The problem that I have identified during my research for this dissertation is the quantifiable depletion and exhaustion of large percentages of the world's soils through human activity in agriculture and other industrial practices. In the course of researching this problem I have looked closely at some of the primary causes, and a range of proposed and applied solutions in the field of ecology. The primary focus of the research has been in looking at how artists have responded to ecological issues and have engaged in environmental activism in their practices. Integral to the research has been direct participation in collaborative art practices that investigate and strive to raise public awareness about issues related to soil ecology. It has proceeded through reading established texts, interviewing expert practitioners, publishing my findings, and presenting at numerous conferences, concurrently with direct participation in ecologically oriented practices, related artistic projects, professional art exhibits, activist events, and working in the field of professional organic farming. During the research phase I attended nine Planetary Collegium Sessions with fellow researchers and received valuable direction from supervising professors. The result is a written, theoretical dissertation that documents the research through text and photography in seven chapters. It has also produced a body of sculptures and documented physical experiments and performances that are motivated by, and speak directly to issues of soil ecology. The efficacy of the artwork that has been made in the course of researching problems in soil ecology comes from its continuation of, and direct participation in, established, contemporary art projects and movements that have had a demonstrable influence of society. The contribution that it makes to new knowledge is by addressing in unique ways the emerging subject of soils, which have tended to be overlooked in many ecological discussions, and in so doing it also brings to bear a unique combination of influences in its practice. These include: Art practice, Situationist performances, Core Shamanic practice (as developed by Michael Harner), soil science, inspiration drawn from a number of continental theorists, participation in sustainable agriculture, and political activism, applied simultaneously in a transdisciplinary body of work described herein specifically on behalf of soils. In this endeavor the dissertation and its body of produced objects and performances has also sought to blur some of the conventional lines between theoretical research, contemplation and practice, as appropriate to a trans-disciplinary project. Numerous discoveries have been made in the course of the research, chief among them that the new transdisciplinary approach to soil studies that my collaborators and I have taken turns out to be of necessity if we are to avert large-scale collapses of agriculture due to soil degradation on a global scale in the course of this century.

Submitted by Cláudia Bueno (claudiamoura18@gmail.com) on 2016-08-17T19:15:20Z No. of bitstreams: 2 Dissertação - Edlúcia Robélia Oliveira de Barros - 2016.pdf: 4103005 bytes, checksum: 2af3328007974598a93b1627ae8a18ab (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Approved for entry into archive by Cláudia Bueno (claudiamoura18@gmail.com) on 2016-08-17T19:17:41Z (GMT) No. of bitstreams: 2 Dissertação - Edlúcia Robélia Oliveira de Barros - 2016.pdf: 4103005 bytes, checksum: 2af3328007974598a93b1627ae8a18ab (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Made available in DSpace on 2016-08-17T19:17:41Z (GMT). No. of bitstreams: 2 Dissertação - Edlúcia Robélia Oliveira de Barros - 2016.pdf: 4103005 bytes, checksum: 2af3328007974598a93b1627ae8a18ab (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Previous issue date: 2015-12-03 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / This dissertation is the result of a diverse literature and aims to analyze multiple aspects in the tragedy Hamlet, Prince of Denmark (1600-1601), the Englishman William Shakespeare (1564-1616), as a performative text. To do so, it establishes relationships between this tragedy and some issues discussed on performance studies, specifically theatricality, liminality and textuality. Hamlet’s story is first related to the concept of theatricality as state from the Russian playwright and theater director Nicolas Evreinov (1879-1953), as well as establishes dialogues with the notion of liminality discussed by folklorist and ethnographer Arnold van Gennep German (1873-1957), also with ideas of the Russian thinker Mikhail Bakhtin (1895-1975) about the performance of language, among other notions about performing and human performance practices. Hamlet, the text, appears on the threshold between completeness and movement, between textuality and theatricality, between readings and cultures. It is described and further analyzed Hamlet assembly in Moscow Art Theatre (MAT), one of the famous readings and rewrites the Shakespearean tragedy. A scenic production, which features dialogues and confrontations between text and scene, between Aesthetics, between readings of the tragedy, which express themselves through the collisions between the directors of this performances, the actors and the spectators. Finally comes to aspects of reception of Hamlet. / Essa dissertação é resultante de uma pesquisa bibliográfica diversa e tem por objetivo analisar em múltiplos aspectos a tragédia Hamlet, Príncipe da Dinamarca (1600-1601), do inglês William Shakespeare (1564-1616), como um texto performativo. Para tanto, estabelece relações entre essa tragédia e algumas questões discutidas pelos estudos da performance, especificamente a teatralidade, a liminaridade e a textualidade. A história de Hamlet é relacionada principalmente ao conceito de teatralidade do dramaturgo e diretor teatral russo Nicolas Evreinov (1879-1953), bem como dialoga com a noção de liminaridade discutida pelo folclorista e etnógrafo germânico Arnold van Gennep (1873-1957), e com as ideias do pensador russo Mikhail Bakhtin (1895-1975) acerca da performance da linguagem, dentre outras noções acerca das práticas performáticas e performativas humanas. Hamlet, o texto, é apresentado no limiar, entre a completude e o movimento, entre a textualidade e a teatralidade, entre leituras e culturas. É descrita e analisada ainda a montagem de Hamlet no Teatro de Arte de Moscou (TAM), uma das famosas leituras e reescritas da tragédia shakespeariana. Uma produção cênica que apresenta o diálogo e o embate entre texto e cena, entre estéticas, entre leituras da tragédia que se expressam através das performances do encenador, do ator e do espectador. Finalmente, trata de aspectos da recepção de Hamlet.