Jean-Claude Eloy est un compositeur passionné de musiques extra-européennes (et en particulier de musique japonaise) qui revendique un multiculturalisme militant et refuse farouchement que sa démarche puisse être associée à un quelconque exotisme. Pourtant, et sans que la sincérité de son positionnement idéologique puisse être remise en cause, certaines ambiguïtés apparaissent au fur et à mesure de l’étude de sa production. Ainsi, si l’exotisme de surface caractéristique du XIXe siècle a disparu au profit d’un intérêt largement documenté pour les cultures musicales non occidentales, on n’en décèle pas moins la permanence de thèmes caractéristiques de cet exotisme. Il s’agira d’analyser ce paradoxe et d’en proposer des explications. Le travail part de l’hypothèse que l’exotisme repose sur un imaginaire anthropologique à partir duquel prennent naissance des expressions différentes selon les lieux et les époques. L’exotisme répondrait ainsi à des réalités humaines dans lesquelles le contexte colonial aurait joué un rôle uniquement facilitateur (et non suscitateur). Cet exotisme ne pourrait donc pas avoir disparu avec la fin des empires. Il s’agira ainsi de lire les ambiguïtés d’Eloy à la lumière d'un « mythe exotique » toujours vivace dans l’imaginaire collectif contemporain. S’appuyant sur le courant des postcolonial studies, cette lecture interrogera les résurgences exotiques présentes dans l’œuvre d’Eloy pour aboutir à la définition d’un exotisme postcolonial différente de celles qui ont pu être développées dans le domaine littéraire. / Jean-Claude Eloy is a French composer. He is passionately fond of extra-European music, especially Japanese music. He calls for muticulturalism and refuses his works to be associated with exoticism. Even so - and without questionning Eloy’s intellectual honesty - it is possible to find out some ambiguities in his works. For instance, even though superficial exoticism, typical of XIXth century, no longer appears in his music, several themes of this exoticism can be found in some of this works. We will analyze this paradox and suggest some explanations. Our thinking is based on the proposition that exoticism comes from anthropoligical imagination and takes a variety of forms depending on the era. According to this proposition, colonialism has made the development of exoticism easier but didn’t create it. As a result, exoticism could not completely disappear with the end of colonial empires and still exists as a human reality. Postcolonial studies, semiotics and hermeneutics will be used as a background approach to explain the existence of exoticism in Eloy’s works.

Submitted by Jos? Henrique Henrique (jose.neves@ufvjm.edu.br) on 2017-08-11T18:15:47Z No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) gilmara_maria_rodrigues_casagrande.pdf: 1282290 bytes, checksum: 62d40f50c9cab3d88d1cb6e8a793c3f1 (MD5) / Approved for entry into archive by Rodrigo Martins Cruz (rodrigo.cruz@ufvjm.edu.br) on 2017-08-14T16:32:23Z (GMT) No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) gilmara_maria_rodrigues_casagrande.pdf: 1282290 bytes, checksum: 62d40f50c9cab3d88d1cb6e8a793c3f1 (MD5) / Made available in DSpace on 2017-08-14T16:32:23Z (GMT). No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) gilmara_maria_rodrigues_casagrande.pdf: 1282290 bytes, checksum: 62d40f50c9cab3d88d1cb6e8a793c3f1 (MD5) Previous issue date: 2016 / O presente trabalho tem por objetivo contextualizar a hist?ria de lutas e conquistas dos povos ind?genas no Brasil e, em especial, dos Xacriab?. O interesse em compreender os povos Xacriab?, situados em S?o Jo?o das Miss?es ? Norte de Minas Gerais ? Brasil, ? pertinente, visto que, ao tecermos considera??es da esfera macro (ind?genas no Brasil) para a micro (ind?genas em Minas Gerais), conseguimos compreender os desafios pelos quais eles passaram. Desse modo, tendo em vista que os Xacriab? possuem uma rica literatura materializada na escrita, cujas obras de autoria coletiva permitem entrever os embates hist?ricos e a produ??o de mitos, pode-se perceber como estes sujeitos lidaram com o processo escolar. Nesse sentido, busca-se, tamb?m, atrav?s da an?lise de duas obras liter?rias escritas em l?ngua portuguesa: O tempo passa e a hist?ria fica (1997) e Com os mais velhos (2005), i) identificar como os Xacriab? incorporam o discurso m?tico dentro da aldeia e fora dela; ii) entender como esses ?ndios se apresentam socialmente por meio da obra liter?ria e do mito; e iii) compreender o mito estudado sob as classifica??es metam?rficas, uma vez que se detectou, na constitui??o das narrativas, o processo de metamorfose. Com base nisso, ao final, torna-se poss?vel analisar o mito da On?a Iai? Cabocla, considerada o principal ser m?tico pelos Xacriab?. / Disserta??o (Mestrado Profissional) ? Programa de P?s-Gradua??o em Ci?ncias Humanas, Universidade Federal dos Vales do Jequitinhonha e Mucuri, 2016. / This study aims to contextualize the story of struggles and achievements of indigenous peoples in Brazil, in particular the Xacriab? people's story. The interest in understanding the Xacriab? people, located in S?o Jo?o das Miss?es ? North of Minas Gerais ? Brazil, is relevant because we can understand the challenges by which they have been through, when we make considerations which go from the macro sphere (indigenous in Brazil) to the micro (indigenous in Minas Gerais). Thus, given that the Xacriab? people have a rich literature materialized in writing, whose works of collective authorship allow a glimpse of the historical conflits and the production of myths, it is possible to see how these people dealt with the school process. In this sense, through the analysis of two literary works written in Portuguese, O tempo passa e a hist?ria fica (1997) and Com os mais velhos (2005), the aim is also i) identify how the Xacriab? people embody the mythic discourse within the village and beyond; ii) understand how these Indians present themselves socially through the literary works and through the myth; and iii) understand the myth which was studied under the metamorphic classifications, once it was detected, in the constitution of the narratives, the process of metamorphosis. Based on that, at the end, it becomes possible to analyze the myth of On?a Iai? Cabocla, considered the main mythical being by the Xacriab? people.

[pt] O objetivo desse trabalho é pensar os problemas de representação acerca do tema do Touro, das Touradas e do Minotauro em três momentos específicos. O primeiro momento é o movimento vanguardista do início do século XX, o Surrealismo. O Touro e o Minotauro são revisitados e tomados como objetos de representações por diferentes artistas, produzindo experiências e percepções diferentes sobre o mesmo tema. Ainda no Surrealismo temos o segundo momento: as escritas pessoais e violentas de Michel Leiris e Georges Bataille. Os dois autores escrevem sobre as interseções entre o homem e o touro e seus resultados viscerais. Em Espelho da Tauromaquia, de Michel Leiris, e História do Olho, de Georges Bataille, o Touro aparece como um lugar de tensões e afetividades deslocadas. O terceiro momento se dá na Argentina da década de 50, quando os contemporâneos Julio Cortázar e Jorge Luis Borges se voltam para o mito do Minotauro como uma espécie de fio de Ariadne para suas escritas. Os dois autores tratam o Labirinto e o Minotauro como lugares de experimentações do fantástico. É também objetivo desse trabalho pensar o Minotauro como um monstro paradoxal que administra dois corpos ao mesmo tempo, tendo como baliza os textos de Gilles Deleuze sobre Lewis Carroll. Esses textos e autores formam um escopo substancial para pensar a Literatura como lugar de elaboração e tensões acerca da representação e produção de alteridade através de dualismos como Homem e Animal, Possível e Impossível, Real e Ficção. / [en] The objective of this essay is to analyse the representation issues surrounding the themes of the Bull, Bullfighting and the Minotaur in three specific instances. The first instance is in Surrealism, the early 20th century avant-garde art movement. The Bull and the Minotaur are revisited and taken as object of representation by different painters during this movement. These artists, with personal perceptions, produce singular depictions of these figures. Within the Surrealist movement, emerges the second instance of interest for this work: the violent and personal writings of Michel Leiris and Georges Bataille. Both authors write about the intersections where human and bull meet and their visceral results. In the books Mirror of Tauromaquia by Michel Leiris and Story of the Eye by Bataille, the Bull emerges as a place of tensions and dislocated affectivities. The third instance takes place in 1950s Argentina where the contemporary authors Julio Cortázar and Jorge Luis Borges turn to the myth of the Minotaur as a kind of Ariadne s thread device in their writings. Both authors write about the Labyrinth and the Minotaur as symbols of experimentation of the fantastic. It is also a matter of interest of this essay to think of the Minotaur as a paradoxical monster presiding over two bodies in one, based on texts of Gilles Deleuze on Lewis Carroll for this argument. These authors and their writings represent a substantial scope to support the idea of Literature as a means of elaboration and tension in the representation and production of Other through movements of dualisms such as Man and Animal, Possible and Impossible, Real and Fiction.

Com o objetivo de obterem retornos em imagem (e, consequentemente, ganhos financeiros), organizações de grande porte tendem a propor, via processos de comunicação organizacional, sentidos que levam em conta seus aspectos simbólicos mais importantes. Sob esse raciocínio, atenta-se para a existência de processos de mitificação de organizações, já que um dos principais aspectos do mito é o seu caráter marcadamente simbólico. Desde essa perspectiva, estuda-se o caso da organização Petróleo Brasileiro S/A – Petrobras considerando-se a existência de uma série de atributos simbólicos (construídos historicamente e também via linguagem) que lhe conferem características de mito, e que são utilizados para a atualização e manutenção do seu poder simbólico (BOURDIEU, 2010). Com isso, realiza-se a análise da trajetória histórica da organização, com o objetivo de identificar as características míticas as quais foram associadas a ela em seu processo histórico. Estudam-se, também, dez anúncios de sua propaganda institucional, em que se busca verificar as estratégias discursivas utilizadas para atualizar e (re)afirmar essas características. São empregados três procedimentos metodológicos: a pesquisa histórica, o uso da noção de ethos discursivo (MAINGUENEAU, 2008) e a análise semiológica, conforme Barthes (2006, 2010). A partir das análises empreendidas, verifica-se que os simbolismos associados à Petrobras em seu processo histórico são atualizados e (re)afirmados nas propagandas institucionais estudadas. Conclui-se que as características míticas relacionam-se a importantes estratégias de apresentação de si, dado que se constituem em conceitos que influenciam os públicos na elaboração de imagens sobre a organização, ajudam a compreender o lugar da Petrobras no imaginário nacional, e são um valioso conjunto de elementos para a comunicação organizacional, instância que organiza e atualiza o discurso da organização. / In order to obtain returns on image (and hence financial earnings), large organizations tend to propose, via processes of organizational communication, senses that take into account their most important symbolic aspects. Under this reasoning, calls attention to the existence of processes of mythologizing of organizations as just one of the main aspects of the myth is its markedly symbolic aspect. Since this perspective, this dissertation studies the case of the organization Petróleo Brasileiro S/A - Petrobras considering the existence of a series of symbolic attributes (historically constructed and through language also) that confer to this organization myth characteristics, in order to update and maintain its symbolic power (BOURDIEU, 2010). By doing so, takes place an analysis of the historical trajectory of the organization, aiming to identify which mythical characteristics were associated to Petrobras in its historical process. Also takes place the study of ten ads of its corporate advertising, which aims to verify the discursive strategies used to update and (re)affirm these characteristics. Three methodological instruments are used: historical research, using the notion of discursive ethos (MAINGUENEAU, 2008) and semiotic analysis, according to Barthes (2006, 2010). From the analysis undertaken, it appears that the symbolisms associated to Petrobras in its historical process are updated and (re)affirmed in the corporate ads studied. It can be argued that the myth characteristics are related to important strategies in which the organization presents itself, since they are concepts that influence the public in order to form their image on the organization, help to understand the place of Petrobras in the national imaginary, and are a valuable set of elements to organizational communication, which organizes and updates the organization discourse.

This diploma thesis devotes to the questions of general public awareness of themes like visual handicap, integration, the blind and their life in society. The aim was to find out, if fables and distorted images exist, which relate to the phenomenon of amaurosis; to compare the findings regarding the education of informants and also to specify the sources, from which people gather the information of the visual handicap. The thesis also maps the availability of the chosen source of information. The research has shown that people believe the fables and fames which are spread in our society. The most informed in the area of the visual handicap are undoubtedly the informants with university degree education, who gain their knowledge at the university, on the internet or from television. The books, which treat the above mentioned themes, are readily available and a few of them are to be found in every local library.

This thesis presents three main arguments. First, that curating in national museums is a process of meaning making and that the exhibitionary meaning is situated in and mediated by culture, thus, the products of curatorial work, i.e. the exhibitionary complexes are complex political and cultural constructions. Second, that the exhibitionary complexes final visual outcome, i.e. the exhibitionary complexes images and texts result in the presentation of mythological constructs of Byzantium as the only truth to their audiences. Third, that what is finally communicated through the presentation of mythological constructs of Byzantium is national identity and dominant cultural values. The latter is effected through the representation of the Byzantine Empire as part of the identity of the dominant cultural group of the country to which each national museum belongs. National identity is communicated through the exhibitionary complexes, either by suggesting historical continuity of the contemporary national identity of a country s dominant cultural group through Byzantium, as in the case of the Greek national museums, or by undermining the very idea that Byzantine history, European history and British history are so very different, as in the case of the British Museum. Both interpretations are culturally constructed realities . The above approaches are explained through the investigation of exhibitionary meaning around Byzantium, by identifying and analysing the nature and cultural functions of the presuppositions that are involved in each museum s curatorial practices. These presuppositions are the cultural ideas, values and beliefs of the involved dominant cultural groups on Byzantium and on their own identity. My identification and analysis of these presuppositions includes research on the historical, political and cultural context of each museum, the culturally accepted history and art history literature of each country on Byzantium, as well as research on museum archives. By explaining and using the curatorial concepts of democratisation and demystification , adopted and adapted to the practices of the museums under study, and by analysing the British and Greek interpretations of Byzantium, which make themselves apparent in the images and texts of the British and Greek exhibitionary complexes , I provide a cultural account of the making of exhibitionary meaning, explaining contemporary perceptions of Byzantium, its use in identity making and its relation to national politics. By doing this, I also explain the implications of those presuppositions to the making of exhibitionary meaning, and I provide an explanation of how and why the power system of the exhibitionary complex is still in play although we are shifting into the era of the Democratic museum (Fleming, 2008). The concluding remarks of the thesis include suggestions for the further development of the curatorial practices of democratisation and demystification.

This diploma thesis deals with the role of biblical themes in the collection of poems The Legend of the Centuries by Victor Hugo. First chapter pursues selected aspects of the collection (humanistic values, conception of history, character and time aspects). The aim of the second chapter is to put the collection into the literary context of the concerned period (romantism, symbolism) and into the context of the author's philosophical and religious ideas. This part considers the relation among the collection, the myth and the psychoanalysis. Focus of the thesis lies in the third part that analyzes selected poems of the collection. These are classified according to the role of biblical aspects. The first type of Hugo's application of the biblical elements is represented by an opening poem of the collection "La Vision d'ou est sorti ce livre", which refers to the biblical stories, characters and themes via different poetic techniques. The second group of poems represents a direct updating of the biblical stories. The last type unifies the author's convictions with the biblical elements and recreates the so-called biblical poems. The aim of the thesis is to research this new type of myths that Victor Hugo creates throughout the biblical themes.

Sport in Film as a Cultural Phenomenon Abstract: The relationship between sport and the media has undergone rapid development in recent decades. The combination of television and top sport has created a specific and very influential genre of popular culture. Creating sporting stories, which is typical of the current media, is also an attempt to impress these stories in a more permanent and cohesive form. Sport therefore also features in the most varied of forms in the film media. This work presents a culturological, thus holistically and interdisciplinary-oriented, view of the phenomenon of sport in film. Firstly, sport as a part of popular culture is investigated. This includes the philosophical concept of the cultural phenomenon of games. The question is considered of the universal themes which typify the sport film genre. In order to explain the continuing popularity of sport film, a study of film is then undertaken with regard to the cultural dynamics to which research in the field of film genres also belongs. Thereafter, sport film is examined in terms of the cultural-anthropological categories of myth and ritual. In conclusion, this study concentrates on the ability of fictional and documentary films with a sporting theme to become representative of various ideologies. The same methodology is applied...

In my diploma work "Read the text as a myth (contribution to hermeneutics and the interpretation of the myth)" I pay attention to the issues of perceiving a text in communion. I worked on the assumption based on theories of deconstruction, poststructuralism, and collective memory. I take into consideration theories of media that are connected with M. McLuhan or W. J. Ong. I deal with the theory of the new orality and methods of the myth perception. The way of writing, I use, is based on the concentration of touches on different approaches of thinkers that I paid attention to. I aim to show, how we read the text, how we orient in narratives, what is the function of myths and how the issues are connected with the communion. Without communion, it is almost impossible to imagine, how these processes take place. I put emphasis on the dynamicity of the shifts of the discoursive perception of the text.

Made available in DSpace on 2016-08-03T12:18:55Z (GMT). No. of bitstreams: 1 Adilson de Souza Filho.pdf: 1355236 bytes, checksum: 485c182c6fff3414c9acd232d7f61fc8 (MD5) Previous issue date: 2012-01-30 / What characterizes academic research in a doctoral course is that it should fulfill two fundamental requirements. The first is the element of innovation, the ability to enrich research on the theme. The second is that it should promote new ways of reading. We therefore believe that this thesis has met the expectation, the innovative element of this research being the deconstruction of the concept of the creation saga proposed by Karl Barth. It is new because we could not find, as we had suspected, any author, or even work or research that proposed to face the same task. Instead, there are even some authors that highly praise the research conducted by Karl Barth, as is the case of Coats and Brueggemann. Although they respond to some points of Barth s theology, they did not specifically deal with the concept of saga. The second aspect, structurally related to the first, is that it promotes new possibilities of reading. Using the approach of Paul Ricoeur, we propose a new biblical hermeneutics, based on what this author calls a long way, which makes use of various methods, including the historical-critical, to seek an interpretation of the text world which manages to make sense of the world outside the text. We believe that this proposal can overcome the purely dogmatic reading of the text world. According to Ricoeur, we believe that the foundational elements that guided the hermeneutic of Dasein, or even around the subject/object relation can contribute to a new hermeneutic, since it does not make the same concessions to the knowing subject. Thus, the possibility of a new reading appears from what Ricoeur has defined in dialectical relationship between the text world and the world outside the text, as a transforming and revelant representation. And this is where the Holy Scriptures has the the position of source of revelation and inspiration. / O que caracteriza uma pesquisa acadêmica num curso de doutorado é a apresentação de dois quesitos fundamentais. O primeiro é o elemento de inovação, capaz de enriquecer a pesquisa sobre o tema proposto. O segundo é o dos apontamentos como possibilidades de promoverem novos caminhos de releituras. Nesse sentido, nos convencemos de que a presente tese atende a expectativa, pois, o elemento inovador desta pesquisa é a desconstrução do conceito de saga da criação proposto por Karl Barth. É novo porque não encontramos, como suspeitávamos, nenhum autor, ou mesmo obra ou pesquisa que tenha proposto esta mesma tarefa. Ao contrário, há até alguns autores que enaltecem a pesquisa realizada por Karl Barth, como é o caso de Coats e Brueggemann. Apesar de reagirem a alguns pontos da teologia de Barth, porém, não o fizeram, especificamente, ao conceito de saga. O segundo quesito, estruturalmente ligado ao primeiro, é o que promove as possibilidades de releituras. A partir do pensamento de Paul Ricoeur propomos uma nova hermenêutica bíblica, fundamentada a partir daquilo que Ricoeur chamou de via longa, que utiliza-se de vários métodos, inclusive o histórico crítico, para se buscar uma interpretação do mundo do texto que gere sentido ao mundo frente ao texto. Acreditamos que esta proposta é capaz de superar a leitura puramente dogmática do mundo do texto. De acordo com Ricoeur, acreditamos que os elementos fundantes que pautaram a hermenêutica em torno do Dasein, ou mesmo, em torno da relação sujeito/objeto podem contribuir para uma nova hermenêutica, desde que não façam as mesmas concessões ao sujeito conhecente. Assim, a possibilidade de uma nova releitura se revela a partir daquilo que Ricoeur definiu, na relação dialética entre mundo do texto e mundo frente ao texto, como representância (réprésentance) revelante e transformante. E é nesse ponto que as Sagradas Escrituras ocupam o posto de fonte de revelação e inspiração.