Este trabalho tem como ponto de partida as relações entre os protagonistas do Quixote, do escritor espanhol Miguel de Cervantes, e Triste fim de Policarpo Quaresma do romancista carioca Lima Barreto observadas pela fortuna crítica barretiana. De acordo com esses estudos, Policarpo Quaresma seria um Dom Quixote brasileiro, por apresentar uma série de traços quixotescos. A partir dessa consideração, o objetivo desta dissertação é o de realizar um estudo comparativo entre o Cavaleiro da Triste Figura e o Major Quaresma, de modo a buscar, mais do que as semelhanças, as diferenças que delineiam suas singularidades. Para efetuar tal comparação, escolheu-se como parâmetro de análise a temática da loucura. Sendo assim, o exame das duas obras tem como preocupação central o modo como Cervantes e Lima Barreto se apropriam do referido tema na construção de suas respectivas personagens. / This work presents as its starting point the relations between the main characters of Don Quijote de la Mancha (Don Quixote), by the Spanish writer Miguel de Cervantes, and of Triste Fim de Policarpo Quaresma (Tragic Death of Policarpo Quaresma), by the Brazilian writer Lima Barreto, noted by the critics of Barreto´s book. According to them, Policarpo Quaresma is a kind of Brazilian Don Quixote, because the character presents a series of quixotic traits. Taking it into consideration, this dissertation aims to carry out a comparative study between the Knight of the Sad Countenance and Major Quaresma in order to search the differences in this case, more significant than the similitudes which delineate both characters´ singularities. The madness theme has been chosen as the analysis approach to carry out such comparison. Therefore, the examination of the two works has as its central theme the way both writers, Cervantes and Barreto, borrow from the madness theme in the creation of their characters.

Made available in DSpace on 2016-08-10T11:06:50Z (GMT). No. of bitstreams: 1 ELISABETH LEMES DE SOUSA MARTINS.pdf: 770526 bytes, checksum: bdcb4b181077bc99f990d90c6c1409f0 (MD5) Previous issue date: 2012-03-27 / This dissertation presents an analysis of language and its development in modernity. stated a reading of the statute's language, the language of madness and literature. It shows how the relationships of these languages are susceptible in three stages: Renaissance, Classicism and Modernity. To conduct this analysis, the theoretical basis is the book Words and Things, and Saying and Writings III of Michel Foucault (1992, 2006), sediment principles inherent in the return of the language. Also a possible reading of the work History of Madness: The Classical Age (2009) to correlate the construct of language and literature of madness, showing that they return after a silence. / Esta dissertação apresenta uma análise da linguagem e seus desdobramentos na modernidade. Afirma-se numa leitura sobre o estatuto da linguagem, da linguagem da loucura e da literatura. Evidencia as relações suscetíveis destas linguagens em três momentos: Renascença, Classicismo e Modernidade. Para conduzir essa análise, a base teórica será o livro As palavras e as Coisas e Ditos e escritos III de Michel Foucault (1992, 2006), que sedimentam princípios inerentes ao Retorno da linguagem. Também uma leitura possível da obra História da loucura: Na Idade Clássica (2009) para correlacionar o construto da linguagem da loucura e literatura, mostrando que estas retornam após um silenciamento.

Considerando as principais apreensões teóricas acerca da relação entre arte e loucura, define-se amplamente o propósito deste trabalho verificar as relações entre música e loucura no campo da recepção estética, enquanto subárea da Psicologia Social da Arte. Partindo sobretudo da perspectiva crítica de Michel Foucault, entre outros autores, consideramos a loucura um complexo fenômeno sócio - histórico que atravessa a cultura ocidental, e não a loucura como doença mental e o louco como fato. E dado o papel fundamental da atividade do espectador na produção e na circulação dos sentidos das obras de arte, realizamos um estudo sobre a percepção estética da obra de Robert Schumann, músico romântico do século XIX, cuja existência foi atravessada pela experiência trágica da loucura. Selecionamos alguns trabalhos significativos desse compositor e os apresentamos aos sujeitos da pesquisa, isto é, músicos eruditos, especificamente pianistas, que entrevistamos individualmente com o propósito de investigar a percepção da loucura vinculada à percepção da obra musical de Schumann. A reflexão fenomenológica a partir das percepções expressas pelos pianistas configurou três perspectivas: biográfica, psicopatológica e poética. A consideração desse conjunto teve por implicação um estudo teórico-crítico do campo multifacetado do Romantismo, estudo que focou principalmente as concepções de sujeito, universo e música ( assim como suas relações) que emergem na tempestade romântica. Tal estudo ensaístico permitiu-nos discutir mais amplamente, com base principalmente em Barthes e Merleau-Ponty (entre outros críticos e historiadores da arte), a questão arte-loucura, no tocante à música, articulada à questão vida-obra do artista, vida e obra que guardam aspectos trágicos em sua gênese e em sua forma / Considering the main theoretical apprehensions regarding the relation between art and madness, the purpose of this work is defined broadly to verify the relations between music and madness in the field of aesthetic reception, as a subarea of the Social Psychology of Art. Starting primarily from the critical perspective of Michel Foucault, among other authors, we consider madness a complex social historical phenomenon that crosses the western culture, and not the madness as a mental illness and the mad person as a fact. And given the fundamental role of the spectators activity in the production and circulation of the senses of the works of art, we conduct a study on the aesthetic perception of Robert Schumanns work, a romantic musician from the 19th century, whose existence was crossed by the tragic experience of madness. We selected some significant work from this composer and presented them to the subjects of the research, i.e., erudite musicians, specifically pianists, that we interviewed individually with the purpose of investigating the perception of madness bound to the perception of Schumanns musical work. The phenomenological reflection carried out from the perceptions expressed by the pianists constituted three perspectives: biographical, psychopathological and poetic. The consideration of this set had as an implication a theoretical critical study of the multifaceted field of the Romanticism, study that focused mainly on the concepts of subject, universe and music (as well as its relations) that emerge in the romantic storm. This essayistic study allowed us to discuss more broadly, based on Barthes and Merleau-Ponty (among other philosophers, critics and art historians), the art-madness matter, regarding the music, articulated to the artists life-work matter, life and work that hold tragic aspects in its genesis and its form

O estudo da obra dramática de Lope de Vega permite observar que o dramaturgo espanhol dedica parte de sua produção teatral à encenação da temática da loucura e da figura do louco. Tem-se a tese de que a representação da loucura no teatro lopesco encontra-se pautada pelos preceitos poéticos e retóricos, que estavam em voga naquela época, bem como nas práticas de representação próprias dos séculos XVI e XVII, não se tratando, portanto, de uma simples reprodução empírica do contexto social e histórico daqueles tempos. As abordagens que norteiam o presente trabalho, centradas na temática da loucura, são: 1) encenação de personagens que representam a categoria intelectual do discreto; 2) elaboração de discursos metafóricos e agudos; 3) aplicação dos conceitos de simulação e dissimulação na ação das personagens; 4) imitação de modelos de loucos recorrentes nos séculos XVI e XVII, e, por último, 5) representação de outros discursos e convenções de seu tempo em torno ao tema da loucura. Para que se possa realizar tal demonstração, escolheu-se examinar três peças dramáticas, que são dedicadas à encenação da loucura fingida, situadas nos primeiros anos de composição dramática de Lope, a saber: Los locos de Valencia (1590-1595), El mármol de Felisardo (1594?-1598?) e El cuerdo loco (1602). A metodologia utilizada para a realização deste trabalho tem como preocupação a reconstituição, na medida do possível, do contexto no qual as obras lopescas encontram-se inseridas, como meio de propor uma interpretação das mesmas por meio de seu próprio discurso, bem como por intermédio de outros discursos de seu tempo. Tal método de análise permite examinar os artifícios engenhosos utilizados pelas personagens para a manutenção da máscara da loucura fingida, no decorrer das obras citadas. / A study of Lope de Vegas dramatic work allows us to observe that the Spanish playwright dedicates part of his theatrical production to the staging of the theme of madness and the insane character. The aim of this research is to defend the thesis that the portrayal of madness in Lopes theater is guided by poetic and rhetorical precepts, which were in vogue at that time, as well as by the practices of portrayal typical of the 16th and 17th centuries, and is not, therefore, a simple empirical reproduction of the social and historical context of those times. The hypotheses that guide this work, centered on the theme of madness, are: 1) the staging of characters that represent the intellectual category of the discrete; 2) the development of metaphorical and acute discourse; 3) the application of simulation and dissimulation concepts in the action of the characters; 4) the imitation of recurrent models of insanity in the 16th and 17th centuries, and finally, 5) the representation of other discourse and conventions of that time around the theme of madness. In order to be able to make such a statement, the choice was made to examine three dramatic pieces dedicated to the staging of feigned madness from the first years of Lopes dramatic composition, namely: Los locos de Valencia (15901595), El mármol de Felisardo (1594?1598?) and El cuerdo loco (1602). The methodology used for this work is concerned with the reconstitution, as far as possible, of the context within which Lopes works existed as a means of proposing an ability to read them through their own discourse, as well as through other discourses of their time. This method of analysis makes it possible to examine the ingenious devices used by the characters to maintain a mask of feigned madness through the works cited.

À partir de l'affirmation sur l'universalité du délire à laquelle Lacan se réfère à la fin de son enseignement, une enquête rétrospective a été réalisée depuis Lacan en s'étendant jusqu'à Freud. Pour cela, il fallait vérifier ce que Lacan voulait dire par être fou. Une réflexion sur la clinique structurelle et continuiste chez les deux auteurs a été élaborée ainsi que la notion de diagnostic en psycanalyse en ayant pour fil conducteur les questions qui se réfèrent aux frontières cliniques et théoriques entre la névrose et la psychose. L'approche de Lacan aux catégories du délire et de la folie ouvre un chemin d'investigation vers le rapport de la folie et ce qui seraient ces phénomènes. La discussion entre la limite d'être ou ne pas être fou, entre névrose et psychose apparaît constamment dans la psycanalyse, et la théorie borroméene peut aider à comprendre cette question puisqu'elle permet une clinique à plusieurs tonalités dans laquelle de différents dégrés de folie sont possibles, ce qui semble être présent depuis Freud. Parmi ces autres travaux, il a mis l'accent sur l'article Die Verneinung (1925) qui permettrait de traiter certains phénomènes cliniques et impasses diagnostics selon une approche différente d'après les termes employés par Freud. La décision méthodologique adoptée dans cette thèse portait sur la recherche bibliographique, en faveur de Freud et Lacan, ainsi que sur certains de ses commentateurs qui avaient comme thèmes de référence les limites de la folie et le diagnostic différentiel en psychanalyse. Au cours de notre formation doctorale à Nice, en France, nous avons approfondi l’article de 1925 de Freud Die Verneinung par le biais de sa version bilingue allemand/français. De là, nous soulignons le terme utilisé par Freud, l’élevant à la dignité de concept, ce qui nous a conduit à établir une nouvelle hypothèse théorique et clinique, traitée avec méticulosité dans la thèse. Ainsi et à partir de l'affirmation lacanniene, il était possible de corroborer l'hypothèse selon laquelle tout le monde est fou, c'est-à-dire délirant, comme une conception qui apparaît depuis Freud. / Taking into consideration the statement on the universality of delirium, to which Jacques Lacan refers at the end of his teaching, a retrospective investigation on the subject was held since Lacan, extending to Sigmund Freud’s work. For this, it was important to examine what would be this "being mad" which Lacan refers to. Having the questions concerning the clinical and theoretical boundaries between neurosis and psychosis as the research’s guideline, a reflection on the structural clinic and the clinic of continuity was elaborated in both authors, as well as the notion of diagnosis in psychoanalysis. Lacan's approximation of the categories of delirious and madness opens a way of an investigation into the relation of madness and what would be its phenomena. The discussion between the limit of being mad or not, between neurosis and psychosis appears constantly in psychoanalysis, and the borromean theory can help in the understanding of this question since it makes possible a multi-tone clinic, in which different degrees of madness are possible. A notion that already seems to be present in the Freudian works. Among his other works, the article Die Verneinung (1925) was emphasized which, from the terms and conceptions employed by Freud, allowed to treat some clinical phenomena and diagnostic impasses by a different approach. The methodological decision adopted in this thesis focused on bibliographical research, in favor of Freud and Lacan, as well as on some of its commentators whose themes were the limits of madness and the differential diagnosis in psychoanalysis. During our research in Nice, France, we have deepened the 1925 article by Freud Die Verneinung through its bilingual German / French version. From here we emphasize the term used by Freud, elevating it to the dignity of concept, which led us to establish a new theoretical and clinical hypothesis, treated with meticulousness in the thesis. Thus taking into consideration the Lacanian affirmation, it was possible to corroborate the hypothesis that everyone is mad, that is to say, delirious, as a conception that appears since Freud.

Submitted by Eunice Novais (enovais@uepg.br) on 2018-02-28T19:57:01Z No. of bitstreams: 2 license_rdf: 811 bytes, checksum: e39d27027a6cc9cb039ad269a5db8e34 (MD5) João Luís da Silva Kernicki.pdf: 878145 bytes, checksum: a88dbbc5e35f66137c165fa7da7e2b96 (MD5) / Made available in DSpace on 2018-02-28T19:57:01Z (GMT). No. of bitstreams: 2 license_rdf: 811 bytes, checksum: e39d27027a6cc9cb039ad269a5db8e34 (MD5) João Luís da Silva Kernicki.pdf: 878145 bytes, checksum: a88dbbc5e35f66137c165fa7da7e2b96 (MD5) Previous issue date: 2017-11-17 / Este trabalho realizado dentro do campo da historiografia, em sua abordagem multidisciplinar, que toma de empréstimo conceitos da psicanálise, filosofia e cinema, tem por objetivo abordar as relações entre história e cinema, questionando se há uma escrita fílmica da história e em que dimensão esse estudo pode contribuir para a historiografia quando se pensa em um filme não somente como uma fonte de dados visuais exploráveis pelo historiador, mas também situando o filme como um agente transformador da história, carregado de uma representação visual do sensível, e de um discurso que pode tanto ser atribuído à uma indústria cultural ou mais precisamente, a um cineasta problematizador. Investigando a filmografia de Lars Von Trier, usando o método da análise fílmica, exploraremos as peculiaridades das sensibilidades contemporâneas e o condicionamento sócio-histórico que estas sofrem, e como são representadas em sua obra. Trabalharemos com a questão da polissemia do termo loucura – seja aquela que passa pelo crivo do discurso moralizante, seja aquela enquadrada pelos termos da psicanálise - e com as diferentes representações que adquiriu ao longo do tempo até que se tornasse um objeto da medicina. Pontuaremos qual a especificidade do cinema de Lars Von Trier em relação ao mainstream, sua tentativa de purificação do cinema com o movimento Dogma 95 e como dentro de um movimento artístico este ganha destaque, seja pelos temas abordados, seja pela própria personalidade polêmica do autor. Por fim, investigaremos o sentir contemporâneo, situado naquilo que Bauman chamou de Modernidade Líquida, e como este sentir pode ser compreendido nas obras de Lars Von Trier, orientadas pelo conhecimento de um tempo trágico. . / This work carried out within the field of historiography, in its multidisciplinary approach, which borrows concepts from psychoanalysis, philosophy and cinema, aims to address the relations between history and cinema, questioning if there is a filmic writing of history and in what dimension this study may contribute to historiography when one thinks of a film not only as a source of visual data exploitable by the historian, but also situates the film as a transforming agent of history, loaded with a visual representation of the sensitive, and a discourse that can whether attributed to a cultural industry or, more precisely, to a problem-maker. Investigating Lars Von Trier's filmography, using the method of film analysis, we will explore the peculiarities of contemporary sensitivities and the socio-historical conditioning they suffer, and how they are represented in their work. We will deal with the question of the polysemy of the term madness - whether that which passes through the riddle of moralizing discourse, or that framed by the terms of psychoanalysis - and the different representations it acquired over time until it became an object of medicine. We will point out the specificity of Lars Von Trier's cinema in relation to the mainstream, his attempt to purify the cinema with the Dogma 95movement and, as part of an artistic movement, this is highlighted, both by the themes addressed and by the author's own controversial personality. Finally, we will investigate the contemporary feeling, situated in what Bauman called Liquid Modernity, and how this feeling can be understood in the works of Lars Von Trier, guided by the knowledge of a tragic time.

Este trabalho tem como ponto de partida as relações entre os protagonistas do Quixote, do escritor espanhol Miguel de Cervantes, e Triste fim de Policarpo Quaresma do romancista carioca Lima Barreto observadas pela fortuna crítica barretiana. De acordo com esses estudos, Policarpo Quaresma seria um Dom Quixote brasileiro, por apresentar uma série de traços quixotescos. A partir dessa consideração, o objetivo desta dissertação é o de realizar um estudo comparativo entre o Cavaleiro da Triste Figura e o Major Quaresma, de modo a buscar, mais do que as semelhanças, as diferenças que delineiam suas singularidades. Para efetuar tal comparação, escolheu-se como parâmetro de análise a temática da loucura. Sendo assim, o exame das duas obras tem como preocupação central o modo como Cervantes e Lima Barreto se apropriam do referido tema na construção de suas respectivas personagens. / This work presents as its starting point the relations between the main characters of Don Quijote de la Mancha (Don Quixote), by the Spanish writer Miguel de Cervantes, and of Triste Fim de Policarpo Quaresma (Tragic Death of Policarpo Quaresma), by the Brazilian writer Lima Barreto, noted by the critics of Barreto´s book. According to them, Policarpo Quaresma is a kind of Brazilian Don Quixote, because the character presents a series of quixotic traits. Taking it into consideration, this dissertation aims to carry out a comparative study between the Knight of the Sad Countenance and Major Quaresma in order to search the differences in this case, more significant than the similitudes which delineate both characters´ singularities. The madness theme has been chosen as the analysis approach to carry out such comparison. Therefore, the examination of the two works has as its central theme the way both writers, Cervantes and Barreto, borrow from the madness theme in the creation of their characters.

This thesis is an investigation of Middle English insanity language. It analyses change in the Middle English lexical field of INSANITY, the semantic structure of lexemes wod and mad, and compares INSANITY conceptual metaphors in Middle English and present-day English. The INSANITY lexical field is an ideal one to study language change, due to socio-cultural changes since the Middle Ages such as advances in medical knowledge, the development of the field of psychiatry and legal changes protecting people with a mental illness from discrimination. The general theoretical aims were to examine a) change in conceptual metaphor, and b) semantic and lexical change with a particular focus on the decline in use of adjective wod. The theoretical frameworks are cognitive linguistics, prototype theory, and conceptual metaphor theory, and the data is derived from Middle English corpora and other sources. The INSANITY database I created for this study consisted of 1307 instances of mad, wod and near-synonyms in context. The main results can be divided into three groups. Firstly, the lexical field study demonstrates that various intra-linguistic and socio-cultural phenomena effect lexical change. Using case studies amongst others of the decline of wod in the Wycliffite Bible and of Caxton's translations from French, and a systematic variation across genre, I argue that the important factors are i) the arrival of new medical loanwords such as frensy, lunatic and malencolie; ii) the early re-emergence of the vernacular in medical texts starting in the twelfth century, and the development of a new medical register; iii) the so-called medieval 'inward turn'; iv) changes in the neighbouring lexical field of ANGER. Secondly, the semasiological study of wod and mad shows that the meanings of these two lexemes are structured and change in line with the central tenets of prototype theory, i.e. as described for diachronic prototype semantics by Geeraerts (1997). The path of mad's semantic development does not parallel that of wod after the thirteenth century. Mad's senses do not have the emphasis on wildness and fury that the senses of wod do. A particularly interesting finding is the semantic change from a sub-sense of adverb mad and adjective mad, 'unrestrained', leading in present-day English to a new delexicalised and grammaticalised sense of mad, where its use as an intensifier enhances scalar quantity and quality. Thirdly, the conceptual metaphor study demonstrates that predominantly the same conceptual metaphors are seen in both Middle English and present-day English, with some exceptions such as the concept of insanity being related to moral decline, as evidenced in the dearth of FALLING metaphors for insanity in present-day English. Conceptual metaphors such as INSANITY IS ANOTHER PLACE are evidenced in present-day English expressions such as out of her senses, or not in my right mind. In 1422, Thomas Hoccleve could write of a dysseveraunce between himself and his wit, or about his wyld infirmitie, which threw him owt of my selfe, illustrating the same underlying concepts. Other INSANITY conceptual metaphors which remain unchanged are GOING ASTRAY, LACK OF ORDER, LACK OF WHOLENESS, DARKNESS, FORCE, PRISON and BURDEN. Because of its unique approach in combining onomasiological and semasiological approaches with a conceptual metaphor study, this study reveals not only specific patterns of change, but differences in the rate of change on the lexical and conceptual levels. Lexical change driven by the need to be expressive, and reflecting socio-cultural changes such as changes in medical knowledge, can be seen to happen rapidly over the Middle English period. However, underlying conceptual change is barely discernible even over a much longer period of time from Middle English to present-day English. This research is significant because it provides a basis for future analysis of insanity language in other periods and contexts. It also contributes to the study of semantic change in general, highlighting the insights that can be gained by combining different types of data-driven analyses.

Submitted by Aline Batista (alinehb.ufpel@gmail.com) on 2017-06-21T20:20:10Z No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Dissertacao_Ana_Paula_Giehl_de_Oliveira.pdf: 2457549 bytes, checksum: 3e4d28d59318b73642f8fd1c2e9e269c (MD5) / Approved for entry into archive by Aline Batista (alinehb.ufpel@gmail.com) on 2017-06-21T21:04:32Z (GMT) No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Dissertacao_Ana_Paula_Giehl_de_Oliveira.pdf: 2457549 bytes, checksum: 3e4d28d59318b73642f8fd1c2e9e269c (MD5) / Made available in DSpace on 2017-06-21T21:04:39Z (GMT). No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Dissertacao_Ana_Paula_Giehl_de_Oliveira.pdf: 2457549 bytes, checksum: 3e4d28d59318b73642f8fd1c2e9e269c (MD5) Previous issue date: 2017-03-03 / Sem bolsa / A presente pesquisa resulta da comparação entre as obras Cemitério dos Vivos e Diário do Hospício, de Lima Barreto, e Um Estranho no Ninho, de Ken Kesey. Verifica-se de que forma são representados a loucura, os alienados e as instituições manicomiais nestes textos literários. Trata-se, aqui, da investigação referente ao modo como é narrada a experiência vivida pelos autores em relação ao sistema imposto pela Ciência, e isso se faz a partir da leitura de textos ficcionais e de testemunho. No decorrer dos tempos, o assunto em questão rumou em diferentes caminhos e tratar de aspectos sociais como a loucura, objeto de estudo deste trabalho, se faz necessário para o questionamento da história, do sistema e do reflexo de ambos no comportamento humano na sociedade. O estudo aqui presente demonstra de que modo a loucura serve como ponto em comum para entender as diferentes culturas dos autores escolhidos, bem como sinaliza primordialmente a modificação do homem pelo meio em que vive. Tal constatação será o fio condutor da discussão proposta, bem como a averiguação de que, apesar da ausência de um conceito concreto acerca da loucura, este assunto é de grande relevância para o entendimento do homem e seu papel e lugar social. / The following work is a result of the comparison between Lima Barreto’s Cemitério dos Vivos [Graveyard of the Living] and Diário do Hospício [Journal of the Asylum], and Ken Kesey’s One Flew Over the Cuckoo’s Nest. The focus is on the ways madness, the insane, and the mental institutions are represented in such books. The investigation stems from the narrative of the author’s living experiences in regard to the system imposed by science, through literary and testimonial texts. Throughout the years, the topic of madness has trailed different paths, and discussing it is necessary to question history, the system, and how both reflect upon human social behavior. This study demonstrates how madness serves as a common ground to understand different cultures and how it signals the imposition of the environment upon humans. This point is what leads this discussion, as well as the investigation around madness which, despite not having one concrete definition, is highly relevant to understand humans and their social place.

Submitted by Kenia Bernini (kenia.bernini@ufpel.edu.br) on 2018-03-05T15:03:16Z No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Rosi_Marrero_Duarte_Dissertação.pdf: 1659385 bytes, checksum: c1a253768d56a8c1bca306e1e4d23f6b (MD5) / Approved for entry into archive by Aline Batista (alinehb.ufpel@gmail.com) on 2018-03-05T21:47:33Z (GMT) No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Rosi_Marrero_Duarte_Dissertação.pdf: 1659385 bytes, checksum: c1a253768d56a8c1bca306e1e4d23f6b (MD5) / Approved for entry into archive by Aline Batista (alinehb.ufpel@gmail.com) on 2018-03-05T21:47:41Z (GMT) No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Rosi_Marrero_Duarte_Dissertação.pdf: 1659385 bytes, checksum: c1a253768d56a8c1bca306e1e4d23f6b (MD5) / Made available in DSpace on 2018-03-05T21:47:49Z (GMT). No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Rosi_Marrero_Duarte_Dissertação.pdf: 1659385 bytes, checksum: c1a253768d56a8c1bca306e1e4d23f6b (MD5) Previous issue date: 2017-08-30 / Sem bolsa / Este estudo apresenta a etnografia com a AUSSMPE – Associação de Usuários dos Serviços de Saúde Mental de Pelotas, a partir das experiências compartilhadas, sobretudo com base na produção imagética realizada junto a este coletivo. Tem como pano de fundo o questionamento sobre a permanência do modelo manicomial para internações psiquiátricas no município de Pelotas, apesar da reforma psiquiátrica e das novas diretrizes do Sistema Único de Saúde – SUS preconizarem o cuidado em saúde mental em liberdade. A partir dos desdobramentos junto a AUSSMPE, percebendo-os enquanto coletivo de militância na luta antimanicomial, compreendemos as relações de força estabelecidas no campo e, por fim, contribuímos para a composição da memória da loucura neste território. Os desdobramentos apontaram dispositivos importantes no campo, sendo: a música, o desenho, a fotografia e o experimento vídeo/amador, habilidades em desenvolvimento pelos interlocutores, dadas como ferramentas para produção etnográfica. / This study presents the ethnography with the AUSSMPE - Associação de Usuários dos Serviços de Saúde Mental de Pelotas, based on the shared experiences, especially on the basis of the imagery produced together with this collective. Has as background the questioning about the permanence of the manicomial model for psychiatric hospitalizations in the Pelotas city, despite the psychiatric reform and the new guidelines of the Sistema Único de Saúde - SUS to advocate the mental health care in freedom. From the outspread of the AUSSMPE, perceiving them as a militant collective in the antimanicomial conflict, we understand the strenght relationships established in the field and, finally, we contribute to the composition of the memory of madness in this territory. The outspread showed important devices in the field, as: the music, the drawing, the photography and video/amateur experiment, skills about developed by the interlocutors, given as tools for ethnographic production.