[pt] A Cartografia propicia, através de seus produtos, o estabelecimento de uma capacidade reflexiva sobre a dimensão espacial de um dado recorte. Corrobora para que diversas análises espaciais sejam elaboradas retratando processos, fenômenos e padrões da superfície terrestre. Apesar desta capacidade, ao longo do tempo, a ciência cartográfica foi submetida à primazia do positivismo lógico, desconsiderando aspectos imateriais e que transcendem aquilo que é observável, desvalorizando a dimensão do imaginário e das realidades passíveis de serem representadas, relegando-as à condição de devaneio e de irrealidade. Contrariamente, esta perspectiva assume centralidade quando dialogada com a arte. Como exemplo cita-se a literatura fantástica, que opera na relação direta entre a ficção e a realidade, fazendo-se utilizar, em muitos casos, de mapas (entre outras representações) visando à espacialização dos universos onde as narrativas se desenrolam. A cartografia subsidia e é subsidiada pelo imaginário, promovendo a representação espacial destes universos imateriais. Assim, buscar-se-á entender como a Cartografia Fantástica representada no universo imaginado de J. R. R. Tolkien contribui para a compreensão das relações geográficas existentes no imaginário do autor. Para tal fim, torna-se necessário que se visitem as fundações criacionais do universo imaginado, percorrendo-se por significados e simbolismos expressos a partir de acontecimentos vivenciados e que perfazem a construção de paisagens fantásticas. Como consequência, tomam-se rebatimentos interpretativos que alçam a realidade dada a múltiplas possibilidades. A cartografação e a construção de uma ardo grafia são fruto deste mesmo processo. Estabelece-se como resultante de interpretações forjadas a partir da recepção, decodificação e transformação das informações transmitidas por Tolkien e que são moldadas a partir de um background histórico, cultural e cognitivo daquele que a concebe. / [en] Cartography provides, through its products, the establishment of a reflective capacity on the spatial dimension of a given area. It corroborates that several spatial analyzes are elaborated portraying processes, phenomena and patterns of the Earth s surface. Despite this ability, over time, cartographic science has been subjected to the primacy of logical positivism, disregarding immaterial aspects and transcending what is observable, devaluing the dimension of the imaginary and the realities that can be represented, relegating them to the condition of reverie and unreality. In contrast, this perspective assumes centrality when dialogued with art. As an example fantastic literature is mentioned, which operates in the direct relationship between fiction and reality, making use, in many cases, of maps (among other representations) aiming at the spatialization of the universes where the narratives unfold. Cartography subsidizes and is subsidized by the imaginary, promoting the spatial representation of these immaterial universes. Thus, we will try to understand how the Fantastic Cartography represented in the imagined universe of J. R. R. Tolkien contributes to the understanding of the geographical relations existing in the author s imagination. For that purpose, it is necessary to visit the creational foundations of the imagined universe, going trough meanings and symbolisms expressed from experienced events that make up the construction of fantastic landscapes. As a consequence, interpretative repercussions that raise a reality given to multiple possibilities. The mapping and construction of an ardo graphy are the result of this same process. It is established as a result of interpretations forged from the reception, decoding and transformation of the information transmitted by Tolkien and which are shaped from a historical, cultural and cognitive background of the person who conceives it.

Ce mémoire traite des représentations du vivant portées par l’imaginaire sociotechnique de la biologie de synthèse. Domaine technoscientifique en pleine expansion, elle a comme objectif de fabriquer des entités biologiques détenant une application commerciale. En plus de ses visées économiques, les promoteurs de la biologie de synthèse annoncent qu’elle constitue une solution aux enjeux engendrés par la crise écologique. Ce type de promesse étant moins étudié par la sociologie des sciences et des technologies, ce présent mémoire fera lumière sur cet enjeu. Je montrerai que la biologie de synthèse s’inscrit dans le modèle bioéconomique qui implique une mise en ressource à large échelle globale des processus biologiques. L’imaginaire de la biologie de synthèse reconduit ainsi une double promesse : poursuivre le modèle de développement industriel tout en évacuant les limites écologiques qui s’y posent. Avec une analyse des discours médiatiques et publicitaires relatifs aux promesses écologiques de la biologie de synthèse, je démontrerai que son imaginaire s’appuie sur une représentation machinique et informationnelle du vivant. Par le fait même, cette analyse montrera que la volonté de mettre les processus biologiques en ressource se décline elle-même en deux tendances. D’une part, le vivant est posé dans les termes d’une matière première inerte et malléable. D’autre part, il est représenté comme une entité active qui peut être mise au travail. L’imaginaire de la biologie de synthèse relève donc d’une radicalisation de la volonté d’englober les processus biologiques dans la production industrielle. Les promesses écologiques de ce domaine apparaissent subordonnées à cette visée. / This thesis focuses on the representations of the living carried by the sociotechnical imaginary of synthetic biology. Synthetic biology is a fast-growing technoscientific field whose main objective is to manufacture biological entities with commercial applications. In addition to its economic aims, promoters of synthetic biology claim that it represents a solution to the challenges posed by the ecological crisis facing contemporary societies. As this type of promise is less studied by the sociology of science and technology, this thesis will shed light on this issue. I will show that synthetic biology is part of the bioeconomy, which proposes the large-scale transformation of biological processes into valuable resources. The imaginary of synthetic biology thus makes a double promise : to continue the industrial development model while bypassing its ecological limits. Through an analysis of media and advertising discourse relating to the ecological promises of synthetic biology, I will demonstrate that its imaginary underpins a machine-like, informational representation of living matter. Furthermore, this analysis will show that the desire to turn biological processes into resources underlies two trends. On the one hand, living matter is posited in terms of an inert, malleable raw material. On the other, it is represented as an active entity that can be put to work. The sociotechnical imaginary of synthetic biology thus reflects a radicalization of the desire to incorporate biological processes into industrial production. The ecological promises of this field appear subordinate to this aim.

Made available in DSpace on 2011-05-04T12:36:24Z (GMT). No. of bitstreams: 0 Previous issue date: 2009 / Como é feita a assistência às pessoas em situação de crise nos novos serviços advindos do processo de Reforma Psiquiátrica Brasileira? Esta foi a questão que inspirou este estudo. Buscando investigar tal questão em um serviço substitutivo, este estudo contemplou a análise da experiência assistencial de um dos Centros de Referência em Saúde Mental CERSAM do município de Belo Horizonte, tendo como via de acesso o cotidiano e as narrativas dos profissionais sobre suas práticas assistenciais. A contento, orico e complexo cotidiano assistencial do CERSAM foi analisado por meio das lentes da Psicossociologia Francesa, vertente da Psicologia Social, de inspiração psicanalítica, que sededica ao estudo dos sujeitos em situações cotidianas, em seus grupos, organizações e comunidades. De natureza qualitativa, este estudo privilegiou, em seu desenho metodológico, a articulação de duas estratégias quando realizada a pesquisa de campo: a observação participante e as entrevistas em profundidade. A análise da experiência assistencial do CERSAM pesquisado permitiu compreender o imaginário dos profissionais sobre o próprio CERSAM e sua proposta assistencial, além das representações de crise que perpassam as práticas assistenciais destes profissionais. Junto à dimensão imaginária, a configuração dos processos de trabalho, o funcionamento dos dispositivos assistenciais do serviço e o trabalho em equipe permitiram apreender os desafios cotidianos encontrados pelos profissionais que se dedicam ao árduo trabalho de oferecer uma assistência às pessoas em situação de crise conforme os princípios e valores do ideal que norteia o projeto assistencial da equipe: o ideal antimanicomial. / How is the assistance to people in crisis in the new services from the process of the Brazilian Psychiatric Reform? This was the question that inspired this study. Order to further investigate this issue in a substitutive service, this study included the analysis of the care experience of one of the Centers of Reference in Mental Health - CERSAM - the city of Belo Horizonte, with the route to daily life and the narratives of professionals about their practice assistance. The satisfaction, the rich and complex daily care of the CERSAM was examined through the lens of French Psychosociology, part of the social psychology of psychoanalytic inspiration, dedicated to the study of subjects in everyday situations in their groups, organizations and communities. Qualitative, this study focused on methodological design for a combination of two strategies when performed field research: participant observation and interviews in depth. The analysis of the care experience of the CERSAM studied enabled us to understand the imaginary of professionals about the CERSAM and their own healthcare proposal, and the representations of crisis that pervades the healthcare practices of these professionals. Along the imaginary dimension, the configuration of work processes, the operation of the service of caring and teamwork possible to grasp the daily challenges encountered by professionals who are dedicated to the hard work of providing assistance to people in crisis according to the principles and values of the ideal that guides the care project team: the ideal anti-asylum.

In this study I apply social constructionism as propounded by Vivian Burr (1998) to show that although J. K. Rowling uses stereotypes in the Harry Potter series as a reflection of how gender is constructed across a wide range of societal institutions in contemporary Britain, she created complex characters who on an individual level subvert social constructs and thereby offers her readers alternatives to culturally defined concepts of gender. I explore the all-pervasive social phenomenon of gender and examine how it is constructed in present-day Britain and reflected in the series (bearing in mind that the first book was published in 1997 and the last one in 2007). My analysis of female and male characters in the books, and their interpersonal relationships, shows that Rowling's often tricky portrayal of femininities and masculinities gives us an honest view of teenagers’ lives and contemporary gender relations in an ever-changing, complex world. / English Studies / M. A. (English)

The aim of this study is to explore the importance of love in its various manifestations in the lives of the Harry Potter characters and its power to consequently influence the paths that they eventually choose to walk. Love is investigated as the reason behind the choice between good and evil as well as paradoxically both a fortifying as well as a destructive force. Furthermore, it attempts to examine the importance that love plays in the healthy or dysfunctional development of the characters. Numerous philosophies and theories that span two different eras will form the theoretical framework of this research paper. There will be a constant interplay between the theories and the main text, that is, the seven Harry Potter books that together represent the Harry Potter series. Additionally, the author‟s opinion acquired from invaluable fan interviews will be utilized in order to improve the understanding of the characters motivations. The introduction is a brief explanation of key terms and theories that are essential to the exploration of love in the Harry Potter series. The study comprises five chapters. The first three chapters are concerned with the three main manifestations of love represented in the series, namely; parental love, friendship and romance respectively. Chapter Four focuses on the adaptation of the novels into movies and the subsequent result that this has on the depiction of love. Chapter Five highlights the finding of the study conducted. / English Studies / M.A. (English)

La présente recherche s’intéresse au parcours migratoire entre le Mexique et le Canada de demandeurs d’asile mexicains déboutés. Privés des droits et des libertés fondamentales conférés par la citoyenneté, les Mexicains vivent dans un espace-temps constrictif et détiennent un accès limité à la mobilité. Victimes des déroutes et de la défaillance du système socioéconomique et politique du Mexique, l’asile devient bien souvent l’unique option à leur survie. Une fois au Canada, les demandeurs d’asile mexicains sont percutés dû à la prédominance de la criminalisation de l’asile et au discours stigmatisant de la figure du demandeur d’asile qui encouragent un flux considérable de migrations de retour forcé. Dépossédés du droit de choisir là où ils veulent vivre, les demandeurs d’asile mexicains font face à une double exclusion de l’espace. En ce sens, cette recherche explore le parcours migratoire des demandeurs d’asile mexicains à travers le vécu et l’imaginaire migratoire qui l’entourent. Elle tente de saisir les raisons qui motivent la migration et les éléments à l’origine de la modulation et de la transformation de la quête migratoire initiale. Ainsi, elle cherche à percevoir en quoi le processus d’octroi d’asile canadien affecte l’intégration et le sentiment d’appartenance à la société d’accueil. Elle évoque également les difficultés du processus de réintégration à la société d’origine. Finalement, cette étude cherche à s’éloigner du cadre administratif et s’attarde donc particulièrement aux conséquences humaines et vécues de ces phénomènes par l’exploration des perceptions et des interprétations spécifiques à chacun. Les conclusions de cette recherche établissent que les demandeurs d’asile mexicains déboutés par le Canada font face à un double rejet de l’espace. Ayant a priori opté pour l’asile en raison d’une incapacité à accéder à la sécurité et à garantir leur intégrité, l’exil les confronte à un système d’octroi d’asile restrictif et punitif qui freine leur intégration et mène majoritairement à un refus de leur demande. Au retour, la réintégration est bien souvent brimée par la continuation de l’exclusion et la persistance de la discrimination des migrants de retour. La quête migratoire originale se réinitialise, soit la recherche de droits, de libertés et de dignité. / This research focuses on the migratory path between Mexico and Canada of disallowed Mexican refugee claimants. Deprived of fundamental rights and freedoms of citizenship, Mexicans live in a constrictive space-time and hold a limited access to mobility. Victims of the failures in the socioeconomic and political systems of Mexico, asylum is often the only option for survival. Once in Canada, Mexican refugee claimants are often confronted with the predominance of asylum criminalization and stigmatization discourse creating a context of massive forced return migrations. Dispossessed of the right to choose where they want to live, Mexican asylum-seekers are facing a double exclusion of space. In this regard, this study explores Mexican refugee claimants’ migratory path through the lived experience and migratory imaginary surrounding it. It also attempts to understand the reasons behind migration as well as the elements responsible of the initial migratory quest’s modulation and transformation. Thus, it seeks to identify to what extent the Canadian asylum granting process affects the integration and sense of belonging to the host country. This research also raises the difficulties of the reintegration process within the society of origin. Finally, this study seeks to move away from the administrative framework and therefore focuses mainly on lived experience and human consequences of these phenomena, by exploring each person’ specific perceptions and interpretations. In conclusion, this research establishes that Mexican refugee claimants disallowed by Canada are facing a double rejection of space. Having a priori opted for asylum because of an inability to obtain safety and ensure their integrity, exile then opposes them to a restrictive and punitive grating system that hinders their integration and often leads to their request being refused. When returning, reintegration is often impeded by the continuation of exclusion and persistent discrimination of returnees. The original migratory quest resets itself, it being the search for rights, freedoms and dignity.

La présente thèse étudie la production et la consommation d’images par les révolutionnaires russes avant 1917. L’auteur soutient que l’iconographie révolutionnaire russe émane d’un long processus au cours duquel les révolutionnaires se sont appropriés et ont subverti certaines images et stratégies visuelles, ainsi que leurs moyens de production, déjà disponibles au sein de la culture qu’ils avaient entrepris de transformer. Cette appropriation est comprise comme une tentative d'insuffler une cohérence idéologique à un mouvement révolutionnaire en émergence et, ce faisant, en proie à une relative désorganisation. L’auteur montre comment l’usage de portraits et de stéréotypes visuels joua un rôle important dans la construction de l’identité et de la conscience révolutionnaires, d’une part, et comment un certain imaginaire révolutionnaire fut cristallisé dans la culture visuelle contemporaine, d’autre part. / This dissertation studies the production and consumption of images by Russian revolutionaries prior to 1917. The author argues that Russian revolutionary iconography emanates from a long-term process in which revolutionaries appropriated and subverted the images, means of production and visual strategies already available in their surrounding cultural context. This cultural borrowing is analyzed as an attempt of the revolutionaries to give an ideological coherence to an emerging but still disorganized political movement. The author shows how portraits and visual stereotypes have been fundamental in the construction of the revolutionary identity and consciousness, on one hand, and how a certain revolutionary imagination have been crystallized in the contemporary visual culture, on the other hand.

Ce mémoire de maîtrise porte sur l’animation des images fixes dans le film Me and You and Everyone we Know réalisé en 2005 par Miranda July, et tout particulièrement sur les pratiques artistiques de la protagoniste Christine Jeperson, qui est artiste vidéaste. L’objet de cette étude se fonde sur les matériaux utilisés par l’artiste-protagoniste elle-même, et vise en premier la photographie, puisqu’elle travaille toujours à partir de photos amateur, de clichés, d’images banales, qu’elle tente d’animer par le biais de la vidéo et de leur mise en récit. Ces deux dispositifs d’animation, qui à leur façon redonnent du temps et du mouvement aux images, réalisent un déplacement de valeur en en faisant de l’art et déploient du même coup un espace propre à une certaine expérience esthétique du spectateur, car c’est dans son imaginaire que peut véritablement se produire l’animation de ces images. Ainsi, dans ce mémoire, je tenterai tout à la fois de me concentrer sur ce détail du film que sont les œuvres de Christine, mais en cherchant à les mettre en relation avec d’autres moments du film, avec ce qui semble être les motifs privilégiés de la pratique de Miranda July, de même qu’avec d’autres moments de l’histoire de l’art, afin d’en historiciser la démarche. Ce travail servira donc à éclairer une pratique d’images contemporaine singulière, à la croisée entre photographie, vidéo et film. / This Master’s thesis deals with the animation of still images in Miranda July’s 2005 film, Me and You and Everyone we Know. More specifically, it analyses the artistic practices of Christine Jeperson, a video artist who is the main character of the film. This study focuses on the materials utilized by the artist-protagonist and looks at her particular use of photography: her video works all revolve around amateur photographs, clichés, banal images, that she animates via the remediation of video and "narrativization" ("mise en récit"). These two principles of animation, that give time and motion to the still images she uses, also produce a displacement of value by turning these images into art and, by the same token, open a specific space i.e. the aesthetic experience of the spectator, for it is in his or her imaginary, in the end, that this animation is produced. Thus, in this study, I wish to look at these “details” within the films — the video works of Christine — whilst seeking to show the relations they entertain with other elements of the film, with Miranda July’s body of works, as well as with other moments in art history that relate to this animation apparatus, in order to historicize the practices of Christine / July. This Master’s Thesis wishes to illuminate a specific kind of contemporary visual practice, at the intersection of photography, video and film.

"This thesis is a critical analysis of Tolkien's Elvish. This critical analysis is motivated in the same way as critiques of other aspects of literary art, such as plot, characterization, and structure. The latter are subject to critical evaluation precisely because they are a part of the writer's creative art. Elvish is also the product of the artist's creativity. The fact that Tolkien is a trained philologist and distinguished language scholar and has obviously lavished much time and effort on Elvish make this created language a valid area for analysis and criticism...in view of the extent of the available data, all that can be attempted here is a description of Elvish morphology and syntax in light of both the evidence and Tolkien's comments about it."--leaves 1-5

La présente étude propose une analyse historique de la légende urbaine des snuff movies. En premier lieu, elle se penche sur l’émergence de cette rumeur dans le paysage médiatique américain des années 70 tout en focalisant sur certains objets filmiques l’ayant crédibilisée, principalement les stag et les mondo movies. Ce mémoire analyse par la suite l’influence majeure de deux événements sur l’implantation de la légende urbaine dans l’imaginaire collectif, soit l’assassinat de Sharon Tate et la circulation du film de Zapruder. Après avoir étudié la persistance de la rumeur, cet essai focalise sur la promotion et l’exploitation de Snuff (1976) en plus de proposer une analyse de ce long métrage. Ensuite, il se penche sur deux types de représentations du snuff dans le cinéma de fiction ainsi que leurs impacts sur l’authentification de la légende urbaine. Il est d’abord question des mises en scène du snuff dans le cinéma populaire qui s’inspirent de la rumeur pour ensuite l’actualiser. Sont ensuite étudiées les représentations du snuff à titre de faux documents, soit ces œuvres qui tentent par divers procédés de se faire passer pour de véritables films clandestins et, de ce fait, authentifient l’objet auquel ils se réfèrent. Puisque cette étude analyse l’évolution médiatique de la légende urbaine, elle se conclut sur son déplacement du cinéma vers Internet et de sa nouvelle crédibilisation grâce aux vidéos macabres, à la pornographie juvénile et au récent cas Magnotta. / The following study proposes a historical analysis of the urban legend of snuff movies. First, it examines the emergence of this rumor in the American media landscape of the 1970s, while focusing on the cinematic objects having reinforced its credibility, mainly stag and mondo movies. This memoir subsequently analyzes the major influence two events had towards implementing this urban legend into the collective imaginary, namely the assassination of Sharon Tate and the circulation of the Zapruder film. After studying the persistence of the rumor, this essay focuses on the promotion and exploitation of Snuff (1976), offering, in addition, an analysis of this feature film. Following this, this essay addresses two types of snuff representation in fiction film, as well as their impact on the authentication of the urban legend. First, there is the issue of the staging of snuff in popular cinema, taking inspiration from the rumor in order to update it in return. Secondly, is studied the representations of snuff as fake documents, namely the works attempting, through various processes, to pass for genuinely illegal films, thus authenticating the objects they are a reference to. Because this study analyzes the evolution of the media surrounding the urban legend, it concludes on its displacement from the cinema to the Internet, and the new credibility allowed by macabre videos, child pornography and the recent Magnotta case.