Submitted by Renata Lopes (renatasil82@gmail.com) on 2016-10-10T12:39:56Z No. of bitstreams: 1 alessandravianadepaiva.pdf: 626517 bytes, checksum: 1397bbace306cc900e9a26bcec074c4b (MD5) / Approved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2016-10-11T15:51:40Z (GMT) No. of bitstreams: 1 alessandravianadepaiva.pdf: 626517 bytes, checksum: 1397bbace306cc900e9a26bcec074c4b (MD5) / Made available in DSpace on 2016-10-11T15:51:40Z (GMT). No. of bitstreams: 1 alessandravianadepaiva.pdf: 626517 bytes, checksum: 1397bbace306cc900e9a26bcec074c4b (MD5) Previous issue date: 2009-08-28 / O presente trabalho tem por intenção abordar o Espiritismo brasileiro como uma doutrina tal e qual a doutrina originada na França, ou seja, com sua característica tripla de ciência, filosofia e religião, sem que haja o entendimento de que no Brasil o aspecto religioso tenha tomado maiores proporções em detrimento do aspecto científico. Esse estudo vai tentar perceber que ao chegar ao Brasil, no século XIX, a Doutrina Espírita certamente foi influenciada pela formação cultural do país e que o aspecto religioso, de fato, recebeu um maior destaque, o que não significou, necessariamente, um afastamento de sua formação original francesa. O trabalho se deterá com maior afinco a uma característica significativa do espiritismo que é a forte valorização do estudo, o que nos mostra que seu lado científico está, assim como os outros, a todo instante presente no universo espírita. A intenção é perceber que no Espiritismo os aspectos de ciência, filosofia e religião coexistem de maneira complementar uma vez que seu sistema ritual é formado pelo estudo, caridade e mediunidade. No estudo destaca-se a intelectualidade dessa religião, a valorização da investigação racional e da pesquisa experimental. Na caridade o destaque é ao caráter cristão e, na mediunidade destaca-se a relação entre homens e espíritos. Esses pólos estão interligados já que a mediunidade engloba também a caridade e o estudo. O estudo e a caridade, por sua vez, como formas de relação com o mundo espiritual são também mediunidade. Tudo isso nos mostra que essa tríade (ciência, filosofia e religião) se apresenta, efetivamente, como o fio condutor da doutrina de Allan Kardec também aqui no Brasil. / The present work has for intention to approach the Brazilian Spiritualism as a doctrine such and which the doctrine originated in France, that is, with its triple characteristic of science, philosophy and religion, without it has the agreement by that in Brazil the religious aspect has taken bigger ratios in detriment of the scientific aspect. This study it goes to try to perceive that when arriving at Brazil, in century XIX, the Spiritualist Doctrine certainly was influenced by the cultural formation of the country and that the religious aspect, in fact, received a bigger prominence, what it didn’t mean, necessarily, a removal of its French original formation. The work will be lingered with bigger tenacity to a significant characteristic of the spiritualism that is the strong valuation of the study, what in the sample that its scientific side is, as well as the others, the all present instant in the espírita universe. The intention is to perceive that in the Spiritualism the aspects of science, philosophy and religion coexist in complementary way a time that its ritual system is formed by the study, charity and mediumship. In the study it is distinguished intellectuality of this religion, the valuation of the rational inquiry and the experimental research. In the charity the prominence is to Christian character e, in the mediunidade it is distinguished relation between men and spirit. These polar regions are linked since the mediumship includes also the charity and the study. The study and the charity, in turn, as forms of relation with the world spiritual are also mediumship. Everything this in the sample that this triad (science, philosophy and religion) if presents, effectively, as the conducting wire of the doctrine of Allan Kardec also here in Brazil.

La présente thèse pose la question de l’usage des techniques infographiques et images de synthèse pour représenter les vestiges du passé et plus exactement le patrimoine archéologique et architectural. Cette réflexion est bâtie autour d’une approche multiple. Les dispositifs infographiques appartenant, en effet, à l’ensemble des inventions médiatiques et culturelles nées dans la société d’après-guerre, notre étude se veut profondément transdisciplinaire, empruntant des théories à l’Histoire de l’art, l’Archéologie et les Sciences de l’Information et de la Communication. Le parcours suivi consiste à sortir de la dimension purement technicienne afin d’analyser ces dispositifs comme des espaces culturels de représentation, au sein d’une communauté scientifique (les « spécialistes ») et à destination du grand public (les « néophytes »). La figuration du patrimoine monumental à l’aide des outils infographiques n’est assurément pas apparue spontanément en tant que telle du jour au lendemain, que ce soit dans la sphère publique ou dans la sphère plus restreinte de la communauté des chercheurs. Si ce phénomène est évidemment intimement corrélé à l’évolution du secteur informatique, il serait bien trop simpliste de le considérer comme seulement consécutif de cette révolution technologique. En effet, des transformations des espaces médiatiques et scientifiques se jouent parallèlement. La conservation des monuments historiques et sites archéologiques, leur inscription dans l’espace public ou leur mise en exposition suscitent par conséquent débats et controverses au sein de la sphère des chercheurs et des institutionnels. Ces sujets interpellent plus généralement le concept de patrimoine, autant pour des raisons idéologiques qu’historiques. Il s’agit donc de déceler à travers cette étude les éléments socioculturels qui ont engendré l’émergence et le développement de ces pratiques à la fois graphiques, informatiques et scientifiques. Ainsi défini, le contexte nous donne ensuite accès à l’analyse des usages et des appropriations de ces outils par les différents acteurs de la sphère patrimoniale. Il convient enfin de s’attarder sur la matérialité de ces images et de mettre en évidence les espaces de médiation que créent ces dispositifs. En définitive, il semble que ce que nous donnent à voir ces nouvelles représentations, c'est une hybridation des pratiques de communication et des codes signifiants entre culture « savante » et culture « populaire ». / This thesis raises the issue of the use of infographic techniques and synthetic imagery to represent vestiges of the past, in particular archaeological and architectural heritage. Our approach is multidisciplinary. Since infographic systems belong to the category of media-related and cultural inventions that have come into existence since World War II, our study aims to be comprehensive, drawing on Art History, Archaeology, Information and Communications Technology. Our intention is to look beyond the purely technical dimension and to analyse these systems as cultural spaces of representation, within the scientific community (“specialists”) and for the general public (“neophytes”). Representation of built heritage using infographic tools has of course not sprung up spontaneously overnight, whether in the public sphere or in the more restricted sphere of the research community. Although this phenomenon is of course closely correlated with the development of the IT sector, it would be simplistic to regard it only as a consequence of this technological revolution. Indeed, changes in the media and scientific fields have gone hand in hand. The conservation of historic monuments and archaeological sites, their listing as being of public interest and management for exhibition purposes, consequently gives rise to debate and controversy in both the scientific-research and institutional spheres. More generally, these matters raise the issue of “heritage”, as much for ideological as for historical reasons. The purpose, then, of this study is to identify the social and cultural factors that have led to the emergence and development of these practices, which involve a combination of graphics, information technology and scientific research. Thus defined, the context invites us to analyse the ways in which these tools have been used and appropriated by different players in the heritage industry. Finally, we need to consider the material aspect of these images and highlight the areas of mediation which these systems create. In conclusion, it would seem that these new modes of representation exemplify a hybridisation of communication practises and codes of meaning resulting from the mixing of “scientific” and “popular” culture.

O circo-teatro, presente na paisagem urbana de São Paulo em todo o século XX, constituiu-se em espetáculo popular baseado na hibridização cultural, com elementos da cultura erudita e da cultura de massa. Por sua vez, essas duas se apropriaram do discurso circense, num processo evidente de circu-laridade cultural. / The circus-theater, that could be seen at São Paulos urban landscape throughout twentieth century, constituted itself in a form of popular per-formance based in the cultural hybridization, with elements from learned culture and mass culture. In turn, both of these cultures assimilated the cir-cus discourse, in an unequivocal process of cultural circularity.

O circo-teatro, presente na paisagem urbana de São Paulo em todo o século XX, constituiu-se em espetáculo popular baseado na hibridização cultural, com elementos da cultura erudita e da cultura de massa. Por sua vez, essas duas se apropriaram do discurso circense, num processo evidente de circu-laridade cultural. / The circus-theater, that could be seen at São Paulos urban landscape throughout twentieth century, constituted itself in a form of popular per-formance based in the cultural hybridization, with elements from learned culture and mass culture. In turn, both of these cultures assimilated the cir-cus discourse, in an unequivocal process of cultural circularity.