This dissertation interrogates the political use of the past in global politics, with a focus on Israel/Palestine. Collective memory is mostly theorised in IR as determinant of national identities. Similarly, in the field of Memory Studies, collective memory is mostly confined to “Methodological Nationalism.” My main argument is that while national narratives purport to be stand-alone stories of the past, or monological narratives, they are in fact in constant negotiation with other stories of that past, they are dialogical. Furthermore, their dynamic transcends the boundaries of the nation state and of transnational institutional politics. To encapsulate these cross-narrative intertextual relationships into a framework that would enable productive analysis, I suggest the re-articulation of the dialogical relationships as transnational constellations, which focus first and foremost on the narratives themselves.

‘Bless you, may you bury me’ is a common refrain among older people in the Syrian capital Damascus, directed especially towards children and young adults when they help with daily tasks or provide joy by their play or achievements. The sentiment expresses the hope that the old may die before the young and be mourned by them. It makes explicit the interlocking of life-cycles, through aging and mortality, and presumes an understanding of ideal kinship temporality where successive generations succeed one another in their proper order. It also hints that there is no certainty in this process. Sustaining these ideals is contingent on persistent material and symbolic work, a tempering of hope with memory and experience. These types of daily reckoning of personal and kinship time through mortality and life courses are rarely explored in the literature on Middle Eastern kinship. But how do these formations of time and generation sustain and transform? Anthropological theorising on the ‘Arab Family’ models it as cyclically reproducing roles, while socio-historical discussions of regional ‘transformations’ in politics and society understand them as lineal and successive. Both contain implicit speculations about the perceptions of time and the role of generations. Neither model, however, fully addresses the instrumentality of the types of temporality and generation they presume. What is it about the unfolding of familial and social generations and the temporality they imbue that is so integral to the models of kinship and society used to understand the region? And what is happening when historical change and familial generations interact? Based on 18 months of fieldwork, this thesis explores the interrelationships of Damascene life courses and their reciprocity with the historical context in which processes of birth, maturation, procreation and death take place. It describes subjective dispositions manifested at specific points in the life course and the manner in which individuals relate to past, present and potential selves, through memory, narrative and historicity, and through the unfolding sensual experience of time, place and objects. These inter-generational relationships illustrate not a recycling, but rather an historical and historicising process through transformative exchange and reciprocity. By tracing the shifts in the narratives of kinship in and through time, I consider Damascene history and time as emergent properties of inter- and intragenerational dynamics within a supple kinship system. I assert that however much kinship activities such as eating together, transmitting property, marrying, bringing up children and giving them names may be concerned with maintaining order and propriety, they are also contentious creative forces whose tensions and joys are paramount to Syrian social transformation.

Made available in DSpace on 2014-12-17T14:00:19Z (GMT). No. of bitstreams: 1 CamilaMGF_DISSERT.pdf: 1163694 bytes, checksum: 81e634b5532f4855a0f35fdd1b31dee6 (MD5) Previous issue date: 2013-04-30 / Coordena??o de Aperfei?oamento de Pessoal de N?vel Superior / This study has the purpose of investigating the term reader-creator , on the textual aspects of the dramatical works A Morte nos Olhos , A Mem?ria Ferida and Na Outra Margem (2010) by Antonia Pereira Bezerra. In this sense, we propose an analysis of these works based on author‟s life experience as creative matter for a autofictional narrative, highlighting the relations between the autobiographical elements (LEJEUNE, 2008; DOSSE, 2009) and fictional elements in the construction of dramatic narratives. The theoretical analysis pervades the studies fields of Reception Aesthetics (ISER, 1996), memory (RICOUER, 2007) and narrative (RICOEUR, 2010), evidencing the relation between the author and the pursuit of her memories and life experiences, the matter to elaboration of writing. Then we intend thinking a reader-creator of herself, that at the same time she seeks in her memories the biographic aspects to her narrative, she converts this reality with the insertion of fictional elements from the imagination (SARTRE, 2008) / Este trabalho tem por objetivo investigar o termo leitora-criadora , considerando os aspectos textuais presentes nas pe?as A Morte nos Olhos , A Mem?ria Ferida e Na Outra Margem (2010) da autora Antonia Pereira Bezerra. Nesse sentido, propomos uma an?lise das obras baseada nas viv?ncias da autora enquanto mat?ria criativa para a narrativa autoficcional, destacando as rela??es entre os elementos autobiogr?ficos (LEJEUNE, 2008; DOSSE, 2009) e ficcionais para a constru??o das narrativas dram?ticas. A an?lise te?rica perpassa pelos estudos da Est?tica da Recep??o (ISER, 1996), da mem?ria (RICOEUR, 2007) e da narrativa (RICOEUR, 2010), pondo em evid?ncia a rela??o com a autora e a sua busca por lembran?as e experi?ncias, materiais necess?rios para a elabora??o da sua escrita. Pretendemos, ent?o, pensar um leitora-criadora de si mesma que ao mesmo tempo em que busca nas lembran?as os aspectos biogr?ficos necess?rios para sua narrativa, transforma essa realidade atrav?s da inser??o de elementos ficcionais pela imagina??o (SARTRE, 2008)

This journey based narrative inspired by the traditional narrative of the Major Arcana cards in the tarot, centers on The Fool and his interactions with the rest of the Major Arcana. The Fool’s journey centers on memory, regaining personal power, admitting and accepting weakness, and creating a personal place in relation to a larger world. This evolution throughout the journey is explored through detailed repeating imagery and symbols drawn from a mixture of traditional tarot imagery and the author’s personal image set created for this narrative.

Submitted by admin tede (tede@pucgoias.edu.br) on 2016-11-10T13:57:50Z No. of bitstreams: 1 JAQUELINE LUVISOTTO MARINHO.pdf: 1513192 bytes, checksum: 40a6c0bdf5189ebf7dd0398eacb05f91 (MD5) / Made available in DSpace on 2016-11-10T13:57:50Z (GMT). No. of bitstreams: 1 JAQUELINE LUVISOTTO MARINHO.pdf: 1513192 bytes, checksum: 40a6c0bdf5189ebf7dd0398eacb05f91 (MD5) Previous issue date: 2016-09-14 / This theoretical research projects for the interaction between Health, Education and Art, related to the researcher’s trajectories and experiences in these fields, walking towards deterritorialisation of knowledges, deconstruction of limits between fields of knowledge and their frameworks. It was searched for threads that could be weaved to construct reflections towards possibilities of paths through Health-Education actions in School Health which constituted themselves as dialectical interactions between science, art, health and education. The methodological approach is based on the conceptions of Walter Benjamin, built as a mosaic, in montages of experimentation with their estrangements and enchantments, and the mosaic tesserae built by mixtures of singularities and knowledge flows of the fields in interaction, (auto)narrative and autobiographical elements permeations and from reflections of artistic works. The ideas are entangled in the mosaic as "dialectical images", forming constellations. Dialectical images, according to Walter Benjamin, reveal, build and are built from dialectical movements, between contradictions and approximations, between estrangements and recognition, between tensions and flexions, between movements and suspensions. Reflections about relation of the scientific with the health education actions are presented, considering the control of “scientificizing” relation in the field of School Health, and reflections about Art as a stream to the possibility of deviation by other options of thinking health education. In the elaboration of reflections about the path to possibilities of considering the relation between Health, Education and Art at school, specifically in relation to health education actions, the flows of the ideas of experience, infancy, memory, narrative, art and language were searched, considering the concepts of Walter Benjamin, connecting these ideas with the notions of health-disease processes and health-illness experiences. The research path converges to reflections about the elaboration of narratives by artistic experimentations like moving to the possibility of elaboration of health-illness experiences, conceiving so health education and school health beyond the mere transmission and internalization of standardized behaviour and health care norms. This narrative elaboration is understood in an anachronistic way, from dialectical images, deconstructing and reconstructing the scientific knowledges in the interaction with the artistic. In contrast to health education based on communication of information, using an instrumentally conceived language and art, it was walked to reflections, from Walter Benjamin's understanding, about the possibility of the construction of artistic narratives related to a Health-Education that provides the elaboration of experiences. The narrative forms like a mosaic, occurring montages of tesserae by dialectical movements, by astonishment and charm, between memory, health, art, education, science. Therefore, it was possible to comprehend the health education in the language, constituting the subject by the narrative related to the health-disease processes, connecting the artistic language with the body language, enabling the elaboration of health-illness experiences and creating effulgent knowledges through the revelations of dialectical images. / Esta pesquisa teórica se projeta para a interação entre Saúde, Educação e Arte, que se relaciona às trajetórias e experiências da pesquisadora nestes campos, caminhando no sentido de desterritorialização de saberes, de desconstrução de limites entre campos de conhecimentos e de seus enquadramentos. Buscou-se por fios que pudessem ser trançados objetivando construir reflexões no sentido de possibilidades de caminhos por ações de Saúde-Educação na Saúde Escolar que se constituissem como interações dialéticas, entre ciência, arte, saúde e educação. O percurso metodológico se fundamenta nas concepções de Walter Benjamin, se construindo como um mosaico, em montagens de experimentações com seus estranhamentos e encantamentos, sendo as tesselas do mosaico construídas por mesclas de singularidades e fluxos de conhecimentos dos campos em interação, de permeações de elementos (auto)narrativos autobiográficos e de reflexões a partir de obras artísticas. As ideias se enredam no mosaico como “imagens dialéticas”, formando constelações. As imagens dialéticas, conforme Walter Benjamin, revelam, constroem e são constituídas por movimentos dialéticos, entre contradições e aproximações, entre estranhamentos e reconhecimentos, entre tensões e flexões, entre movimentos e suspensões. São apresentadas reflexões sobre a relação do científico com as ações de educação em saúde, considerando o controle da relação cientificizante no campo da Saúde Escolar, e reflexões sobre a Arte como um fluxo para a possibilidade de desvio por outras opções de se pensar a educação em saúde. No elaborar de reflexões sobre o caminhar para possibilidades de se considerar a relação Saúde, Educação e Arte na escola, especificamente em relação às ações de educação em saúde, buscam-se os afluentes das ideias de experiência, infância, memória, narrativa, arte e linguagem, considerando as concepções de Walter Benjamin, conectando estas ideias com as noções de processos saúde-doença e de experiências de saúde-doença. O percurso de pesquisa conflui para reflexões sobre a elaboração de narrativas por experimentações artísticas como caminhar para a possibilidade de elaboração de experiências de saúde-doença, concebendo-se assim a educação em saúde e a saúde escolar para além da mera transmissão e internalização de normas padronizadas de comportamento e cuidado em saúde. Compreende-se esta elaboração narrativa de modo anacrônico, por imagens dialéticas, desconstruindo-se e reconstruindo-se os saberes científicos na interação com o artístico. Em contraposição à educação em saúde pautada em comunicação de informações, que se utiliza de uma linguagem e de uma arte concebidas de modo instrumental, caminha-se por reflexões, a partir das compreensões de Walter Benjamin, sobre a possibilidade de as construções de narrativas artísticas se relacionarem a uma Saúde-Educação que propicie a elaboração de experiências. A narrativa se configura como um mosaico, ocorrendo as montagens das tesselas por movimentos dialéticos, por espantos e encantos, entre memória, saúde, arte, educação, ciência. Portanto, fez-se possível compreender a educação em saúde na linguagem, constituindo-se o sujeito pelo narrar relacionado aos processos saúde-doença, conectando-se a linguagem artística com a linguagem de seu corpo, possibilitando-se a elaboração de experiências de saúde-doença e a criação de saberes fulgurantes por entre as revelações de imagens dialéticas.

Ce travail s’inscrit dans le sillage des études récentes sur la mémoire culturelle et démontre comment la notion de mémoire joue un rôle clef dans le déroulement de l’Énéide. L’épopée virgilienne attire fréquemment l’attention du lecteur sur la fabrique poétique d’une atmosphère mémorielle identifiable à travers les lieux de mémoire, des objets signifiants (monimenta) et certains personnages divins et humains. Parmi ces personnages, Anchise représente la mémoire du passé et Ascagne-Iule symbolise le futur en tant qu’ancêtre de la gens Iulia, tandis qu’Énée s’affirme comme le parangon de la memoria romana. Ses choix, ses errances, son séjour carthaginois, sa catabase, sa visite de Pallantée et même le meurtre de Turnus sont imprégnés de la dialectique de la mémoire et de l’oubli. Ces observations permettent de poser un nouveau regard sur le sens général du poème et d’interroger la réception de l’Énéide comme racontant l’accomplissement des fata de Jupiter. Le poème épique renvoie aussi à la narrativisation de la conquête progressive de la mémoire par Énée, qui offre d’intéressants échos aux préoccupations augustéennes sur l’alternative embarrassante entre la vengeance (ultio) et la clémence (clementia). Le poète suscite ainsi une réflexion sur la mémoire comme un puissant moteur de l’action épique, également présentée comme un lien entre les hommes et les époques grâce à la construction d’une mémoire culturelle romaine, héritière des identités culturelles troyenne et latine. Virgile n’utilise pas seulement la mémoire comme la pierre de touche de son poème mais témoigne souvent d’une forme de « mémoire rétroverse », un concept forgé pour les besoins de ce travail. Dans plusieurs passages, Virgile regarde en effet les événements qui ont lieu à l’époque d’Énée avec la subjectivité embarquée d’un poète vivant à l’époque augustéenne. Ce point de vue rétrospectif et prospectif offre un aperçu intéressant de la construction de la mémoire dans l’épopée et de son télos augustéen. / This work draws on recent studies of cultural memory and aims to demonstrate that the notion of memory has a key role to play in the unfolding plot of the Aeneid. The virgilian epic calls the reader’s attention, more often than not, to the poetic fabric of a memorial atmosphere which is identified through ‘places of memory’; meaningful and powerful objects (monimenta); and divine and human characters. From theses characters Aeneas’s family emerges: Anchises represents the past and Ascanius-Iulus embodies the future as the ancestor of the gens Iulia. Aeneas, meanwhile, is the parangon of Memoria Romana. His every choice, the wanderings, the Carthaginian temptation, the catabasis, the visit of Pallanteum and even the death of Turnus at the end of the Aeneid, are permeated throughout with the dialectic of Memory and Oblivion. These observations encourage us to reconsider the general meaning of the poem and to question the reception of the Aeneid as an accomplishment of Jupiter’s fata and the realization of divine will. For the epic poem also seems to be the narrativization of Aeneas’s progressive conquest of memory. This, in turn, suggests intriguing echoes of Augustan preoccupations with the embarrassing alternative visions of ultio and clementia.The poet also raises the suggestion of memory as a driving force behind epic action, which is equally presented as a link between individual and time, owing to the construction of a Roman cultural memory inherited from Trojan and Latin cultural identities. Not only does Vergil use memory as a cornerstone for his narrative, but he often exploits the position of « reversive memory », a concept introduced by this thesis. In many passages, Vergil looks at the events of Aeneas’s time from the embedded perspective of a poet living in Augustan times. This both retrospective and prospective point of view provides a fascinating insight into the continuous construction of epic memory and its historical télos under Augustus.