scientistic philosophies. Symbolism and Decadentism soon spread to other countries, among which Belgium, Portugal and Brazil, whose authors much dialogued with its fellow French writers. Works written in such a context used to feature anxieties as to existences metaphysical aspect, seek similarities between natural and spiritual world, as well as propose a series of aesthetical and form innovations, such as the free verse and the poetic prose. When it came to themes, they sought myths and legends that were widespread in the Western imaginary, making use of long-lost ancient symbols so as to bring forth new meanings and modernise outworn imagery. Given this background and recent studies concerning the representation of animals in literature, the present thesis sought to ascertain how present and important animals are to the late 19th-century imaginary and how innovative their portrayal is. Furthermore, it was our intent to establish the existence of a shared imaginary about animals among symbolists and decadents, regardless of their birthplace and despite the particularities of each author and work. In order to reach this goal, eagle, swan and worm images were our starting point, since they proved to be among the most meaningful and recurrent animals, both in French and Portuguese speaking authors. Then, I analysed them in their own context and proceeded to compare them to their traditionally assigned symbology, so as to learn the innovations proposed by symbolists and decadents, as well as the particularities of animals within these movements imaginary.

Avec leur entrée en guerre en 1917, les États-Unis s’imposent rapidement comme la principale force économique, industrielle et guerrière au monde. Avec les soldats, ce sont aussi la musique américaine (le rag-time puis le jazz), le cinéma (Charlot en tête, et bientôt les films noirs), ses légendes, ses propres mythes. Alors que la France traverse une crise de civilisation, parler des États-Unis ne saurait être anodin. Les discours sur les États-Unis se chargent alors d’enjeux existentiels, idéologiques mais aussi esthétiques. Aux inquiétudes d’époque qui traversent l’abondante production littéraire sur l’Amérique, se mêlent les sentiments personnels des auteurs. Se font entendre une pluralité de voix et de points de vue qui mettent sérieusement à mal l’idée reçue d’une France unaniment « antiaméricaine ». Rares sont les auteurs qui ne s’expriment pas à un moment ou un autre sur les États-Unis, qu’ils y voient la préfiguration de la vie future, ou l’avant-garde de la décadence, un marqueur de modernité ou l’occasion d’amitiés transatlantiques, un contre-modèle politique ou l’occasion d’une utopie démocratique… Ainsi a lieu l’avènement d’un foisonnant imaginaire français des États-Unis, bien loin d’un prétendu discours monologique, qui est l’occasion d’un formidable élargissement de l’horizon des écrivains, ou au contraire d’un repli européen ou national, parfois même nationaliste. Notre thèse se propose donc de rendre compte de la position centrale des États-Unis dans l’existence et la réflexion des écrivains français de l’entre-deux-guerres à travers les multiples formes de résonances et de déflagrations du mot et de la chose « Amérique » dans leur vie imaginative. On aura compris qu’il n’est pas nécessaire, pour parler d’Amérique, d’avoir traversé l’Atlantique. Les États-Unis apparaissent comme un terrain propice à la fiction entendue dans le sens large de mythologies, fantasmes, clichés, représentations symboliques… Il faudra donc débusquer le stéréotype, le cliché, la projection d’un imaginaire personnel dans les œuvres, sans en sous-estimer la pertinence. Les textes littéraires évoluant dans un rapport ambigu à la réalité, il est possible que la ligne de partage traditionnelle entre le vrai et le faux ne soit pas des plus adéquates. Car il est vrai que l’Amérique des textes semble bien souvent être celle des fantasmes (personnels ou collectifs), ceci n’excluant d’ailleurs pas, par moments, le pressentiment d’une vérité ou la compréhension. La crise succédant au 11 septembre est le moment propice pour restituer dans sa complexité l’histoire plurielle d’un regard sur l’autre, au-delà de l’aversion et de la fascination trop souvent présentées comme les deux seules voies empruntées par les écrivains français / When they entered World War I in 1917, the USA rapidly established themselves as the main economic, industrial and military power in the world. Alongside the soldiers, it was also about American music (rag-time and jazz), cinema (the Tramp to begin with and very soon the film noir), legends and their own myths. While France was undergoing a civilisation crisis, talking about the USA could not be insignificant. Talks about the USA became then full of existential, ideological, but also aesthetic stakes. On the top of the worries of the time going through the abundant literary production about America, came the personal feelings of the authors.The many voices and points of view that could be heard seriously undermined the common idea of France being completely anti-American. The authors not talking at some point or another about the USA were very rare, whether they saw in it the foresight of a future life, the avant-garde of decadence, a landmark of modernity or the opportunity for Franco-American friendship, a countermodel in politics or the occasion to see in it a democratic utopia... It was hence the coming of age of a proliferating French imaginary about the USA, quite far from a monological speech which consisted in an amazing broadening of the writer's horizon, or, on the contrary, in a European withdrawal, sometimes even nationalist. Our thesis offers then to account for the central position of the USA in the being and reflection of French writers of the interwar period through the multiple shapes of resonance and deflagration of the word and the thing « America » in their imaginary life.We have understood by now that it is not necessary, in order to talk about America, to have actually crossed the atlantic. The USA appear as a favorable place to foster fiction-in its broad meaning encompassing mythology, fantasy, clichés, symbolic representations… Our job will be then to hunt down the stereotypes, clichés, the personal projection of the imagination in the works without underestimating its relevance. Since the literary texts evolve with an amibiguous relationship with reality, it is possible that the traditional division between true and false may not be adequate. It is true indeed that the « America » in the texts seems quite often to be the product of fantasies (personal or collective), it does not however exclude, sometimes, the feeling of a truth or understanding. The post 9/11 crisis is the right time to re-establish, within its full complexity, the plural history of a look on the other, beyond the avertion or fascination so often introduced as the only two paths taken by the French writers.

Charles-Albert Cingria (1883-1954), écrivain de Suisse romande, a été longtemps chroniqueur à La NRF et a mené son activité littéraire aussi bien en Suisse qu'à Paris. Pourtant, il est très peu étudié en France. La question des langues est, chez ce voyageur polyglotte, au centre d'une constellation de considérations poétiques, esthétiques et rhétoriques qui donnent toute sa spécificité à cette oeuvre inclassable. Dans le contexte politique de la première moitié du XXe siècle, éclairé ici par la perspective de l'histoire des idées, ses conceptions sur les langues le placent dans la lignée des Anti-Lumières. Son oeuvre labyrinthique a par ailleurs été peu abordée dans sa globalité même, car elle résiste à toute les catégories d'ordinaire en usage, aussi bien sur le plan générique, thématique ou formel que sur le plan idéologique, tout en donnant au lecteur l'impression d'une oeuvre riche d'échos. Nous prenons ici le risque de la cohérence en choisissant pour fil rouge l'ensemble des représentations sur la langue et les langues dans un discours libéré de ses prétentions scientifiques. Ce parcours se fait d'abord à l'échelle d'un pamphlet précoce contre l'espéranto, puis au niveau de l'oeuvre entière, montrant qu'il relève chez Cingria d'une conception esthétique du monde perçu comme cosmos. L'imaginaire des langues repose enfin sur les mêmes principes que sa stratégie argumentative : au nom du naturel, la monstration prime sur la démonstration et l'évidence sur l'administration des preuves, aboutissant ainsi à des textes dont l'obscurité résulte paradoxalement d'une volonté de les rendre plus tangibles et incarnés. / Charles-Albert Cingria (1883-1954), a Swiss francophone writer, was a long-time columnist for La NRF. He wrote and lived in Paris as well as in his native Switzerland, but has been little studied in France. As a traveller and polyglot, he makes the observation of languages central to a constellation of poetic, aesthetic, and rhetorical considerations in his distinctive, unclassifiable work. In the political context of the beginning of the 20th century, studied here from the history of ideas’ perspective, his ideas about languages set him in the Anti-Enlightenment tradition. His labyrinthine work has never before been studied as a whole, perhaps because it refuses ordinary categorizations. On the level of genre, theme, and form, as well as on an ideological level, Cingria’s work thwarts conventional understanding, while letting the reader feel the echoes and resonances that fill the text. The author chooses to consider this work as coherent, and opts to view Cingria’s work through the lens of a main theme: its representations of language and languages within a discourse freed from scientific pretensions. This journey through Cingria’s thought begins with examining his early diatribe against Esperanto, then moves to a broader discussion of his work, showing that his representation of languages concerns above all an aesthetic conception of the world perceived as cosmos. The imaginary of languages ultimately rests on the same principles as his argumentative strategy: in the name of nature and the natural, obviousness takes precedence over demonstrating. These principles give rise to texts whose obscurity results, paradoxically, from the desire to make them more embodied and more concrete.

No description available.

Christian providence in the primary (real) world operates as the model for the spiritual movement of Eru/Illuvatar in Tolkien's secondary (imaginative) world. Paralleling the Christian God, Illuvatar maintains a relationship with his creation through a three-fold activity: preservation, concurrence, and government. Preservation affirms Eru's sovereignty as Creator, and concurrence guarantees creaturely freedom, while paradoxically, government controls, guides, and determines those wills in Time. The union of these three activities comprises the providential relationship of Illuvatar in Tolkien's imaginary world. The following thesis endeavors to carry the argument for providence into The Silmarillion with a declarative and analytical detail that distinguishes Illuvatar's providence from other temporal manifestations. Finally, the analysis reveals not only the author's authentic orthodox perspective, but Illuvatar's role in the imaginative world emerges as a reflection of Tolkien's authorial role in the real world. / by David C. Powell. / Thesis (M.A.)--Florida Atlantic University, 2009. / Includes bibliography. / Electronic reproduction. Boca Raton, Fla., 2009. Mode of access: World Wide Web.

Submitted by Jadson Francisco de Jesus SILVA (jadson@uefs.br) on 2018-07-18T22:59:48Z No. of bitstreams: 1 DISSERTA??O_ILZA_VERS?OFINAL_GR?FICA.pdf: 1731749 bytes, checksum: 0d071c0e1b34e437dbaece3444fcce87 (MD5) / Made available in DSpace on 2018-07-18T22:59:48Z (GMT). No. of bitstreams: 1 DISSERTA??O_ILZA_VERS?OFINAL_GR?FICA.pdf: 1731749 bytes, checksum: 0d071c0e1b34e437dbaece3444fcce87 (MD5) Previous issue date: 2018-02-27 / The Canudos war is the subject of many studies and publications and the figure of Antonio Conselheiro emerge diverse interpretations. This historical fact still constitutes a vast material for study, especially in the linguistic scope. In this sense, the present research, of bibliographical character, part of the discourses around the central character of the movement of Belo Monte and aims to realize a counterpoint between its image constructed by the look of the other and the image constructed by its own look. In the first case, in order to compose the corpora of the research, the first news about him, published by newspapers of the time, is taken as materiality: one from the newspaper O Rabudo, the first to refer to the figure of Antonio Conselheiro in 1874, another of the Di?rio da Bahia, dated June 27, 1876, and the last of the Di?rio de Not?cias, published almost two decades later, on May 31, 1893. In addition to the news, two cordel poems, entitled "Defending Counselor "and" Perez Pillow ", written fifty years after the end of the Canudos war by the Euclidean poet and writer Jos? Aras. In the second case, an analysis is made of six of the Counselor's handwritten preaching, recorded in two books found after the end of the conflict: three from the book of 1895 and three from the book of 1897. The purpose is to analyze how discourses work make reference to the leader of Belo Monte, since they emerge of discursive subjects and specific conditions of production. This work is based, therefore, on the French Discourse Analysis, proposed by Michel P?cheux. In order to compose the theoretical-analytical device, it was mainly based on the notion of Imaginary Formations. The analyzes point out that the different discursive subjects are interpellated by different ideological formations and, therefore, affiliated to different discursive formations. This is because, as ADP pecheutiana advocates, the imaginary formations that the protagonists of these discourses have of their place and of the place of their interlocutor intervene directly in the conditions of the production of discourse, thus focusing on what is said, how it is said and, consequently, in the effects of meaning that emerge from these sayings. This explains why the image of Antonio Conselheiro is negative for the newspapers, while for the cordelista subject, affiliated with another ideology, occupying a different place of saying, that is, the religious leader is a martyr and hero. At another point, the preachings are taken to analyze the image of the Counselor from his own point of view, the discursive subject, from the imaginary representation of the social place from which he speaks, has the image of humble servant and mouthpiece of the Word of God and guardian of the true religion of the Good Jesus. / A guerra de Canudos ? tema de muitos estudos e publica??es e da figura de Antonio Conselheiro emergem diversas interpreta??es. Esse fato hist?rico ainda configura um vasto campo para estudo, especialmente no ?mbito lingu?stico. Nessa esteira, a presente pesquisa, de car?ter bibliogr?fico, parte dos discursos em torno do personagem central do movimento de Belo Monte e visa realizar um contraponto entre a sua imagem constru?da pelo olhar do outro e a imagem constru?da pelo seu pr?prio olhar. No primeiro caso, para compor os corpora da pesquisa, tomam-se como materialidade as primeiras not?cias a seu respeito, veiculadas pelos jornais da ?poca: uma do jornal O Rabudo, o primeiro a fazer refer?ncia ? figura de Antonio Conselheiro, em 1874, outra do Di?rio da Bahia, de 27 de junho de 1876, e a ?ltima do Di?rio de Not?cias, publicada quase duas d?cadas depois, em 31 de maio de 1893. Al?m das not?cias, tamb?m s?o objeto de an?lise dois poemas de cordel, intitulados ?Defendendo Conselheiro? e ?Repousa Peregrino?, escritos pelo poeta e escritor euclidense Jos? Aras cinquenta anos depois de findada a guerra de Canudos. No segundo caso, realiza-se uma an?lise de seis das pr?dicas manuscritas pelo Conselheiro, registradas em dois livros encontrados ap?s o fim do conflito: tr?s do livro de 1895 e outras tr?s do livro de 1897. O intuito ? analisar como funcionam os discursos que fazem refer?ncia ao l?der de Belo Monte, uma vez que emergem de sujeitos discursivos e condi??es de produ??o espec?ficos. Este trabalho fundamenta-se, desse modo, na An?lise de Discurso francesa, proposta por Michel P?cheux. Para compor o dispositivo te?rico-anal?tico, apoiou-se, principalmente, na no??o de Forma??es Imagin?rias. As an?lises apontam que os diferentes sujeitos discursivos s?o interpelados por forma??es ideol?gicas diferentes e, por conseguinte, filiados a forma??es discursivas tamb?m distintas. Isso porque, conforme preconiza a AD pecheutiana, as forma??es imagin?rias que os protagonistas desses discursos t?m do seu lugar e do lugar do seu interlocutor, assim como sobre o que se fala, interv?m diretamente nas condi??es de produ??o do discurso, incidindo, portanto, no que ? dito, como ? dito e, por consequ?ncia, nos efeitos de sentido que emergem a partir desses dizeres. Isso explica porque a imagem de Antonio Conselheiro ? negativa segundo o ponto de vista dos jornais, enquanto que, para o sujeito cordelista, filiado a uma outra ideologia, ocupando um outro lugar do dizer, ele ? um m?rtir e her?i. Noutra ponta, tomadas as pr?dicas para an?lise da imagem do Conselheiro sob o seu pr?prio ponto de vista, o sujeito discursivo, a partir da representa??o imagin?ria do lugar social de onde fala, tem de si a imagem de humilde servo e porta-voz da Palavra de Deus e guardi?o da verdadeira religi?o do Bom Jesus.

Submitted by Adriana Alves Rodrigues (aalves@espm.br) on 2018-08-08T16:16:19Z No. of bitstreams: 1 ppgcom - frederico jorge tavares de oliveira.pdf: 5687540 bytes, checksum: 54f57daec7e11c0b330e91229a2bfa0f (MD5) / Approved for entry into archive by Adriana Alves Rodrigues (aalves@espm.br) on 2018-08-08T16:17:27Z (GMT) No. of bitstreams: 1 ppgcom - frederico jorge tavares de oliveira.pdf: 5687540 bytes, checksum: 54f57daec7e11c0b330e91229a2bfa0f (MD5) / Approved for entry into archive by Debora Cristina Bonfim Aquarone (deborabonfim@espm.br) on 2018-08-08T17:58:49Z (GMT) No. of bitstreams: 1 ppgcom - frederico jorge tavares de oliveira.pdf: 5687540 bytes, checksum: 54f57daec7e11c0b330e91229a2bfa0f (MD5) / Made available in DSpace on 2018-08-08T17:59:25Z (GMT). No. of bitstreams: 1 ppgcom - frederico jorge tavares de oliveira.pdf: 5687540 bytes, checksum: 54f57daec7e11c0b330e91229a2bfa0f (MD5) Previous issue date: 2018-02-26 / The Mitosphere of Consumption is a theoretical notion developed in the large area of Communication Sciences; it is particularly linked to studies of communication and consumption and to studies of the imaginary. Along with the trajectories of meaning and media narratives is a notion that serves to understand the short-circuits of the imaginary, processes of flow and reflux of symbolic images in the practices of communication and consumption. Faced with a consummation of media narratives (what was called the media consummation), this work identifies the formation of symbolic images of consumption. The Mitosphere of Consumption, coupled with a series of differentiated and articulated notions, was treated in this research in two parts. In the first one, it was deciphered what gives the title of the thesis: “Mitosphere of Consumption: trajectories of meaning and media narratives”, accentuating issues of epistemological, theoretical and methodological order; in the second part, we described its force of affectation, or else a hermeneutic force and the revelation of the symbolic images from tragedies and narratives that involved soap opera actors and a soccer team (what was called the media tragedies). The choice of these events occurred according to their own emergence and visibility in the public and media sphere, and also because it was possible to indulge in their affective and symbolic dynamics. The study of these media tragedies occurs in a singular combination of techné and arché, between the new and the archaic, and reveals certain aspects of reality – the deepest ones – that defy any form of knowledge. Studying the sphere of myth, tragedy and the meanings of death with the media narratives may, however, be a key to understanding how a consumer society says and organizes itself from symbolic images; or how the present embodies what is substantial. Undoubtedly, a rapprochement with popular wisdom, with daily life, was held here, which seemed to us adequate to a diagnosis of how some sensitive atmospheres of communication, consumption and imaginary are formed. Its prognosis will be another matter. / A Mitosfera do Consumo é uma noção teórica desenvolvida dentro da grande área das Ciências da Comunicação; está particularmente ligada aos estudos de comunicação e consumo e aos estudos do imaginário. Junto dos trajetos do sentido e das narrativas mediáticas é uma noção que serve para se compreender os curto-circuitos do imaginário, processos de fluxo e refluxo de imagens simbólicas nas práticas de comunicação e consumo. Diante de uma consumação de narrativas mediáticas (o que se chamou de consumação mediática), este trabalho identifica a formação de imagens simbólicas do consumo. A Mitosfera do Consumo, somada a uma série de noções diferenciadas e articuladas entre si, foi tratada nesta pesquisa em duas partes. Na primeira, decifrou-se isto que dá o título da tese: “Mitosfera do Consumo: trajetos do sentido e narrativas mediáticas”, acentuando-se aí questões de ordem epistemológica, teórica e metodológica; na segunda, descreveu-se o seu poder de afetação, ou senão um poder hermenêutico e de revelação das imagens simbólicas a partir de tragédias e narrativas que envolveram atores de novela e um time de futebol (o que se chamou de tragédias mediáticas). A escolha desses acontecimentos se deu conforme a sua própria emergência e visibilidade na esfera pública e mediática, e também por ter sido possível entregar-se à sua dinâmica afetiva e simbólica. O estudo dessas tragédias mediáticas se dá numa singular combinação entre techné e arché, entre o novo e o arcaico, e revela certos aspectos da realidade – os mais profundos – que desafiam qualquer forma de conhecimento. Estudar a esfera do mito, da tragédia e dos sentidos da morte com as narrativas mediáticas pode, contudo, ser uma chave de compreensão de como uma sociedade de consumo se diz e se organiza a partir de imagens simbólicas; ou como o atual encarna o que é substancial. Sem dúvida, realizou-se aqui uma reaproximação com uma sabedoria popular, com o quotidiano, o que nos pareceu adequado a um diagnóstico de como se formam algumas atmosferas sensíveis da comunicação, do consumo e do imaginário. Seu prognóstico será outra questão.

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / The present work sought to develop a discussion about the Galilean ship. Discovered in 1986, on the shores of Lake Galilee, and dating to the first century D.C. It represents the first information of vessels from this period arising from material culture, for until then, the theme was present only in the biblical texts of the New Testament. In this way, the finding allowed a symbolic discussion about elements present in religious narratives because they presented different meanings. In this context, we seek to initiate an archaeological and symbolic analysis of this boat as nautical artefact, seeking to understand the different symbologies that surround it. / O presente trabalho buscou desenvolver uma discussão sobre o barco da Galileia. Descoberto em 1986, às margens do lago da Galileia, e datado do primeiro século D.C.. Representa a primeira informação de embarcações deste período decorrente da cultura material, pois até então, o tema estava presente somente nos textos bíblicos do Novo Testamento. Desta forma, o achado permitiu uma discussão simbólica sobre elementos presentes nas narrativas religiosas por apresentarem significados diferentes. Neste contexto, procuramos iniciar uma análise arqueológica e simbólica deste barco, enquanto artefato náutico, buscando compreender quais as diferentes simbologias que o envolvem. / Laranjeiras

Esta pesquisa investiga a construção do imaginário relacionado aos rios sul-americanos, através do estudo de experiências e projetos significativos e emblemáticos sobre o tema, buscando refletir acerca de seus sentidos e especulando sobre as interações possíveis entre imaginação e projeto. Ao olhar para a história sul-americana, procura-se identificar formas de pensar e tratar os rios, focando nos seus sentidos continentais. Como introdução à reflexão sobre esse imaginário, parte-se do estudo de alguns aspectos singulares de determinadas civilizações pré-colombianas, centrando-se na maneira com que constroem a paisagem através dos recursos hídricos, partindo da percepção de que estas experiências até hoje instigam a imaginação. Estuda-se, na sequência, um conjunto de viagens fluviais que também contribuíram para a formação do imaginário fluvial sul-americano. As primeiras viagens, realizadas no início do século XIX, tiveram como precursor Alexander von Humboldt e trouxeram um novo olhar para a paisagem americana e, consequentemente, para seus rios. A década de 1980 também concentrou importantes expedições fluviais; é quando os irmãos Georgescu partem de Caracas (Venezuela) a fim de comprovar que a integração fluvial é possível, marcando uma retomada do tema e consolidando um pensamento sobre os rios. Investiga-se também os sentidos relacionados ao domínio da natureza e à transformação da paisagem pelo homem através dos principais projetos de infraestrutura elaborados - como os planos de interligação das bacias do Orinoco, Amazonas e do Prata, que viabilizariam o sistema de hidrovias sul-americano - para, enfim, refletir sobre como o tema é tratado no campo da arquitetura e do urbanismo. Isso é feito através do estudo de projetos emblemáticos que trazem conceitos importantes, em que as águas interiores tem papel fundamental, como alguns estudos de Paulo Mendes da Rocha e seu discurso sobre o território americano. O pensamento sobre os sentidos estruturais dos rios, sobre as possiblidades e o potencial de suas águas continentais, chega aos dias atuais, à ideia da Metrópole Fluvial e ao projeto do Hidroanel Metropolitano de São Paulo, objeto de estudo do segundo capítulo. Entende-se que se trata de um projeto singular que sugere um novo horizonte para o enfrentamento das questões urbanas e territoriais, e aponta para uma direção que parece permitir olhar o continente de outra forma e imaginar um futuro diferente. / This research investigates the construction of the imaginary related to the South American rivers by studying significant and emblematic experiences and projects on the theme, seeking to reflect on their meanings and speculating on the possible interactions between imagination and design. By looking at the South American History, we try to identify ways of thinking and dealing with rivers, focusing on their continental dimension. As an introduction to the reflection on this imaginary, we start from the study of some singular aspects of certain pre-Columbian civilizations, centering on the way in which they create their landscape through water resources, understanding that these experiences can, until today, instigate the imagination. Next, we study a set of river journeys that have also contributed to the South American fluvial imaginary. The first journeys, in the beginning of the XIX century, had Alexander Von Humboldt as a precursor. They brought a new way of looking at the American landscape and, consequently, its rivers. The 1980\'s have also concentrated important fluvial expeditions; it is when the Georgescu brothers leave from Caracas (Venezuela) in order to prove that the river integration is possible, marking a comeback of the theme and consolidating a way of thinking about the rivers. The meanings related to conquering nature and the transformation of the landscape by man are investigated through main infrastructure plans - such as the plans connecting the Orinoco, Amazonas and Prata basins, which would make the South American waterways system possible - so that we can then reflect on how the theme is treated in the fields of architecture and urbanism. This is done by studying emblematic projects that bring important concepts, in which the interior waters play a fundamental role, such as some of the studies by Paulo Mendes da Rocha and his discourse on the American territory. The thinking on the structural meanings of rivers, on their continental waters possibilities and potentials, reaches the present day, the idea of a Fluvial Metropolis and the project for the Metropolitan Waterway Ring of São Paulo, study object of the second chapter. It is understood that this is a unique project that suggests a new horizon for facing urban and territorial issues, and points in a direction that seems to allow us to see the continent in a new way and imagine a different future.