Orientador: Franck Roberts Brandon / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem / Made available in DSpace on 2018-07-19T09:02:21Z (GMT). No. of bitstreams: 1 Weir_EvelynMaryHelen_M.pdf: 5832212 bytes, checksum: 85c171a1358a76d673de001e8b799d47 (MD5) Previous issue date: 1984 / Resumo: Este trabalho visa a descrever alguns aspectos da gramática da língua indígena brasileira Nadeb, dando atenção especial à negação. Depois de informações gerais sobre os Nadeb (capítulo 1) e a descrição de aspectos gerais da gramática (capítulo 2), examinam-se as duas maneiras fundamentais de negar orações principais afirmativas em NadeD - pelo uso de um morfema negativo nominal e pelo uso de um prefixo verbal - e a negação em imperativos (capítulos 3 a 5, respectivamente). Na condusão (capítulo 6), comparam-se as duas maneiras de negar orações principais e avaliam-se as interpretações dadas para os três morfemas negativos, indicando-se também algumas características do Nadeb que são de interesse à linguística em geral, sendo muito invulgares nas línguas do mundo até agora estudadas. Os quatro apêndices tratam mais detalhadamente de assuntos casualmente relacionados no capítulo 2 / Abstract: Not informed. / Mestrado / Mestre em Linguística

Ao pôr do sol, quando o som do pilão começa a ecoar pela aldeia, é possível acompanhar os passos dos senhores Hupdäh (Maku) que vão caminhando vagarosamente, saudando-se e sentando-se em seus bancos para formar as rodas de coca (p&#361\'&#361k/ ipadú. Enquanto a fumaça dos cigarros de tabaco tateia os ares noturnos, o pó verde da coca (erythroxylum coca) vai sendo derramado nas bocas. Em meio às conversas, mitos começam a ser contados, benzimentos são ensinados e andanças pelos caminhos da mata são comentadas. Murmurando palavras para cigarros ou cuias, alguns dos participantes executam ações xamânicas para curar ou proteger pessoas. Ao sentar-me com os Hupdäh, habitantes da região do Alto Rio Negro, AM, entendi que os encontros noturnos podem ser vistos como um modo de ação que permite aos participantes constituírem percursos de observação a partir de seus próprios movimentos em meio às palavras sopradas dos encantamentos, às narrativas míticas e aos passos trilhados pelos caminhos que atravessam a floresta. Neste trabalho, as rodas de coca são tomadas como performances, contextos que associam os fazeres mítico e xamânico a partir de uma forma relacional particular que articula distintas formas de mobilidade e de interação. Procura-se delinear como esses modos de ação mobilizam sensória e experiencialmente os viajantes hup, permitindo a interação com diversos seres em múltiplas paisagens, campos de percepção e ação para o engajamento mútuo em processos de transformação ao longo do mundo / When the sound of the crusher can be heard all over the village at sunset, the Hupdäh seniors may be seen walking slowly while they greet each other and then sit on their stools to form the rounds of coca. While the tobacco cigarette smoke spreads through the night air, the green coca powder is poured into their mouths. During their conversations myths are told, spells are taught and walks through the jungle paths are talked about. Whispering spells to their cigarettes or bowls, some participants perform shamanic actions to cure and protect people. On sitting with the Hupdäh, inhabitants of the Alto Rio Negro region, I realized that their night meetings can be seen as a mode of action which allows the participants to delineate their paths of observation from their own movements within their whispered spells, their myths stories, their steps on the trails that go through the jungle. In this study the rounds of coca are regarded as performances, contexts which associating the mythic and shamanic agencies constitute a particular relational form which articulates distinct ways of mobility and interaction. This study tries to describe how these modes of action mobilize the Hupdäh traveler in a sensory and experiential way enabling them to interact with several beings in different landscapes in order to achieve the mutual engagement in transformation processes by following a way of life along the world.

Ao pôr do sol, quando o som do pilão começa a ecoar pela aldeia, é possível acompanhar os passos dos senhores Hupdäh (Maku) que vão caminhando vagarosamente, saudando-se e sentando-se em seus bancos para formar as rodas de coca (p&#361\'&#361k/ ipadú. Enquanto a fumaça dos cigarros de tabaco tateia os ares noturnos, o pó verde da coca (erythroxylum coca) vai sendo derramado nas bocas. Em meio às conversas, mitos começam a ser contados, benzimentos são ensinados e andanças pelos caminhos da mata são comentadas. Murmurando palavras para cigarros ou cuias, alguns dos participantes executam ações xamânicas para curar ou proteger pessoas. Ao sentar-me com os Hupdäh, habitantes da região do Alto Rio Negro, AM, entendi que os encontros noturnos podem ser vistos como um modo de ação que permite aos participantes constituírem percursos de observação a partir de seus próprios movimentos em meio às palavras sopradas dos encantamentos, às narrativas míticas e aos passos trilhados pelos caminhos que atravessam a floresta. Neste trabalho, as rodas de coca são tomadas como performances, contextos que associam os fazeres mítico e xamânico a partir de uma forma relacional particular que articula distintas formas de mobilidade e de interação. Procura-se delinear como esses modos de ação mobilizam sensória e experiencialmente os viajantes hup, permitindo a interação com diversos seres em múltiplas paisagens, campos de percepção e ação para o engajamento mútuo em processos de transformação ao longo do mundo / When the sound of the crusher can be heard all over the village at sunset, the Hupdäh seniors may be seen walking slowly while they greet each other and then sit on their stools to form the rounds of coca. While the tobacco cigarette smoke spreads through the night air, the green coca powder is poured into their mouths. During their conversations myths are told, spells are taught and walks through the jungle paths are talked about. Whispering spells to their cigarettes or bowls, some participants perform shamanic actions to cure and protect people. On sitting with the Hupdäh, inhabitants of the Alto Rio Negro region, I realized that their night meetings can be seen as a mode of action which allows the participants to delineate their paths of observation from their own movements within their whispered spells, their myths stories, their steps on the trails that go through the jungle. In this study the rounds of coca are regarded as performances, contexts which associating the mythic and shamanic agencies constitute a particular relational form which articulates distinct ways of mobility and interaction. This study tries to describe how these modes of action mobilize the Hupdäh traveler in a sensory and experiential way enabling them to interact with several beings in different landscapes in order to achieve the mutual engagement in transformation processes by following a way of life along the world.

Submitted by Divisão de Documentação/BC Biblioteca Central (ddbc@ufam.edu.br) on 2017-02-13T20:26:44Z No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Dissertação - Angela R. S. Arruda.pdf: 4519108 bytes, checksum: 37476234845299a39d9f56bf6cd12d0f (MD5) / Approved for entry into archive by Divisão de Documentação/BC Biblioteca Central (ddbc@ufam.edu.br) on 2017-02-13T20:27:02Z (GMT) No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Dissertação - Angela R. S. Arruda.pdf: 4519108 bytes, checksum: 37476234845299a39d9f56bf6cd12d0f (MD5) / Approved for entry into archive by Divisão de Documentação/BC Biblioteca Central (ddbc@ufam.edu.br) on 2017-02-13T20:27:18Z (GMT) No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Dissertação - Angela R. S. Arruda.pdf: 4519108 bytes, checksum: 37476234845299a39d9f56bf6cd12d0f (MD5) / Made available in DSpace on 2017-02-13T20:27:18Z (GMT). No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Dissertação - Angela R. S. Arruda.pdf: 4519108 bytes, checksum: 37476234845299a39d9f56bf6cd12d0f (MD5) Previous issue date: 2016-08-25 / FAPEAM - Fundação de Amparo à Pesquisa do Estado do Amazonas / The municipality of Novo Airão is characterized by a relevant concentration of indigenous families who declared themselves to belong to the different ethnic groups of the Amazon, evidencing the multicultural aspect with which they relate Indians and non Indians. This complex reality comprises not the apparent simplicity of the term "urban Indians," or Indians in the city, but men and women with such distinct cultures, with languages, beliefs, ways of believing and being proper to each of their cultures, that even with such differences they seek to consolidate a union that is born of solidarity among them, insofar as they understand the strength of their common struggle, in the face of the enormous challenges they face, especially in an urban area. In 2004, the first move was made to materialize, in the following years, the Maku Itá Indigenous Institute of Novo Airão, thanks to the indigenous leaderships of that city, constituting the initial mark of its organization. However, for several factors, these leaderships have not been able to remain at the very least ahead of their movement. More recently, new attempts at a realignment of these and other leaderships that have been added to these have rekindled hopes for indigenous men and women of Novo Airão who seek to maintain their beliefs, languages and actions, in the political strengthening of their identities, which from their experiences they gain the right to the reproduction of their ways of life and the right to the city. / O município de Novo Airão caracteriza-se por relevante concentração de famílias indígenas que se autodeclaram pertencentes à diversas etnias da Amazônia, evidenciando o aspecto multicultural com que se relacionam índios e não índios. Esta realidade complexa compreende não o simplismo aparente da denominação “índios urbanos”, ou índios na cidade, mas homens e mulheres com culturas tão distintas, com línguas, crenças, modos de crer e de ser próprios a cada uma de suas culturas, que mesmo com tais diferenças buscam consolidar uma união que nasce da solidariedade entre eles, na medida em que compreendem a força de sua luta comum, diante dos enormes desafios que enfrentam, sobretudo, em área urbana. Em 2004 deu-se a primeira movimentação para a concretização, nos anos seguintes, do Instituto Indígena Maku Itá de Novo Airão, graças às lideranças indígenas daquela cidade, constituindo-se o marco inicial de sua organização. No entanto, por diversos fatores, essas lideranças não conseguiram se manter minimamente à frente de seu movimento. Mais recentemente, novas tentativas de um realinhamento dessas e de outras lideranças que a estas foram se somando, reacenderam esperanças para homens e mulheres indígenas de Novo Airão que buscam a manutenção de suas crenças, línguas e fazeres, no fortalecimento político de suas identidades, que a partir de suas experiências vão conquistando o direito à reprodução dos seus modos de vida e o direito à cidade

Abstract In my study of architecture, I have surveyed the interior of the apartment from the perspective of colouration, in Finland from 1948 to 1955. My study comprised traditionally considered high-cultured architecture — legitimate architecture — and architecture representing the everyday, which does not have the status of legitimate architecture. My research into this subject adopted a material based approach, with qualitative research methods and applied with a theory-guided content analysis. The periodicals Arkkitehti and Kaunis Koti formed the central content of my study, representing legitimate and popular architecture from the post-war reconstruction period. On the basis of this material, I compiled a depiction of the colouration of the home during the postwar reconstruction period. In addition, I studied the use of colours in legitimate and popular architecture during that period. There has been no previous systematic depiction of the interiors of the home in Finland. The presupposition of my study was that during the post-war reconstruction period, the colour preferences of architects and the general public neared. During the post-war reconstruction period, the attention of most architects was directed towards the living conditions and needs of the general public. The primary focus of architects was in housing. This was due to the large number of homeless people requiring housing after the war. From the basis of functionalism, the discourse on the social content of architecture created the foundation for building planning during the post-war reconstruction period. In the material examined in this study, colour was identified with happiness. Nature connected the Finnish people. Even in the urban setting, the experience of nature was considered important. The multihued greenery of the window shelf present in almost every living room was one display of "the living spirit" of nature brought into the urban apartment. During the post-war reconstruction period, colouration of interiors was not homogenous. The composition of the colouration, and the ways in which colour were used, changed according to the room type. The over-arching concept in the colouration of the rooms was that of a purposeful aesthetic. The changes were connected with the development phase of the room type, its contents, as well as the importance of the space in comparison to the entirety of spaces in the apartment. In addition to the colouration change between room types, some of the apartment furnishings and their colouration changed noticeably during the post-war reconstruction period. The importance of good taste was also emphasised in different ways in different room types. In the colouration of older, established room types issues of good taste were often raised, and the interior was constructed on the basis of critique of previous interior design colourations. In connection with newer room types, such as the kitchen and the children's room, a purposeful aesthetic was at the forefront and good taste was hardly talked about, since colouration was not given as a value in relation to what had come before. Dissymmetry of colouration was common for all home interiors. The dissymmetry was derived from the modernity principle of embracing the new and forbidding the traditional. Personal observations in the use of associative and dissociative names for colours, displays Bourdieu's conception of good taste, represented in the formation of legitimate taste and popular taste. However, the criticism of Shusterman displays well, that this is a definition derived from high-culture, which is already value-ridden. The romantic period during the post-war reconstruction period, the content of which is understandable also from a popular viewpoint, showed clearly in the works of the architects. For many architects, the period remained short. From the perspective of Bourdieu, it can be thought that legitimate taste had for a moment neared popular taste. The "blue flower of romantic thought" did not blossom for long and the taste representing legitimate, rational thought regained its position. According to my supposition, the taste of popular and high-culture had nonetheless, momentarily neared. / Tiivistelmä Arkkitehtuurin alaan kuuluvassa tutkimuksessani, tarkastelen asunnon sisustusta värityksen näkökulmasta Suomessa vuosina 1948—1955. Tarkastelussani rinnakkain ovat perinteisesti korkeakulttuurina pidetty rakennustaide, legitiimi arkkitehtuuri, ja arjen käytäntöjä edustava arkkitehtuuri, jolla ei ole legitiimin arkkitehtuurin statusta. Tarkastelen tutkimusaihettani aineistolähtöisesti laadullisen tutkimuksen keinoin teoriasidonnaisen sisällönanalyysin avulla. Arkkitehti-lehti ja Kaunis koti -lehti muodostavat tutkimukseni keskeisen aineiston jälleenrakennuskauden legitiimin ja populaarin arkkitehtuurin ilmentäjinä. Tutkimuksessani kokoan aineistoon perustuvan kuvauksen jälleenrakennuskauden kodin värityksestä sekä tutkin tuon ajan legitiimin ja populaarin arkkitehtuurin värinkäyttöä. Kodin tilojen värityksestä ei ole aiemmin laadittu systemaattista kuvausta Suomessa. Tutkimukseni esioletuksena oli, että jälleenrakennuskaudella arkkitehtien ja suuren yleisön kodin värinkäyttöön liittyvät mieltymykset olivat lähellä toisiaan. Jälleenrakennuskaudella arkkitehtikunnan huomio oli kohdentunut suuren yleisön elinoloihin ja tarpeisiin. Arkkitehtikunnan suunnittelutehtävän painopiste oli asuntotuotannossa, sillä suuri määrä sodan jälkeen kodittomiksi jääneitä oli asutettava. Funktionalismin pohjalta käyty keskustelu arkkitehtuurin sosiaalisesta sisällöstä loi pohjaa jälleenrakennuskauden asuntosuunnittelulle. Aineistossani väri vertautui iloisuuteen. Luonto yhdisti suomalaisia. Kaupunkiympäristössäkin luontokokemusta pidettiin tärkeänä. Kodin sisustuksessa lähes poikkeuksetta esiintynyt olohuoneen kukkaikkuna oli yksi osoitus kaupunkiasuntoon tuodusta luonnon "elävästä hengestä". Jälleenrakennuskauden kodin sisustuksen väritys oli epäyhtenäinen. Värityksen sisällöt ja tavat käyttää väriä vaihtelivat huonetyypeittäin. Yhdistävänä yläkäsitteenä huonetilojen värityksessä oli tarkoituksenmukaisuuden estetiikka. Vaihtelut liittyivät huonetyypin kehitysvaiheeseen ja sisältöihin sekä tilalle annettuun painoarvoon asunnon huonetilojen kokonaisuudessa. Huonetyypin värityksen keskinäisen vaihtelun lisäksi osa kodin tilojen sisustuksista ja niiden värityksistä muuttui selvästi jälleenrakennuskauden kuluessa. Myös hyvän maun merkitystä korostettiin eri tavoin eri huonetyypeissä. Vanhempien, jo vakiintuneiden huonetyyppien sisustuksen värityksessä hyvä maku otettiin usein esiin ja hyvän maun mukainen sisutus rakentui aiempien sisustustyylien värityksen kritiikin kautta. Uudempien huonetyyppien, kuten keittiön ja lastenhuoneen, yhteydessä tarkoituksenmukaisuuden estetiikka oli etusijalla eikä hyvästä mausta puhuttu juuri lainkaan, sillä väritystä ei arvotettu suhteessa aiempaan. Värityksen epäsymmetrisyys oli yhteistä kaikille tarkastelemilleni kodin tilojen värityksille. Epäsymmetria ilmensi moderniteettiin sisältyvää ajatusta uudesta ja tradition kieltämisestä. Havaintoni assosiatiivisten ja ei-assosiatiivisten värinnimitysten käytöstä havainnollistaa Bourdieun ajatusta hyvää makua edustavan legitiimin maun ja populaarin maun muodostumisesta. Shustermanin kritiikki tuo kuitenkin hyvin esiin korkeakulttuurin piiristä lähtevän määritelmän, joka jo lähtökohtaisesti on arvovarautunut. Jälleenrakennuskauden romanttinen ajanjakso, jonka sisällöt olivat ymmärrettäviä myös populaarin näkökulmasta, näkyi selvästi arkkitehtien tuotannossa. Jakso jäi monen arkkitehdin kohdalla lyhytaikaiseksi. Bourdieu'n näkökulmasta voi ajatella, että legitiimi maku oli hetkellisesti lähentynyt populaaria makua. Jälkikäteen katsottuna arkkitehdit ovat tulkinneet maun rämettyneen väliaikaisesti. "Romantiikan sininen kukka" ei kovin pitkään ehtinyt kukkia, ja legitiimiä rationaalia linjaa edustanut maku valtasi asemansa takaisin. Esioletukseni mukaisesti populaarin ja korkeakulttuurin maku olivat silti hetkellisesti lähentyneet toisiaan.