This thesis explores the moral life worlds of people who have been imprisoned in Mexico, while considering how they incorporate the fate of imprisonment into the story of their lives through cognitive, discursive, sensory, affective, recollective and imaginary processes. The midst of a war on drugs in Mexico confirms that structural factors like political premises and poverty, as well as class backgrounds and racial discrimination largely determine who goes to prison. However, this research is not only confined to a structural analysis, since prisoners also explain their imprisonment in relation to other contingent encounters and coincidences occurring in their every day life. As such, imprisonment seems for prisoners like an unimagined possibility and a latent daily risk. Using a variety of ethnographic methods and modes of representation, this research sheds light on how imprisonment is related to stories of love, treason, memories and hopes. I draw from prisoners and ex-prisoners’ personal sources of expression like their writings; I recur to eliciting their memories through their objects and crafts; I pay attention to the role of the gaze in crafting identities in prison; I also draw attention to prisoners and ex-prisoners’ expressions of feelings and emotions. I argue that such sources and sensorial realms and methods offer relevant insights into their existential experiences. They are also important devices to represent stories from below. Through inmates’ narratives and practices my work offers stories, explanations and effects of incarceration alternative to the official reasons legitimating incarceration. Central to my work is my film Time will Tell that documents the lives of three ex-prisoners and represents their every day duties, and the sensory and corporeal implications of the aftermath of imprisonment. Film has been a central piece of my ethnographic research since it allows audiences to engage with realms of experience that go beyond the one offered by language and text; so as to also help evoke – and not only illustrate- the whole of the journey out of prison as an ontological and sensuous experience.

Thesis (M.V.A.)--University of Sydney, 2009. / Title from title screen (viewed November 26, 2009) Submitted in fulfilment of the requirements for the degree of Master of Visual Arts to the Sydney College of the Arts, University of Sydney. Degree awarded 2009; thesis submitted 2008. Includes bibliographical references.

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No. of bitstreams: 1 antoniocarlossiqueiradutra.pdf: 2859848 bytes, checksum: f27630613964bc7e4c5081edc34baa49 (MD5) Previous issue date: 2010-08-31 / A dissertação ―Senha do Mundo, narrativas de jovens em experiência de acesso à cultura‖ é um trabalho que transpõe tempos distintos na relação de ação e reflexão nas fronteiras que vinculam os territórios da Educação e da Cultura. Trata-se, por um lado, de uma pesquisa que nasceu como dissertação, do meu olhar contemporâneo - na condição de gestor de uma Secretaria Municipal de Cultura - e que desse lugar vem pensando os efeitos possíveis, sobre os sujeitos em seus percursos escolares, de políticas públicas que garantam ao cidadão o direito de acesso à Cultura em suas múltiplas dimensões. Paralelamente, é um trabalho que evoca uma densa experiência processada num tempo passado, bem como as narrativas dela constituídas tomando-se por base os processos de significação elaborados em função da vivência compartilhada por um grupo de jovens que, pela relação com a cultura, encontraram uma possibilidade de redefinição dos rumos da própria vida e passaram a trilhar um caminho de sucesso escolar e profissional, rompendo um círculo vicioso de pobreza e exclusão que marcava suas vidas. A questão central de investigação pode ser assim descrita: quais as percepções que os sujeitos participantes de uma experiência singular com a produção cultural no interior do espaço escolar possuem, hoje, sobre a vivência do direito à cultura e de que modo essa percepção manifesta-se em suas narrativas individuais e grupais? Para tanto, buscou-se criar condições que permitissem a emergência das narrativas de sete jovens participantes de um projeto de arte e cultura, no contraturno escolar ao longo dos anos de 1995 a 2005, em uma escola de periferia urbana de Juiz de Fora. A opção metodológica que gerou o desenvolvimento da pesquisa pautou-se na busca da construção de dispositivos disparadores de lembranças eleitos no processo de pesquisa. Esses objetos menemônicos escolhidos trazem também, as minhas narrativas e reinterpretações sobre o vivido, tendo como foco a mobilização de diferentes linguagens advindas de diferentes suportes culturais, de modo coerente com aquilo que pautou a vivência de uma escola que dialogava sistemicamente com dimensões múltiplas da cultura. Cartas, videoclipe com 135 fotos da trajetória do grupo além de um grupo focal, assumem a função desses disparadores e são capazes de desacomodar as camadas de memórias no indivíduo. Para interpretar as narrativas foram incorporados os conceitos de Ecléa Bosi sobre memória dos cidadãos ligados às classes trabalhadoras; direito a cultura através das propostas e estudos de Marilena Chauí; as idéias sobre narrativas de Michel Conelly e Jean Clandinin, além do pensamento estruturado de Michel de Certeau em torno do conceito cultura no plural. Como elo de ligação entre o tempo do passado, na experiência do vivido, e o tempo presente, como um momento de reinterpretação e ressignificação optei por, ao longo do texto, utilizar a poesia de Carlos Drummond de Andrade como uma metanarrativa articuladora de tempos, intérprete da experiência e produtora de sentidos sensíveis para o leitor. Essa escolha se justifica pela história do grupo e a relação que guarda com as palavras tratadas com beleza pelo poeta e por dialogarem diretamente com nossas narrativas. / The dissertation entitled ―Password to the World, youth narrative in their experience towards culture access‖ goes back in time in its relationship with action and reflection on the threshold between Education and Culture. This is a Master´s Degree Dissertation which conveys a contemporary view from the management of the Municipal Secretariat of Culture of Juiz de Fora, considering the possible effects of public policies which warrant the access to culture in its multiple dimensions. It is also a work which evokes deep past experiences, as well as their resulting narratives. The meaning-construction processes resulting from the experience of a group of youths is taken as the very basis of this work due to their relationship with culture, which allowed the students to realign their pathway towards both successful school and professional life, breaking away from the vicious circle of poverty and social exclusion which underpinned their lives. The key issue being investigated can be put as follows: how do the students experiencing a unique opportunity of cultural production within the school context perceive their right to culture and how does this reflect on their individual and group narratives? In order to answer these questions, conditions were offered so that these narratives were produced by seven youths taking part in an art and culture-based project in an urban municipal school of Juiz de Fora between 1995 and 2005. As for the methodology, devices were selected during research in order to evoke their memories. These mnemonic devices also brought back my memories and reinterpretations of those experiences, focusing on the mobilization of different languages resulting from different cultural frameworks, consistent with what featured the experience of a school which effectively communicated across multiple cultural dimensions. Letters and a video clip with 135 photos of the group´s trajectory apart from a focus group worked as triggers and were capable of mixing the individual´s memory layers. In order to interpret the narratives, Ecléa Bosi´s concepts on the memory of working class citizens were used, as well as Marilena Chauí´s studies on the right to culture, Michel Conelly´s and Jean Clandinin´s ideas on narratives and Michel de Certeau´s structured thinking on the concept of culture in the plural. Working as a binding element between the experienced past and the living present as a moment of reinterpretation and resignificance, the poem by Carlos Drummond de Andrade was chosen as a metanarrative which framed time, interpreting experience and producing meaningful messages to the reader. This choice can be explained by the group´s history and its relationship with the words which were so beautifully used by the poet and interacted so closely with our narratives.

The aim of this thesis is to describe two central narratives of the Holocaust in the collective memory of Poland on the example of the clash of these narratives in one of the biggest debates in Polish history, triggered by the publication of Jan Tomasz Gross's book Neighbours in 2000. The first attempt to focus legislatively on those who do not follow the official narrative of the past of the Holocaust, was the creation of "Lex Gross" in 2006 during the first period of the reign of the right-wing conservative political party PiS. In 2018, the proposed legislation was elaborated into an Amendment to the Act on the IPN, known as "Holocaust Law" which had provoked a great controversy. The aim of this one-case study of the amendment is to present the motives for the amendment and explain the controversy it provoked within the framework of politics of memory of PiS. The amendment is interpreted in the context of different narratives of Holocaust, so-called memory wars - that means in the collective memories of the national states on the one hand, and of transnational acteurs on the other. Thus, memory may become the subject of populism, which heralds the disintegration of the neoliberal consensus.

This master thesis was developed within the Line of Research Education and Arts (LR4) from the Postgraduate Program in Education at Federal University of Santa Maria (UFSM) and is part of the research group FAPEM Formation, Action and Research in Musical Education of UFSM. The research had as overall objective to investigate the thinking of four music teachers, graduates from the Music Major Teaching degree of UFSM, in the constitution process of teaching with the recorder. As specific objectives, the study aimed at knowing what the music teachers think about the recorder teaching; understanding the meaning of this musical instrument in their lives and in their teaching practice; and reflecting upon the recorder teaching in the field of musical education. In order to do that, the theoretical framework was based on studies about teacher s thinking (PACHECO, 1995; BRAZ, 2006, 2007; MARUJO, 2004; BEINEKE, 2000; DEL BEN, 2001; among others) which allowed us to reflect upon the meanings and connections among thinking, memory and narrative in the interrelation between the teacher s thinking and doing towards the recorder. Metodologically, the research was held by the thematic oral history method (MEIHY, 2005; FREITAS, 2006), making use of procedures of data production and analysis, respectively, narrative interview (JOVCHELOVITCH; BAUER, 2008) and some strategies of grounded theory (CHARMAZ, 2009). Though this investigation, we were able to know the music teachers histories and their thinking, represented by some of their constructs, ideas, beliefs, knowledge, values, perspectives, etc., which are expressed in their memories-references (JOSSO, 2010) to teach the recorder. In this process, we realized that their thoughts are connected to ratio-affective factors (BAGGIO; OLIVEIRA, 2008) that permeate their experiences with this musical instrument in different moments of their lives, as both music students and teachers, who advance in and give meanings to their current pedagogic-musical practices. Finally, we have understood that these teacher s thinking, about the recorder teaching, constitutes an important dimension in each teacher s formative process, affecting and constituting them, because only in the relation between thinking and doing these professionals learn how to be music teachers with the recorder. / A presente dissertação foi desenvolvida na Linha de Pesquisa Educação e Artes (LP4) do Programa de Pós-Graduação em Educação da Universidade Federal de Santa Maria (UFSM) e vincula-se ao grupo de estudos e pesquisas FAPEM Formação, Ação e Pesquisa em Educação Musical da UFSM. A pesquisa teve o objetivo geral de investigar o pensamento de quatro professores de música, egressos do curso de Música - Licenciatura Plena da UFSM, no processo de constituição da docência com a flauta doce. Como objetivos específicos, buscou-se conhecer o que pensam os professores de música sobre o ensino de flauta doce; compreender o significado desse instrumento musical em suas vidas e em sua prática docente; e refletir sobre o ensino de flauta doce no âmbito da educação musical. Para tanto, o aporte teórico constituiu-se de estudos sobre o pensamento do professor (PACHECO, 1995; BRAZ, 2006, 2007; MARUJO, 2004; BEINEKE, 2000; DEL BEN, 2001; entre outros) que possibilitaram refletir sobre os significados e as conexões entre o pensamento, a memória e a narrativa na interrelação entre o pensar e o fazer docente com a flauta doce. Metodologicamente, a pesquisa foi desenvolvida pelo método da história oral temática (MEIHY, 2005; FREITAS, 2006), utilizando como procedimentos de produção e análise dos dados, respectivamente, a entrevista narrativa (JOVCHELOVITCH; BAUER, 2008) e algumas estratégias da teoria fundamentada (CHARMAZ, 2009). Através da investigação, foi possível conhecer as histórias dos professores de música e seus pensamentos, representados por alguns de seus construtos, ideias, crenças, conhecimentos, valores, perspectivas, etc., os quais estão expressos em suas recordaçõesreferências (JOSSO, 2010) para ensinar flauta doce. Neste processo, observou-se que seus pensamentos estão ligados a fatores racioafetivos (BAGGIO; OLIVEIRA, 2008) que permearam as suas vivências com esse instrumento musical em diferentes períodos de suas vidas, tanto enquanto alunos como quando professores de música, os quais movem e dão sentidos as suas atuais práticas pedagógicomusicais. Por fim, chegou-se a compreensão de que o pensamento desses professores, sobre o ensino de flauta doce, constitui-se em uma dimensão importante no processo formativo docente de cada um, afetando-o e constituindo-o, visto que é na relação entre o pensar e o fazer, que esses profissionais estão aprendendo a ser professores de música com a flauta doce.