As relações de semelhança estão por toda parte, elas surgem inesperadamente, participam de nossas vidas e nos determinam sem que tenhamos, muitas vezes, consciência ou controle sobre elas. São acontecimentos potentes, de criação e engendramento de mundos. Esta pesquisa buscou investigar e dar visibilidade às relações de semelhança emergentes em diversas situações do cotidiano escolar envolvendo estudantes, professores, professores-estudantes e outros participantes de um campo amplo e dinâmico. O estudo das semelhanças se inspira em Walter Benjamin cuja obra evidencia a importância da experiência e da mímesis como parte do processo de constituição do sujeito e acesso à cultura. A faculdade mimética possibilita o reconhecimento e a produção de relações de semelhança e, ao nos abrirmos a tais relações no universo escolar, criam-se oportunidades de transformação, trazendo vida e invenção a este espaço. Empreendeu-se o estudo da mimesis, dos tempos e dos habitantes do universo escolar sob o enfoque da percepção de semelhanças. Com o intuito de acolher o caráter inventivo e inesperado de tais processos, optou-se pela cartografia, método inspirado em Deleuze e Guatarri que se apresenta como possibilidade de caminhar em campo aberto, estar no mundo e habitar territórios existenciais a partir de referenciais que aproximam conhecimento e criação, sujeito e objeto, o eu e o outro. Os procedimentos de campo consistiram em observações, recolhidas de forma sensível, numa escola pública em São Paulo, e no estágio num programa de formação de professores em Vermont (EUA) que incluiu vivências na escola de aplicação e na residência pedagógica. Foi realizado diário de campo que abarcou todo este percurso e a partir do qual foram feitos recortes descritivos das situações mais intensas e significativas, analisadas em forma de platôs. Os platôs são entendidos como territórios de produção de acontecimentos que abrigam encontros de intensidades múltiplas que se proliferam em forma de rizoma, espaço entremeios que pode ser acessado em qualquer ponto. A análise indica a importância do tempo kairós, saturado de agoras (Jetztzeit), fundante da experiência, e que requer uma postura de abertura e disponibilidade para sua apreensão. As relações de semelhanças percebidas na escola se ofereceram de forma potente e intensa, e demandaram certa sintonia para acessá-las e torná-las visíveis, dado seu caráter fugidio. O desafio de formar professores sensíveis ao reconhecimento das semelhanças aponta a residência pedagógica como uma iniciativa que resgata a dimensão artesanal do ofício do professor, incluindo a escuta, a documentação pedagógica e autobiografia (história de vida) como elementos importantes deste processo. Tais achados evidenciam a importância de alimentar essas centelhas de sentido que lampejam no cotidiano escolar. Elas podem se apresentar como uma forma de superação da realidade de truculência que impera nas escolas, transformando-a num ambiente mais criativo, estimulante e acolhedor por meio de experiências realizadoras / The relations of similarity are everywhere, they come unexpectedly and take part in our lives determining us without our being aware or take control over them. They are powerful events that involve creation and enable engendering worlds. This research investigated the relations of similarity emerging in several situations of everyday school life involving students, teachers, professors, students and other participants of a broad and dynamic field. The study of the similarities is inspired by Walter Benjamin whose work highlights the importance of experience and mimesis as part of the process of constitution of self and access to culture. The mimetic faculty enables the identification and production of similarities and open ourselves to these relationships in the school environment, creating opportunities for transformation, bringing life and invention this place. Was undertaken the study of mimesis, of time and characters of the school universe under the emphasis of the perception of similarities. In order to accommodate the inventive and unexpected character of such processes, the cartography was chosen, method inspired in Deleuze and Guattari which presents itself as an opportunity to walk in the open and inhabit existential territories by narrowing the boundaries between knowledge and creation, subject and object, the self and the other. Field procedures consisted of observations collected in a sensitive way, in a public school in São Paulo, and in a internship in a teacher training program in Vermont (USA) that included experiences in the campus childrens school as well as in the teachers residency program. All the process was documented in field journals from which were made descriptive cutouts of the most intense and significant situations, analyzed in the form of plateaus. The plateaus are understood as territories of production of events that hosts multiple intensities that proliferate in the form of rhizome, a space that can be accessed anywhere. The analysis indicates the importance of kairos time, saturated of nows (Jetztzeit), standing as the founder of experience, and that requires an attitude of openness and readiness for his apprehension. The relations of similarities perceived in the school presents powerful and intense, and demanded certain tuning to access them and make them visible, given its elusive character. The challenge of training teachers sensitive to the recognition of similarities points the pedagogical residence as an initiative that rescues artisanal dimension teacher work, including listening, teaching materials and autobiography (life story) as important elements of this process. These findings highlight the importance of nourishing these sparks of meaning that blinks in everyday school life. They may present as a way of overcoming the harshness of reality that prevails in schools, turning it into a more creative, stimulating and supportive environment through fulfilling experiences

Interested in nurturing beauty, I create paintings that reference life processes through layers of struggle, discovery, recovery and generation. Employing a metaphor of the garden, my paintings can be seen as spaces where I determine what grows, stays, is mulched, or weeded out. I seek a balance between coexisting desires of restraint and control and extravagance with a sense of coming unbound. I emphasize the painting field as a whole, while also paying deep attention to the minute, inviting the viewer to discover complex worlds at different scales within each environment I create. My intimate, domesticated painted environments offer the viewer the possibility to experience the spaces I find beautiful and to add to the conversation of where beauty resides today in contemporary art. / by Kim Spivey. / Thesis (M.F.A.)--Florida Atlantic University, 2011. / Includes bibliography. / Electronic reproduction. Boca Raton, Fla., 2011. Mode of access: World Wide Web.

Este trabalho consiste em uma investigação teórico-sociológica a respeito das relações entre jogo infantil coletivo, processos de socialização e desenvolvimento do self; o conceito de mimese revela-se fundamental para analisar tais relações enfatizando seu caráter criativo e processual. Ao final, analisa alguns jogos observados no recreio escolar com o objetivo de elucidar e ilustrar a parte teórica do trabalho. / This study consists in a theorical-sociological investigation on the relations between child´s colective play, socialisation´s processes and development of the self. The concept of mimesis turn out to be fundamental to analyse such relations emphasizing its creative and processual character. At the end, it analyses some plays observed in the scholar break to elucidate and illustrate the theoretical part of the study.

O presente trabalho trata da poética oral mítica afro-gaúcha, analisando os processos de representação das narrativas míticas orais a respeito dos orixás, divindades do Batuque do Rio Grande do Sul. A partir de um registro realizado com oito sacerdotes de Porto Alegre e Região Metropolitana, realizamos uma análise de sua performance, estudando os artifícios que compõem esta poética, com ênfase nos aspectos estruturais e miméticos. Após a coleta, procedemos à transcrição, análise e decomposição das narrativas em mitemas, atentando para homologias e discrepâncias que nos permitissem o desenvolvimento de um quadro das representações de mundo dos povos dos terreiros afro-gaúchos, refletindo sobre os efeitos da diáspora africana e a subsequente reorganização de seus sujeitos na sociedade. / This study discusses the oral poetics related to the myths found in the Batuque do Rio Grande do Sul – an African-Brazilian religion practiced in the south of Brazil, providing an analysis of the process of representation of the oral narratives concerning the deities worshipped in these religions, known as orishas. The narratives were collected from interviews with eight African-Brazilian priests of Porto Alegre and Metropolitan Area and analyzed in terms of performance, poetic resources, and other features, emphasizing structural and mimetic aspects. The narratives were divided into mythemes, drawing attention to homologies and discrepancies that could guide the development of a framework of worldviews found in these religions, taking into consideration the effects of the African Diaspora and the reorganization of its subjects within society.

CoordenaÃÃo de AperfeÃoamento de Pessoal de NÃvel Superior / Esta pesquisa aborda as estÃtuas vivas de Fortaleza-Ce em dois espaÃos de atuaÃÃo: a PraÃa do Ferreira e a Avenida Beira-Mar. Durante o ano de 2013 e 2014 os performers foram observados, escolhidos e entrevistados tomando como base das entrevistas as narrativas de suas vidas/trajetÃrias. Esse recurso foi utilizado para a compreensÃo dos sujeitos e de suas opiniÃes sobre o trabalho que fazem e como norteador/inspirador do caminho teÃrico e analÃtico a seguir. Partindo das observaÃÃes e entrevistas a anÃlise teÃrica se alicerÃa na mimese, entendendo-a como a base do fazer e do conhecer desses performers cujas estÃtuas vivas sÃo resultados de um processo de colagem/(re)criaÃÃo de diversas influÃncias e imagens advindas do que circula em seu meio sociocultural, uma imitaÃÃo do estatuÃrio material (morto) cujo suporte à o corpo prÃprio dos performers (vivo). Sobre este par de termos opostos essenciais (morto x vivo) se desdobra outro fundamental para prÃtica e seu fim estÃtico: imobilidade x mobilidade. O jogo entre estes opostos complementares està na performance de estÃtua viva e no seu comunicar-se silencioso com o pÃblico (na relaÃÃo entre ambos) pautado em certa teatralidade. As estÃtuas vivas tambÃm evocam uma tensÃo entre o legitimado e seu lugar marginal tanto no que se refere à arte como ao trabalho formal, tensÃo entre outros termos tambÃm opostos que definem o fazer desses performers como um gesto social. Pesquisa desenvolvida junto ao LaboratÃrio de InvestigaÃÃo em Corpo, ComunicaÃÃo e Arte â LICCA-CNPq. / This research deals with the living statues of Fortaleza-Ce in two spaces of acting: Ferreira Square (PraÃa do Ferreira) and Beira-Mar Avenue. During the years of 2013 and 2014 the performers were observed, chosen and interviewed, having as the bases of the interviews the narratives of their lives/trajectories. This resource was used for the comprehension of the individuals and their opinions about the work they do and as guide/inspiration for the theoretical and analytical path to follow. Departing from the observations and interviews the theoretical analysis founds itself on mimesis, understanding it as the base of the work and knowledge of these performers whose living statues are the result of a process of collage/(re)creation of diverse influences and images coming from what circulates in their sociocultural environment, an imitation of the material statuary (dead) whose base is the performersâ own bodies (alive). Upon this essential pair of opposed terms (dead x alive) unfolds another fundamental one for the practice and its esthetical end: immobility x mobility. The game between these complementary opposed is in the performance of the living statue and in its silence communication with the audience (in the relation between both) guided in certain theatricality. The living statues also evoke a tension between the legitimate and their marginal place as regards the art and formal work, tension between other and also opposed terms that define the doing of these performers as a social gestus. Research developed with the Laboratory of Investigation in Body Communication and Art (LaboratÃrio de InvestigaÃÃo em Corpo ComunicaÃÃo e Arte) â LICCA-CNPq.

A proposta desta tese é apresentar uma análise das obras O Mandarim e A Relíquia, de Eça de Queirós, a partir da perspectiva da escrita intimista. Para essa leitura serão considerados os aspectos inerentes à escrita de si segundo Michel Foucault, descritas nos textos Lécriture de soi, publicado pela primeira vez no ano de 1983, e no Volume III da História da Sexualidade: O cuidado de si, publicado em 1985. A escolha desse aporte teórico se dá pela evidenciação dos traços desse tipo de escrita nessas duas narrativas de Eça de Queirós, ora classificadas como autodiegéticas. Pretende-se demonstrar que a mimese da escrita de si elaborada pelo escritor nessas duas obras está a serviço de uma forte crítica social, que visa a atingir a própria constituição do sujeito oitocentista. / The aim of this thesis is to present an analysis of the works The Mandarin and The Relic of Eca de Queiroz, from the intimate writing perspective. On this reading will be considered aspects of the writing the self, according to Michel Foucault, described in the texts L\'écriture de soi, first published in 1983, and in Volume III of the History of Sexuality: Self care, published in 1985. The choice of this theoretical contribution is given by the disclosure of the features of this kind of writing these two narratives of Eca de Queiroz, now classified as autodiegéticas. We intend to demonstrate that Eça de Queirozs writing of itself as mimesis in these two works is at the service of a strong social criticism, which aims to achieve the very constitution of the subject nineteenth century.

Submitted by Rosivalda Pereira (mrs.pereira@ufma.br) on 2017-05-23T19:05:36Z No. of bitstreams: 1 CarlosMedeiros.pdf: 722147 bytes, checksum: bff02b78914162f7f00afcf7cef45da3 (MD5) / Made available in DSpace on 2017-05-23T19:05:36Z (GMT). No. of bitstreams: 1 CarlosMedeiros.pdf: 722147 bytes, checksum: bff02b78914162f7f00afcf7cef45da3 (MD5) Previous issue date: 2016-07-07 / This work presents an investigation about the mimetic behavior developed in society and how theater can appropriate of the debate around problems related mainly to the moral conscience. This research aims to conduct an observation that goes beyond the idea of mimesis restricted to the sphere of imitation, standing at a level of ethical discussions, rescuing the concept of mimesis in its classic context and adding contemporary theoretical contributions. This study highlights especially the desire that comes from others, the model and the degeneration of human relations in the name of what you want to have. Under this degenerative aspect of living together, something that recurs in society relations, is discussed the presence in our time of establishment of a specific way to contain the rivalries present in antiquity, ritual sacrifice, which is linked to action to elect a scapegoat in order that is responsible to be responsible for the evil that befalls society. This careful investigation originates with the interest in the improvement of pedagogical practices of theater education related to issues concerning the production of subjectivity and examination of the human condition in relation to problems relating to violence, apathy and self-condemnation, which are marks of contemporaneity. / Este trabalho apresenta uma investigação acerca do comportamento mimético desenvolvido em sociedade e sobre como o teatro pode se apropriar do debate de problemas relacionados, sobretudo, à consciência moral. Resgatando o conceito de mímesis em seu contexto clássico e acrescentando contribuições teóricas contemporâneas, esta pesquisa busca conduzir uma observação que ultrapassa a ideia de mímesis restrita à esfera da imitação, situando-a num patamar de discussões éticas. Neste estudo destaca-se especialmente o desejo que se dá a partir do outro, do modelo, bem como a degeneração das relações humanas em nome do que se quer possuir. E sob este aspecto degenerativo do convívio, algo que é recorrente nas relações em sociedade, discute-se a presença em nosso tempo da instituição de um meio específico para a contenção das rivalidades presente na antiguidade, o sacrifício ritual, que por sua vez está atrelada à ação de eleger um bode expiatório afim de que seja responsável pelo mal que se abate sobre a sociedade. Tal perscrutação parte do interesse no aprimoramento das práticas pedagógicas do ensino do teatro relacionadas às questões concernentes à produção de subjetividade e exame da condição humana no que tange a problemas relativos à violência, apatia e a autocondenação, marcas da contemporaneidade.

Submitted by Rosivalda Pereira (mrs.pereira@ufma.br) on 2017-05-24T20:52:34Z No. of bitstreams: 1 AlexandreBrunoCosta.pdf: 1706287 bytes, checksum: 26afdd10399a7c0b581420813a86df96 (MD5) / Made available in DSpace on 2017-05-24T20:52:34Z (GMT). No. of bitstreams: 1 AlexandreBrunoCosta.pdf: 1706287 bytes, checksum: 26afdd10399a7c0b581420813a86df96 (MD5) Previous issue date: 2015-10-26 / This dissertation results of research on the Maranhão audiovisual production comprising the late 70's and part of the 80s, for we include production in Super-8 and 16mm, respectively: Periquito Sujo (1979), Greve da meia passagem (1979-1980), Quem matou Elias Zí? (1986), Bandeiras Verdes (1988) in order to investigate the potential for communicability and representativeness of these works to maintain a cinematic identify from the methodology based on the triple mimesis and construction of narrative identities. Empirical research framework Maranhão film works are awarded on the issues of cinematrographic Days, important movement for the construction and maintenance of Maranhão cinematic narrative identify. From the triple mimesis concept endorsed by Paul Ricoeur (2012), you can understand how filmic narratives that pass for ethical reasons, begin in broader terms of social and cultural environment insertion of the events narrated and only complete in the times of reading, this visual event, with effective participation of the viewer. / Essa dissertação resulta da pesquisa sobre a produção audiovisual maranhense que compreende o final da década de 70 e parte da década de 80, por incluirmos produções em Super-8 e em 16mm, respectivamente: Periquito Sujo (1979), Greve da meia passagem (1979-1980) e Quem matou Elias Zí? (1986), Bandeiras Verdes (1988) com o objetivo de investigar o potencial de comunicabilidade e de representatividade destas obras para a manutenção de uma identidade cinematográfica a partir da metodologia com base na tríplice mímesis e na construção das identidades narrativas. O referencial empírico da pesquisa são obras fílmicas maranhenses premiadas nas edições das Jornadas cinematográficas, movimento importante para a construção e manutenção da identidade narrativa cinematográfica maranhense. A partir da tríplice mímesis, conceito referendado por Paul Ricoeur (2012), será possível compreender como as narrativas fílmicas, que passam por questões éticas, têm início nas condições mais amplas do entorno social e cultural de inserção dos acontecimentos narrados e somente se completam no momento da leitura, neste caso visual, com a participação efetiva do espectador.

Les nations indiennes du sud-est des États-Unis — les Choctaws, Chickasaws, Creeks, Séminoles et Cherokees — constituent une exception dans le paysage étatsunien du début du XlXème siècle, du fait de leur remarquable acculturation. Depuis l'ère coloniale, les Autochtones font le choix stratégique d'adopter certains traits culturels du colonisateur afin de s'imposer dans le dialogue économique et diplomatique avec ce dernier. Lorsqu'il met en place le programme de « civilisation », à un moment où l'assimilation des Indiens à la société américaine est envisagée, l'État fédéral s'appuie sur cet héritage de transformation culturelle. En prenant le concept de « mimétisme stratégique » comme point de départ, de façon à mettre en lumière le rôle des Indiens dans la redéfinition de leur propre identité, cette étude entend analyser la manière dont s'exprime l'agentivité des nations du Sud-Est dans la construction globale de la jeune république, en étudiant la place que prend cette stratégie d'imitation dans le rapport de force entre les nations indiennes et l'État fédéral, entre 1815 et 1861. Malgré les tensions internes impliquées par cette transition identitaire, il apparaît que les nations du Sud-Est se sont réinventées pendant la période, en adoptant notamment l'arsenal politique de création d'un État au sens large. Dans ce contexte, le déplacement vers l'Ouest imposé aux nations par AndrewJackson en 1830 semble impliquer un processus inédit. L'appropriation de la culture et des institutions états-uniennes fait que les nations participent à une certaine élaboration de l'Ouest, qui impose aux États-Unis de se poser la question de sa construction et de son expansion. / At the beginning of the nineteenth century, the southeastern Indian nations — the Choctaws, Chickasaws, Creeks, Seminoles and Cherokees—were an exception in the American landscape because of their outstanding acculturation. Ever since the colonial era, the Indians strategically adapted their culture to that of the colonists so they could weigh in the economic and diplomatic interplay that took place between the two communities. When the federal government implemented the so-called "civilization" program, based on the idea that Indians could be integrated to American society, it relied on this long-standing cultural adaptation. Taking the notion of "strategic mimesis" as a starting point, in order to highlight the role played by the Indians themselves in redefining their own identity, this study aims at analyzing the agency of the southeastern Indians in the making of the early American republic. More specifically, the extent to which this strategic imitation developed by the Indians had an impact on the federal Indian policy between 1815 and 1861 is here discussed. Despite the tensions that appeared within the nations, due to this phenomenon of cultural transformation, it seems that the Indian nations reinvented themselves during the period studied here, in adopting a state-making institutional apparel. In this context, Indian removal, initiated by Andrew Jackson in 1830, implied an unprecedented process. While appropriating American culture and institutions, the relocated Indian nations also partook of the making of the West, and had the United States reflect on its very construction and expansion.

Mark obviously says that all of the disciples of Jesus desert him and flee (Mark 14:50). Mark, however, introduces a young man as a new character who was following Jesus like other disciples and fled naked before Jesus’s suffering. This young man is the most enigmatic character in Mark. In particular, the young man never appears in other Gospels. For this reason, the young man’s identity and his conduct has been a topic of longstanding dispute among scholars. Some regard him as historical figures, one of Jesus’ own disciples like John the son of Zebedee, James the Lord’s brother, or John Mark. They consider him as witness of Jesus. Others take the young man to be symbolic figures like an angel, Jesus himself, Christian initiate, and a representative of disciples’ reality. In this work, I suggest that the young man is Mark’ literary creation by imitating Homeric model of Elpenor. Mark relies on a specific genetic model, not on historical reports of witness or symbolic interpretation. Mark’s literary intention by using Homer’s Elpenor is to substitute his own value for Homer’s. The idea of the afterlife in Homeric epics is replaced to Christianized the concept of the afterlife that is resurrection. In addition, the identity of the young man is Mark’s creation as a stand-in to substitute for Jesus and exculpate him from responsibility for not warning his disciples before the Jewish Temple destruction. According to Mark’s Gospel, Jesus himself told his disciples in advance. Moreover, the young man in Jesus’s empty tomb provides the three women with the message of Jesus to escape from the tragic incident. Therefore, nobody would blame Jesus for the suffering of the Jerusalem Church in Jewish war. The women’s failure to transmit the message doomed Jesus’ followers to the carnage of the war. The identity of the young man in Mark’s Gospel can be detected by considering Mark’s literary model and his mimetic achievement. As a creative and skillful author, Mark imitates well-known model in Greco-Roman literary world. Mark, however, does not just copy of the model; Mark emulates and transforms it to replace the concept of the afterlife. In addition, Mark’s mimetic achievement in the episode of the young man is to convey the supremacy of Jesus by exculpating him from responsibility not saving his followers from the catastrophe. Mark’s Gospel is the response for the issue. In sum, Mark’s dependence on Homer explains the most enigmatic character and scene in Mark.