Orientador: Omar Ribeiro Thomaz / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciências Humanas / Made available in DSpace on 2018-08-22T13:53:53Z (GMT). No. of bitstreams: 1 Bulamah_RodrigoCharafeddine_M.pdf: 14001558 bytes, checksum: e36033a33ebd0c8fafb8b3cfa998e349 (MD5) Previous issue date: 2013 / Resumo: O presente trabalho e uma etnografia sobre o parentesco e as praticas sociais em um povoado rural no norte do Haiti, parte das sessões rurais de Milot. Através de um trabalho de campo de três meses e meio e de uma discussão teórica sobre o parentesco, pretendo refletir sobre a formação dos grupos domésticos locais. A partir destas instituições, analisarei o modo como relações de vizinhança são estruturadas e como pessoas estabelecem e mantém redes de parentesco e amizade. A atenção dada a essas relações abriu possibilidades de se pensar também à produção e a troca dentro do povoado e as formas como bens e mercadorias circulam nos mercados da região. Por fim, minha analise se debruçara também sobre o modo como magia e parentesco se estabelecem enquanto partes complementares de um mesmo regime moral e pratico / Abstract: This thesis is ethnography of kinship and social practices in a rural village near Milo in the north of Haiti. Drawing from three and half months of fieldwork and my intellectual training in theoretical dimensions of kinship, I intend to analyze the formation of local households. Building from that foundation, I will evaluate how neighborhood relationships are structured and how people establish and maintain friendships and kinship networks. Examining these kinds of deeply personal relationships opens up unexpected possibilities for thinking about networks of production, exchange, and good/commodity circulation that connects the village to regional markets. My research will also expand to consider how ideas of magic and kinship are complementary parts of the same moral and practical regime / Mestrado / Antropologia / Mestre em Antropologia

Orientador: Verônica Fabrini Machado de Almeida / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-21T05:27:33Z (GMT). No. of bitstreams: 1 Harada_RicardoGodoy_D.pdf: 40900997 bytes, checksum: e17b647942063460b51fccf6fffc7a65 (MD5) Previous issue date: 2012 / Resumo: A presente pesquisa objetivou estudar, fundamentar e desenvolver uma poética cênica singular, resultante da articulação de duas formas espetaculares distintas: a arte mágica e a arte teatral. Para isto, foi necessário realizar um estudo introdutório da arte mágica, com o fim de identificar seus traços específicos, recorrentes em sua gênese ao longo da história, bem como estabelecer sua especificidade enquanto uma forma espetacular autônoma. Esta tese analisa a problemática decorrente do encontro e da articulação entre ambas as artes, centrada na incompatibilidade entre os aspectos específicos de cada uma. Partindo dos conceitos discutidos, são apresentados exemplos concretos, visando superar a dicotomia entre a performatividade da arte mágica e a teatralidade do teatro, levando em consideração a complexidade e heterogeneidade de ambas as artes. O percurso artístico do autor é utilizado como estudo de caso, expondo os procedimentos e as soluções de ordem poética encontradas no decorrer de dez anos de experimentações. Esta poética singular é resultante do deslocamento da finalidade da arte mágica tradicional - centrada no entreter por meio da simulação do impossível - para a produção da suspensão estética no espectador. O acontecimento teatral deixa de ser um espaço de representação, tornando-se símbolo, ou seja, uma matriz de intelecções / Abstract: The purpose of this thesis is to study and develop a singular theatrical poetic, based on the articulation between the art of conjuring and theatre. Both are independent and complexes forms of arts, with inner characteristics that are incompatible when brought together. The first part of this research presents the genesis and the specificity of the art of conjuring by identifying its recurrent specific traces. After establish the specificity of both arts, we analyse the status queastionis of the proposition, regarding the mixture of procedures from the art of conjuring and theatrical art. Its not possible to establish a general theoretical answer to the problem presented by this research. Only by the analysis of singular cases, based on the concepts established on the first part of the thesis, is possible to contemplate the multiple dynamics and potentialities of the proposition. The singular poetical approach of the author is taken as case of study, being analysed by a descriptive method. This new form of performance, product of the mixture of conjuring and theatre is possible only because of the approach of its author, regarding the finality of his art: its not entertaining by creating effects of impossibilities, but provoke the aesthetical arrest in the spectator. In this new proposition, the theatrical scene is not a space of representation anymore, but is presented as symbol it self / Doutorado / Artes Cenicas / Doutor em Artes

A complex network graphics may be composed of hundreds and thousands of objects, such as nodes and edges. Each object may hold a large number of attributes that might be difficult to explore in the network visualization. Therefore, many visualization tools and approaches have been developed to gain more information from the network graphics. In this paper, we introduce the concept of the Network Lens, a new widget that assists the users to deal with a complex network. The Network Lens is an interactive tool that combines data visualization to a magic lens. With the help of the Network Lens, users can display hidden information of the elements in the network graphics based on their interest. Moreover, the Network Lens supports a series of interactive functions that give the users flexible options to define their own lenses.

I create spaces, that are presented as sets (scenographies), by working with storytelling, colour, geometry and transitions. By exploring tangible and abstract elements, I compose different atmospheres. Atmosphere is the central aesthetic category in my work, and creating an emotional experience through space is my intention. The spaces are inspired by a magic realist novel. I transpose the text into images, to then sculpt spaces with geometry, colour and light. I write new stories and descriptions about these spaces as I imagine the atmospheres to be experienced. Transitions are fundamental to my project: the transition of Latin-American references within magic realism and emotional architecture, to my own context at this moment in Sweden; the transition from text to space (and vice versa); and the transitions between spaces in my composition. These are my apparatuses in sculpting the emotional and magic space.

We focus on hair as a symbol of personality, cultural and social influence and the object of ritual ceremonies.1 Hair is not only a vitally important part of human body but it is an important cultural phenomenon and serves as important cultural artifact, because it is simultaneously public (visible to everyone), personal (biologically linked to the body), and highly malleable to suit cultural and personal preferences. Hair - whether present or absent, restored or removed, abundant or scarce, long or short, bound or unbound, dyed or natural - marks a person as clearly as a speech, clothing, and smell. Hair tells a lot about every man, about his age, social and family status, his sexual availability and desirability, about his interests, his character, his political stance and religious preferences, his roots, background, his membership in some subculture and about the fashion and the norms of the period (and his conformability or inadaptability). It is a perfect culture- anthropological topic becauce every culture has particular rules and norms how to dispose of hair. Social and cultural influence on hairstyling could be asserted by means of fashion (mild form) or more serious forms of restrict orders (even written as the laws and directions) or just by cultural norms which set the looks of "normal,...

In many African traditional societies, the felt needs of people are usually met by the services of the shaman or other traditional medicine specialists. These needs vary and they could include the need for protection against witchcraft and evil spirits. Another need in Africa is for physical and psychical health. These needs are felt by many Africans inside and outside ecclesiastical structures. Despite centuries of western influence and teaching by missionaries, these felt needs have not gone away. The sensitivity to the spirit world and its impact on the human and material word still remains a firm belief in the African socio-spiritual reality. In its missiological responsibilities in the past and now, the church in Africa continues to display a theological deficiency in addressing this vacuum in African spirituality. Consequently, many African Christians are trapped in the dual, two-tier or split-level Christianity. This shows itself in times of existential crises in which many committed and respectable African Christians revert to traditional religious practices as a means of meeting their spiritual needs, due to the church’s inability to do so. This observed lack of traditional Christian theology and its irrelevancy to African life, has left many African Christians in a dilemma. It is this lacuna in Christian theology and practice that the researcher seeks to address in this study. By analysing documents on spirits in the first-century Jewish world and the two-volume work of Luke-Acts, the researcher endeavours to show the relevance and possible appropriation of the New Testament message to African spiritual realities. This is based on the understanding that the world of the first-century Jews and other communities in the Mediterranean region at the time, has more in common with Africans than the extremely naturalistic, rationalistic and abstract-oriented worldview of the early western missionaries who initially brought the gospel to Africa. Central to the researcher’s thesis, is the argument that, if early Christians, as exemplified by the Lucan audience, could respond to the fears, problems and realities of the spirit world by using God-ordained, spiritual and biblically acceptable means and not magical ways, African Christians, too, who find themselves in similar situations, can do the same. The contention in this study is that the rediscovery of the aspect of the spirit world of the New Testament message will go a long way towards resolving the problem of split-level Christianity in Africa. This task remains a theological imperative for New Testament scholarship in order for the church to present a holistic message to the masses of Africa and to demonstrate how the immanence of the Christian God in Jesus Christ through the power of the Holy Spirit, relates to the daily needs of spirit-sensitive Africans – a message that Luke tried so hard to convey to his readers in the first century. / Thesis (PhD (New Testament Studies))--University of Pretoria, 2006. / New Testament Studies / unrestricted

In the early 1900s, industry and new technologies dislocated our sense of selfhood. Since the Industrial Revolution, the world had become increasingly crammed with material objects, leading up to when the invention of radio and the rise of electricity perpetuated and evidenced an interest in the immaterial. A similar fascination with magic as expressed in cultural forms such as the traveling show and the séance pointed to our new relationship to the object world: the self, dislocated from the body, could relocate in objects, forming a circuitous relationship akin to electricity. This phenomenon is encapsulated by the representation of enchanted objects in the poetry and film of this era. T.S. Eliot’s The Wasteland (1922) and The Love Song of J. Alfred Prufrock (1915) make a natural pairing with the films of French Impressionism, particularly Dimitri Kirsanoff’s Ménilmontant (1926) and Jean Epstein’s Coeur Fidèle (1923), because these works all depict central characters whose selfhood extends beyond themselves and projects into objects, animating them and imbuing them with autonomous, lifelike characteristics in a manner analogous to an electrical current. Humans function increasingly like objects and objects begin to take on the qualities of living people, emphasized by both the formal and thematic elements of these poems and films. However, rather than isolating human beings in a soulless world of objects, this projection has the potential to introduce a new form of intersubjective and interobjective connectivity.

Le but de ce travail est de situer les divinités égyptiennes et les mythes dans lesquels ellesinterviennent dans le contexte des sources médicales et magiques et de déterminer si elles seprésentent de façon identique dans celles se référant à des sources plus orthodoxes telles lescompositions épigraphiques des temples. Les divinités et les mythes dans lesquels elles interfèrentsont les mêmes dans les deux types de sources. Cependant dans le cadre de la magie et de lamédecine, elles apparaissent plus « humaines » étant sous-tendues par des nécessités de la viequotidienne ainsi que de piété populaire et personnelle. Ce travail intègre les textes sources àl’exposé des idées dans le but d’offrir une logique continue à la démonstration. Bien souvent destextes funéraires (textes des Pyramides, textes des Sarcophages, Livre des Morts…) permettent unearticulation entre divers mythèmes et une meilleure compréhension de l’ensemble d’un mythe. Troisannexes sont ajoutées concernant les lois générales de la magie, la magie dans les textes médicauxde l’Égypte ancienne ainsi que les principaux textes magiques et/ou médicaux publiés. / The aim of this work is to place and study egyptian divinities and their myths insituation, specialy in medical and magical context. Have they the same aspect and comportmentthan the same divinities in canonical scripts such as those written in temples for example ? In factthey are the same divinities but they present a more « human » caracter because they are specialypreoccupied with every day life, personal and popular piety. In this work the primary sources andthe demontration are interwoven for a better understanding of the problem. Frequently funerarytexts (Pyramid Texts, Coffin Texts, Book of the Dead…) offer an articulation between« mythèmes » and then a better comprehension of a myth in totality. Three annexes are added aboutgeneral laws of magic, magic in ancient Egypt in medical texts and magical and medical textspublished.

This thesis is a collection of nine short stories about real people dealing with unreal problems. In one story, a small-town man answers a knock at his door, only to find three wisemen, who have followed a star and proclaimed him as their new messiah. In another, a reporter travels across the snowy length of Canada looking to interview people who have witnessed the Virgin Mary materialize above Toronto. Deranged Egyptologists, vampires with diseased blood, wacky witches, and unhappy mediums all inhabit tales whose landscapes span the distance between Chattanooga, Tennessee and the afterlife.

I create spaces, that are presented as sets (scenographies), by working with storytelling, colour, geometry and transitions. By exploring tangible and abstract elements, I compose different atmospheres. Atmosphere is the central aesthetic category in my work, and creating an emotional experience through space is my intention. The spaces are inspired by a magic realist novel. I transpose the text into images, to then sculpt spaces with geometry, colour and light. I write new stories and descriptions about these spaces as I imagine the atmospheres to be experienced. Transitions are fundamental to my project: the transition of Latin-American references within magic realism and emotional architecture, to my own context at this moment in Sweden; the transition from text to space (and vice versa); and the transitions between spaces in my composition. These are my apparatuses in sculpting the emotional and magic space. / <p>The full thesis contains copyrighted material which has been removed in the published version.</p>