No description available.

Epistemic injustice is a relatively new philosophical term for a rather old phenomenon. A situation is said to be epistemically unjust when someone is wronged in his capacity to possess or convey knowledge. While anyone can be the victim of a testimonial injustice, the epistemic injustice that occurs in an exchange of testimony, people with marginalized identities systematically suffer from this kind of injustice. By relying on negative identity prejudices, a person in a position of power consciously or subconsciously undermines a marginalized individual’s capacity for knowledge. In this paper, I argue that persistent testimonial injustice can inhibit the formation of one’s identity. Then I explore the role that communities may play in ameliorating this harm. I suggest that communities are conceptualized differently depending on their purpose (e.g. psychological melioration or political resistance). In the final part of this paper, I examine two conceptions of communities put forth by María Lugones and Iris Marion Young and determine whether they can provide both psychological and political resources for resistance.

Made available in DSpace on 2014-06-17T02:01:55Z (GMT). No. of bitstreams: 1 000458711-Texto+Completo-0.pdf: 6911637 bytes, checksum: a262f50c56613ccdb97e33b8dccfc642 (MD5) Previous issue date: 2014 / We analysed in this thesis the construction of the image of the actress and singer Carmen Miranda, especially by the film industry, and how the artist influenced the attitudes and habits of some populations, mainly the Brazilian and American people. The method of discourse analysis was used to evaluate the image of Carmen Miranda in the various existing media, highlighting its connection to Hollywood cinema, between 40 and 50, especially with regard to the construction of cultural identity. In order to complement the Discourse Analysis, we utilized the Depth Hermeneutics, with the aim to understand how different symbols were produced from the same image in different populations. We also checked the symbolic language and the representation of the figure of the actress to support the idea of audiovisual handling of latin and american viewers by cinema. The cinema had its cathartic role: the U. S. population wanted to watch"Bombshell" to forget about the war, whereas the Brazilian people felt accepted - recognized - before the figure of Carmen Miranda in foreign cinema. The Hollywood movies in which Carmen Miranda participated had great worldwide impact, marking the peak of her career.They pleased, a lot the U. S. mass. On the other hand, the Latin people did not like the way Carmen was shown in the movies, because they felt offended and poorly represented. This offense was overcome by changes in the script and the great international success of the actress, who kept the Bahia clothing, estabilishing her identity. Beyond Hollywood overproduction, the cinema has always aroused interest in Latin American society, who used to make the movies theater packed. Lay behind these films other Latino looks like"charm" of the big screen movie and disclosure of grand spectacles of Hollywood films which had not existed as a form of entertainment (film vehicle communication) in their societies. In Brazil, which had its fledgling movie theaters and movie productions sponsored and controlled by the United States, these effects were even greater. / Analisamos nesta tese a construção da imagem da atriz e cantora Carmen Miranda, principalmente pela indústria cinematográfica, e como essa artista, por sua vez, influenciou as atitudes e os costumes de algumas populações, sobretudo, dos brasileiros e norte-americanos. O método da Análise de Discurso foi usado ao avaliarmos a imagem de Carmen Miranda nos diversos meios de comunicação existentes, destacando sua ligação com o cinema de Hollywood, entre os anos 40 e 50, especialmente no que se refere à construção da identidade cultural. Para complementar a Análise do Discurso, utilizamos o uso da Hermenêutica de Profundidade, com o objetivo de entender como foram gerados símbolos diferenciados entre populações distintas diante de uma mesma imagem. Verificamos, ainda, a linguagem simbólica e a representatividade associadas à figura da atriz para sustentar a ideia de manipulação audiovisual, pelo cinema, tanto dos espectadores latino-americanos quanto dos norte-americanos.O cinema tinha seu papel catártico: a população dos EUA ia assistir à “Pequena Notável” para esquecer-se da guerra; já os brasileiros se sentiam aceitos – reconhecidos – diante da figura de Carmen Miranda no cinema estrangeiro. Os filmes de produção hollywoodiana dos quais Carmen Miranda participou tiveram grande repercussão mundial, marcando o auge de sua carreira. Agradaram, e muito, à massa norte-americana. Por outro lado, aos latinos não agradava a forma como Carmen era mostrada nos filmes, pois sentiam-se ofendidos e mal- representados. Ofensa esta que foi superada pelas mudanças no roteiro e pelo grande sucesso internacional da atriz, que manteve a roupa de baiana, marcando sua identidade. Além da superprodução hollywoodiana, o meio cinematográfico sempre despertou interesse na sociedade latino-americana, que lotava as salas de cinema. Havia por trás desses filmes outros olhares latinos como o “encanto” da grande tela do cinema e a divulgação dos grandes espetáculos dos filmes hollywoodianos que até então não existiam como forma de entretenimento (veículo de comunicação cinematográfico) em suas sociedades. No Brasil, que teve suas incipientes salas de cinema e produções de filmes patrocinadas e controladas pelos Estados Unidos, estes efeitos eram ainda maiores.

Conselho Nacional de Desenvolvimento Científico e Tecnológico / Nesta dissertação, estudamos as inversões de gênero que acontecem durante o Carnaval do Rio de Janeiro. Escolhemos trabalhar com as drag queens por elas realizarem estas inversões de forma exagerada, divertida e carnavalizada. Pesquisamos também os locais e eventos que receberam homossexuais durante o Carnaval nas últimas décadas, formando, assim, o que atualmente pode ser chamado de Carnaval gay carioca. Na última parte do trabalho, procuramos relacionar o mito Carmen Miranda (cantora brasileira que tornou-se um ícone internacional através do cinema hollywoodiano nos anos 1940) com as drag queens, pois a artista é considerada uma das maiores referências estéticas destas personagens contemporâneas. Questões como identidade, gênero, consumo e globalização são essenciais para nossas reflexões. Procuramos fugir de concepções tradicionais que trabalhassem com antigas idéias de essência, pureza cultural e identidades imutáveis. Para tanto, Os Estudos Culturais, com a sua abordagem da cultura popular como um campo de constantes disputas e negociações simbólicas, nos ajudam a compreender melhor nossos objetos de estudo. / n this research, we study the inversions of sexual gender that take place in Rio de Janeiro during the Carnival. We decided to work with the contemporary drag queens because they realize these inversions in exaggerated, funny and carnavalized ways. We also analyze the places and the parties that received homosexual men during the Carnival in the last decades, that shaped what we call The Gay Carnival from Rio now. In the last part of the research, we intend to connect Carmen Mirandas mith (Brazilian singer that became an international icon because of Hollywood in the 1940s) with the contemporary drag queens; the artist in one of the biggest esthetic reference for these performers. Questions as identity, gender, consumption and globalization are extremely important for our reflections. We want to deviate from traditional conceptions of essence, cultural purity and fixed identities. To achieve our purposes, the Cultural Studies, with its conception of popular culture as a space of constant contentions and symbolic negotiations, help us to understand in a better way our objects of study.

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / Despite the archaeological potential present in Sergipe region, being the representative the site Justino located in the area of Xingó the valley of São Francisco, there are few studies regarding the pre-history of the state. Therewith new projects are in progress and one of them it is the archaeological survey of the basin the River Vaza Barris, where from it there was identification of the site Colonia Miranda, located in the city of Sao Cristovao, Sergipe state. Therewith this dissertation will work with the archeology of the gestures that searches through a structural analysis, based on of the anthropology of techniques possible technological aspects of the groups the past that occupied the region. Based on concepts like operating chain, total man, motor behaviors and habitus, this work will infer the relationship about the gesture and the influence of cultural tradition for the incorporation of techniques in the production stage and functioning. / Apesar da potencialidade arqueológica presente na região de Sergipe, tendo como principal representante o sítio Justino, localizado na área da UHE de Xingó no vale do São Francisco, ainda há poucos estudos referente a pré-história do estado. Com isso novos projetos estão em andamento e um deles trata-se do levantamento arqueológico da Bacia do Rio Vaza Barris, onde a partir dele houve a identificação do sítio Colônia Miranda, localizado no município de São Cristovão, estado de Sergipe. A partir daí a presente dissertação irá trabalhar com a arqueologia dos gestos, que busca através de uma análise estrutural, baseada na antropologia das técnicas, possíveis aspectos tecnológicos dos grupos pretéritos que ocuparam a região. Tendo por base conceitos como cadeia operatória, homem total, condutas motoras e habitus, o presente trabalho irá inferir sobre a relação do gesto e a influência da tradição cultural para a incorporação das técnicas na etapa de produção e funcionamento dos instrumentos.

Responding to and provoked by an America colored by stark political division, tense racial conflict, and the powerful urban narrative of hip hop culture, Hamilton: An American Musical, created by composer/lyricist Lin-Manuel Miranda, became the subject of a cultural focus unprecedented in the reception history of an American work of art. Hamilton premièred at a critical time during the Obama presidency, and it squarely confronts the issues lying at the heart of our democracy. Hamilton caught the attention of millions of Americans with little prior interest in Broadway musicals, hip hop, or the performing arts in general, and it stimulated important and timely conversations about race, representation, and American identity. Hamilton asks pressing questions: Who speaks for America? How does the character and biographical narrative of this founding father suggest a new, updated conversation about American history? How do the political sensitivities of audiences determine the commercial and artistic success of a stage work? How does the rap genre operate in conveying Hamilton’s historical content in dramatic terms? How do representations of minorities in popular culture affect the wider perception of the sociopolitical order? To what degree is it possible for the historically-rooted genre of musical theater – often viewed as benign musical pablum for middle-class whites – to advance a public conversation about race and representation in the twenty-first-century? This dissertation first considers these questions through the historical lens of racial depiction in American musical theater, situating Hamilton within a lineage of commercially successful musicals that have used the Broadway stage subversively as a place to challenge the social and racial order. It documents Hamilton’s genesis and the collaborative process of adapting Ron Chernow’s acclaimed biography, then examines Hamilton’s music, its relationship to text and musico-historical resonances, and constructs a theory of Lin-Manuel Miranda’s hip hop-infused compositional style. Finally, it examines Hamilton’s reception, contemporary political dimensions, and essential ties to the administrations of Barack Obama and Donald Trump, exploring what are often contentious criticisms of the work within the academic and online worlds.

No description available.

Ce mémoire de maîtrise porte sur l’animation des images fixes dans le film Me and You and Everyone we Know réalisé en 2005 par Miranda July, et tout particulièrement sur les pratiques artistiques de la protagoniste Christine Jeperson, qui est artiste vidéaste. L’objet de cette étude se fonde sur les matériaux utilisés par l’artiste-protagoniste elle-même, et vise en premier la photographie, puisqu’elle travaille toujours à partir de photos amateur, de clichés, d’images banales, qu’elle tente d’animer par le biais de la vidéo et de leur mise en récit. Ces deux dispositifs d’animation, qui à leur façon redonnent du temps et du mouvement aux images, réalisent un déplacement de valeur en en faisant de l’art et déploient du même coup un espace propre à une certaine expérience esthétique du spectateur, car c’est dans son imaginaire que peut véritablement se produire l’animation de ces images. Ainsi, dans ce mémoire, je tenterai tout à la fois de me concentrer sur ce détail du film que sont les œuvres de Christine, mais en cherchant à les mettre en relation avec d’autres moments du film, avec ce qui semble être les motifs privilégiés de la pratique de Miranda July, de même qu’avec d’autres moments de l’histoire de l’art, afin d’en historiciser la démarche. Ce travail servira donc à éclairer une pratique d’images contemporaine singulière, à la croisée entre photographie, vidéo et film. / This Master’s thesis deals with the animation of still images in Miranda July’s 2005 film, Me and You and Everyone we Know. More specifically, it analyses the artistic practices of Christine Jeperson, a video artist who is the main character of the film. This study focuses on the materials utilized by the artist-protagonist and looks at her particular use of photography: her video works all revolve around amateur photographs, clichés, banal images, that she animates via the remediation of video and "narrativization" ("mise en récit"). These two principles of animation, that give time and motion to the still images she uses, also produce a displacement of value by turning these images into art and, by the same token, open a specific space i.e. the aesthetic experience of the spectator, for it is in his or her imaginary, in the end, that this animation is produced. Thus, in this study, I wish to look at these “details” within the films — the video works of Christine — whilst seeking to show the relations they entertain with other elements of the film, with Miranda July’s body of works, as well as with other moments in art history that relate to this animation apparatus, in order to historicize the practices of Christine / July. This Master’s Thesis wishes to illuminate a specific kind of contemporary visual practice, at the intersection of photography, video and film.

[pt] A dissertação A emergência do real na experiência teatral oferece uma reflexão crítica do espetáculo Nu de Mim Mesmo, encenado no Rio de Janeiro em 2008 pela Companhia Teatro Autônomo, que representa um inovador espaço de experimentação no panorama teatral carioca dos últimos vinte anos. Criada em processo colaborativo entre os atores e a direção de Jefferson Miranda em parceria com Flavio Graff, a obra dialoga com Literatura, Artes Plásticas e Cinema, tendo como palco a cena teatral em sua materialidade específica. Realizando uma investigação de teor metadiscursivo, o grupo se insere em um viés do teatro contemporâneo que busca interrogar-se acerca de seus limites, oferecendo um campo experimental profícuo para o entrecruzamento de diversas mídias. Privilegiando uma perspectiva construtivista, a dissertação ensaia formas alternativas de compreensão do teatro contemporâneo, apontando para uma reflexão acerca de conceitos tais como realidade, sentido e identidade, entendidos para além das dicotomias real/ficcional. / [en] The master thesis The Emergence of the Real in Theatrical Experience offers a critical view on the play Nu de mim mesmo (Nude of myself) staged in Rio de Janeiro, in 2008, by the Companhia Teatro Autônomo (Autonomous Theatre Company) which represents an innovative reference in the Carioca theatre scenery of the past twenty years. Created in a collaborative process involving actors and the direction of Jefferson Miranda, in partnership with Flavio Graff, this production, based on the theatrical field in its specificity and materiality, also establishes dialogues with the fields of Literature, Fine Arts and Cinema. Throughout a metalinguistic driven investigation, the group can be inserted into a particular branch of the contemporary theatre that questions its own limits, offering an advantageous experimental field to the intercrossing of various medias. Within this scope, with an approach that is close to the constructivist perspective, the thesis rehearses alternative forms of understanding contemporary theatre, and analyzes concepts such as reality, meaning and identity, all of them understood beyond the reality/fiction dichotomy.

Made available in DSpace on 2014-07-29T16:25:11Z (GMT). No. of bitstreams: 1 dissertacao_luana.pdf: 5114523 bytes, checksum: 978d1ab287d1d63aca71d42fe0aaaf10 (MD5) Previous issue date: 2011-03-30 / This work develops an analysis from the angle of the relationship text-music, aiming to support the performance of three songs for voice and piano written on the poetry Retrato by the Brazilian poet Cecilia Meireles, by the composers Antonio Ribeiro, Osvaldo Lacerda and Ronaldo Miranda. It is included in the field of the musical and poetic analysis, the technical study of performance and the study of Brazilian art song. To carry out this research it was used bibliographical and documentary survey with direct and indirect reference, analysis of scores of the songs chosen for study, preparing them for public performance; a critical challenge and new interpretative proposals from the collected data. The importance of this research is confirmed because in Brazil there are few studies aimed at substantiating the artistic interpretation of contemporary chamber song from the musical-rhetorical angle. This work, therefore, may improve the relation with the current musical practice, contributing to the creation and consolidation of music research in Brazil. / Este trabalho desenvolve uma análise pelo ângulo da relação texto-música, objetivando subsidiar a performance de três canções para voz e piano escritas sobre o poema Retrato da poetisa brasileira Cecília Meireles, pelos compositores Antonio Ribeiro, Osvaldo Lacerda e Ronaldo Miranda. Para tanto, abrange o campo da análise musical e poética, o estudo técnico da performance e o da canção de arte brasileira. Para a realização dessa pesquisa utilizou-se o levantamento bibliográfico e documental de referência direta e indireta, a análise das partituras das canções escolhidas para estudo, preparando-as para performance em público e fornecendo novas propostas interpretativas a partir dos dados coletados. A importância desta pesquisa confirma-se pelo fato de que, no Brasil, existem poucos estudos direcionados a fundamentar a interpretação artística da canção de câmara contemporânea pelo ângulo retórico-musical. Esse estudo, portanto, poderá aprimorar a relação com a prática musical atual, contribuindo na criação e consolidação da pesquisa em música no Brasil.