Orientador: Inaicyra Falcão dos Santos / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-25T11:59:25Z (GMT). No. of bitstreams: 1 Conceicao_OsvaldicedeJesus_M.pdf: 4924436 bytes, checksum: 01e53f07651c7757fb07add7ec076d05 (MD5) Previous issue date: 2014 / Resumo: Esta dissertação faz um estudo de caso da cantora brincante de manifestações culturais Maria Nadir dos Santos, residente na cidade de Laranjeiras - Sergipe, na comunidade da Mussuca. Nesse contexto, investiga-se seu canto como um "modelo" de expressão vocal para as vozes interpretativas da música ao teatro. Em seguida, faz-se um relato e análise da trajetória artística da autora em ambientes de formação e de trabalho, tendo na experiência pessoal de ambas, a perspectiva de legitimar a ideia norteadora desta pesquisa, que é a da Memória como potência da oralidade. A partir desse temário, propõe-se uma reflexão acerca das várias "vozes que compõem o "discurso polifônico" e como esse transita na memória. Para tanto, apresenta-se como principal aporte metodológico as ideias apontadas por BAKHTIN (1997) na obra "Problemas na poética de Dostoiévski", dentre outros autores com os quais se dialoga nesta pesquisa / Abstract: This dissertation aims at making a case study of Maria Nadir dos Santos, a "brincante" historical manifestation singer, living in Laranjeiras, Sergipe, in a community called Mussuca. In this context, her song is researched as a model of vocal expression for voices coming from both music and theater backgrounds. Then, this study analyses the artistic career of its author regarding work and training. From the personal experience of both author and singer, this research purposes to legitimate its main idea - Memory empowering orality -. From this theme, this dissertation discusses the several voices that are part of the polyphonic speech, and how it transitions in memory. In order to accomplish this idea, the main methodological support used is the work of BAHKTIN (1997) in "Problemas na poética de Dostoiévski", among other different authors / Mestrado / Artes da Cena / Mestre em Artes da Cena

Orientador: Francisco Elinaldo Teixeira / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-20T13:41:44Z (GMT). No. of bitstreams: 1 Rodrigues_LaecioRicardodeAquino_D.pdf: 2293266 bytes, checksum: b754a85e37fb1b646d2c7573b0175b0d (MD5) Previous issue date: 2012 / Resumo: Esta pesquisa investiga como a memória e a oralidade, categorias importantes nas Ciências Sociais e em outros domínios do saber, pontuam a práxis cinematográfica de Eduardo Coutinho (constituem sua matéria-prima basilar), a partir de seu procedimento mais recorrente - a entrevista. Para tanto, delimitamos como recorte analítico os seguintes filmes de sua auto-ria: Cabra Marcado para Morrer (1984), O Fio da Memória (1991), Peões (2004), Boca de Lixo (1993), Santo Forte (1999), O Fim e o Princípio (2005) e Jogo de Cena (2007). Em alguns destes títulos, analisamos a emergência do par memória individual/social em grande parte das experiências narradas; nestas obras, o relato do vivido com freqüência se encontra entrelaçado a um sentimento de pertença a um grupo ou comunidade, ou orientado pela existência de um passado comum partilhado pelos entrevistados. Em outros filmes, porém, notaremos que as entrevistas se tornam menos limitadas a um eixo temático e a uma vivência comum, culminando em encontros abertos, propícios à fabulação e ao afloramento de uma memória que promove inesperadas derivas narrativas. Outras indagações contribuem para mobilizar nosso interesse em torno deste cinema consagrado à "palavra" e à "recordação", e que quase sempre elege como protagonistas grupos sociais de pouca visibilidade midiática. Enumero algumas: Que escuta é esta, a do diretor, capaz de provocar tamanha entrega do "outro" em cena? Como Coutinho consegue estabelecer laços de confiança com seus entrevistados? Que cinema é este que privilegia tanto a oralidade e aparentemente negligencia a dimensão visual de uma arte que sempre se orgulhara de não ser refém do verbo? E, por fim, quais memórias são revolvidas pelos sujeitos abordados pelo cineasta e que fatores intervêm neste exercício de rememoração? / Abstract: This research investigates how memory and orality, important categories in the social scienc-es and other areas, enrich the work of Eduardo Coutinho (constitute its most important source), from his most recurrent procedure - the interview. For this purpose, we defined as our object of study the following titles of his legacy: Cabra Marcado para Morrer (1984), O Fio da Memória (1991), Peões (2004), Boca de Lixo (1993), Santo Forte (1999), O Fim e o Prin-cípio (2005) e Jogo de Cena (2007). In some of these titles, we analyze the emergence of the pair individual/social memory in most of the experiences narrated; in these works, the stories told are often intertwined with a sense of belonging to a group or community, or guided by the existence of a common past shared by the interviewees. In other films, however, we note that the interviews become less limited to one main theme or a collective experience, culminating in open meetings, prone to the emergence of a memory that promotes unexpected narrative drifts. Other similar questions mobilize our interest around his work, an art that regularly chooses outcast groups as protagonists. We can enumerate a few ones. What kind of hearing is set by the director, capable of causing such delivery of the otherness during the encounter? How is the filmmaker able to seduce his interviewees without imposing fear? What work is this that favors the orality and, apparently, neglects the visual elements of an art that has always been essentially visual? And finally, what kinds of memory are recovered by the subjects of those movies related above? / Doutorado / Multimeios / Doutor em Multimeios

Orientador: Olga Rodrigues de Moraes von Simson / Tese (doutorado) - Universidade Estadual de Campinas, Faculdade de Educação / Made available in DSpace on 2018-08-20T15:55:43Z (GMT). No. of bitstreams: 1 Simao_SelmaMachado_D.pdf: 11303272 bytes, checksum: fc262224fd5a2cc5b0a35d326924ebe7 (MD5) Previous issue date: 2012 / Resumo: A pesquisa teve como objetivo, a reflexão e a análise do desenvolvimento e dos resultados de uma prática educativa no ensino de artes com crianças de 8 a 12 anos sendo desenvolvida em um espaço de educação não-formal localizado na periferia da cidade de São Paulo. Tratou-se de uma pesquisa de tipo participante que também envolveu gestores, educadores e integrantes da instituição em uma ação participativa. Confluiu as áreas de conhecimento da arte-educação, da fotografia e da oralidade. Buscou a elaboração e realização de atividades voltadas à exteriorização da subjetividade pautadas na expressão artística com enfoque na linguagem das artes plásticas, explorando os espaços da entidade e do bairro a que pertence. Nesta proposta, pontuou a significação destes espaços relacionados ao trabalho coletivo e às relações da memória compartilhada e formação de identidade. / Abstract: The objectives of this research were the thinking and analysis of the development and results of an educational practice based on arts teachings, with 8 to 12 years old children, in a non-formal organization located in the periphery of São Paulo. It was a participant type research, also involving managers, educators and general staff of this organization in a participative action. Art-education, photograph and oral knowledge areas were converged. The aim was the elaboration and realization of activities in order to externalize the subjectivity focusing the artistic expression through plastic arts, exploring the Organization facilities and its neighborhood. In this proposal, the meaning of these spaces was pointed out related to the collective work and to the relation between shared memories and identity formation. / Doutorado / Ciencias Sociais na Educação / Doutor em Educação

In September 2017, the Trump administration announced its plan to rescind The Deferred Action for Childhood Arrivals Program (DACA). Since then, program recipients, who have in recent years assumed the name "Dreamers," have fought back. This thesis explores how Dreamers use storytelling as a means of articulating individual and collective identity as a form of resistance in the sociopolitical climate that is Trump's America.

Nous avons commencé cette étude en présentant le peuple bakhtiari, d’Iran, dans toute sa diversité : étude résumée de son histoire, de ses origines et de sa formation ethnique, des espaces où il vit, de son rythme et de ses déplacements puisqu’il pratique la transhumance.Nous avons abordé à partir de ses activités et de son économie la manière dont il se loge, se nourrit, se soigne et les aspects les plus coutumiers de son organisation de vie familiale. Puis nous avons abordé et développé l’étude approfondie de la langue des Bakhtiaris.Nous l’avons étudiée, phonétiquement, donnant des renseignements sur les lettres, les sons et l’organisation du système phonétique de la langue bakhtiari. Puis nous avons développé une étude de la grammaire et de la syntaxe de la langue, telle que nous la connaissons et la pratiquons. Il est important de noter qu’il s’agit d’une langue surtout orale et qu’il n’existe pas d’étude approfondie de cette grammaire tant dans sa morphologie que dans sa syntaxe.Notre étude est donc très importante à ce titre. Nous avons pu la mener parce que pendant des années nous avons enregistré, en vivant au milieu des Bakhtiaris, dans notre famille, des conversations, des sessions avec des conteurs et des poètes, ceux qui gardent la langue vivante et nous permettent de la conserver et de l’étudier… / We begin by presenting the Bakhtiari people of Iran. This study summarises the diversity ofthese people: their history, origins and ethnic formation, the places they inhabit and the cycleof their travels since they began the practice of transhumance.We studied the manner in which operations and economy are incorporated into bakhtiariculture, including the more traditional aspects of the organisation of family life. We thenundertook an in-depth study of the bakhtiari language. We have studied this language and itsevolution from its origins to what we know today. We studied it phonetically usinginformation on letters, sounds and organisation of the phonetic system of the bakhtiarilanguage. We then developed a study of grammar and syntax of the language as we knowand practice it. It is important to note that this is primarily an oral language and there is nocomprehensive study of the grammar in both its morphology and syntax. Therefore, ourstudy is very important in documenting this aspect of the bakhtiari language.We have been able to conduct this study because for years our family have lived alongsidethe Bakhtiari people and we have experienced conversations and meetings with storytellersand poets who keep the language alive and allow us to preserve and study their language…

Cette thèse propose de passer en revue les modalités de la représentation écrite de l’oralité. L’écrit littéraire sert de matériau à la théorisation.La problématique – comment l’écrit représente-t-il l’oral ? – est d’abord située et reformulée dans le cadre de la linguistique de la parole (I). Les rapports entre oralité et scripturalité sont ensuite étudiés sous trois angles. L’angle biotechnologique compare la matérialité et l’affordance des signaux graphiques et des signaux acoustiques (II 1). L’examen sémiotique reconnaît dans le français écrit un système dit phonographique dont la fonction est de représenter l’expression des signes du français oral. Sont analysées alors les relations entre les systèmes de signes impliqués, la diversité des actualisations possibles du système phonographique (effets de voix), ainsi que diverses sémiotiques analogiques (II 2). On étudie ensuite le rôle de la prosodie dans la lecture. La position adoptée est la suivante : bien qu’elle soit facultative dans l’activité de lecture, la prosodie est spécialement sollicitée par des écrits qu’on peut caractériser linguistiquement. L’interprétation prosodique apporte à ces écrits un surcroît de signification en même temps qu’il produit un mode spécifique de représentation de l’oral appelé effet prosodique (II 3). L’angle sémantique est esquissé finalement : il conduit à dégager deux modalités de représentation supplémentaire. Pour la première, l’oral se situe sur le plan sémantico-référentiel de l’expression écrite (écrire à propos d’oral) ; pour la seconde, l’oral est un extérieur discursif modalisant le dire écrit : l’écrit est reconnu comme énoncé à la manière de l’oral (effet de style oral). / This PhD thesis attempts to review the modalities of orality in written representation. Literary writings act as the material for theorization. First of all, the thesis statement – how does writing represent oral – is situated and then, reformulated within the frame of linguistique de la parole (the linguistic field of speech) (I). The connections between orality and writing are then studied under three angles. The biotechnological angle compares the materiality and the affordance of graphic signs and acoustic signals (II 1). A semiotic examination acknowledges, in French, a phonographical system whose function is to represent the expression of French oral signs. Thus, the relationships between the systems of implicated signs, the diversity of possible actualisations of the phonographic system (voice effects), as well as various analogical semiotics are analysed (II 2). Furthermore, the role of prosody is studied within reading. The stand taken is the following : even though it is optional during a reading activity, prosody is especially sought-after by linguistically characterised writings. The prosodic interpretation brings to these writings a surge of signification while producing a specific mode of oral representation called the prosodic effects (II 3). The semantic angle is finally drawn : it leads to two additional modalities of representation. For the first part, speech is located on the semantic and referential plan of the written expression (writing about speech); as for the second part, spoken language is a discursive exteriority : writing is recognised as an oral-like utterance (oral-like effect).

La pratique de la prescription de la nutrition parentérale en phase palliative d’un cancer soulève différentes réactions chez le malade. Dans ce travail, nous proposons d’orienter notre réflexion vers une approche psychologique de l’image inconsciente du corps. En interrogeant des patients qui acceptent ou refusent ce nouveau type d’alimentation, nous viendrons questionner le rôle de certaines fonctions du « Moi-peau » définit par Didier Anzieu. Effectivement, la création d’une zone artificielle de nutrition vient perturber l’image du corps dans le registre pulsionnel de l’oralité. Comment le Moi du sujet peut-il économiquement investir ou non cette nouvelle zone du corps ? / The practice of prescribing parenteral nutrition in the palliative phase of cancer leads to different reactions in patients. In this work, we will take a psychological approach to the experience of body image in this phase of cancer. Interviewing patients who accept or refuse this parenteral nutrition, we will focus on certain functions of the “Moi-peau” concept defined by Didier Anzieu. Indeed, creating an artificial area of the body for nutrition purposes disturbs body image in the field of orality. How will the “me” of the subject invest in this new body economically ?

La communauté mouride du Sénégal et de la diaspora est un groupe socioreligieux né dans les zones rurales avec une culture traditionnelle basée sur les pratiques religieuses. La confrérie mue en communauté, à ses débuts, a su faire preuve d’une capacité d’adaptation dans les zones les plus hostiles à sa progression, mais elle a également fait montre d’une ouverture intéressante (en termes d’analyse) tout en conservant ses principes de bases. Ce qui lui confère un caractère particulier dans l’univers confrérique du Sénégal et de l’Afrique de manière générale. Cette particularité réside à la fois dans la fidélité de ses principes islamiques et dans le perpétuel mouvement d’ouverture vers d’autres cultures et d’autres espaces. L’évolution de cette communauté l’a amené à investir de nouveaux espaces urbains avec comme corollaire, l’appropriation des médias informatisés pour appuyer certaines pratiques de la tradition. La recherche que nous proposons ici cherche à comprendre les pratiques traditionnelles, médiatiques des mourides et les métamorphoses opérées au sein de la confrérie. D’abord, nous questionnons les différents mécanismes de la tradition mouride et les changements opérés, ensuite la circulation des textes, c’est-à-dire les changements de support de l’écriture et de la littérature mourides à travers différents espaces, enfin les transformations médiatiques occasionnées dans les modes de participation et de communication de la communauté L’étude portant sur le mouridisme a permis de saisir et de comprendre les mécanismes des pratiques religieuses, traditionnelles, culturelles et médiatiques à travers des espaces et des contextes divers. De l’étude de ce groupe socioreligieux se dégagent de nombreux points. Il y a l’émergence d’une communauté forte, c’est-à-dire la construction de liens sociaux très particuliers dans le temps long. Ce qui aboutit à des conceptions partagées, élucidées, transmises et instituées du savoir et de la croyance. Il y a aussi l’institution des dispositifs, rituels et protocoles de communication liés à de conventions connues et garanties. Les échanges en réseau ont occasionné des transformations médiatiques qui révèlent de la réappropriation des mourides à travers les différents dispositifs de médiation numérique. Ils symbolisent en eux l’orientation de la communauté vers de nouvelles pratiques médiatiques garantissant un accès plus rapide aux contenus. Les transformations médiatiques ont occasionné d’autres modes de participation et suggèrent de nouveaux rapports entre le disciple et sa communauté / The Mouride community of Senegal and the diaspora is a socioreligious group that arose in rural areas, and that possesses a traditional culture based on religious practice. The brotherhood become community, from its earliest days, showed a capacity for adaptation in contexts hostile to its progress, but also manifested a significant openness, while maintaining its essential principles. All of which conferred on the Mourides a particular character within the context of the Muslim brotherhoods of Senegal and of Africa generally. This particularity resides in Mouridism’s simultaneous fidelity to its own Islamic principles and to a perpetual openness to other cultures and other spaces. The evolution of the community led to its occupation of new urban spaces and, as a corollary, to the adoption of digital media in the service of certain traditional practices. The research proposed here seeks to develop an understanding of the traditional and mediatic practices of the Mourides and the metamorphoses effected within the brotherhood. Initially, we interrogate the different mechanisms of the Mouride tradition and subsequent changes; then, the circulation of texts, i.e. the evolution of the technical supports of Mouride writing and literature across different spaces; and finally, the resulting transformations by media of the means of participation and communication within the community. This study of Mouridism allows us to delineate and understand the mechanisms of religious, traditional, cultural, et media practices across varied spaces and contexts. The study of this socioreligious group brings to light a number of significant points related to the emergence of a strong community, i.e. the long term construction of very specific social ties. These result in the development, transmission, and adoption of shared conceptions of knowledge and belief as well as the adoption of ritual systems and protocols of communication based on shared and assured social conventions. Networked communications have lead to mediatic transformations that reveal a reappropriation by Mourides through a variety of digital media systems. These symbolize the community’s reorientation toward new media practices that assure more rapid access to content. These media transformations have made possible new modes of participation and have suggested the possibility of new relationships between the disciple and his community

Né en dehors de la Littérature et des débats qu'elle entretient sur elle-même, le rap français n'en réactive pas moins les fonctions primordiales; en effet, de par leur participation au scriptural le plus obstiné comme à l'oralité la plus vive, les rappeurs nous rappellent, en faisant pour ainsi dire offrande de leur voix, que l'écriture poétique consiste toujours en un usage intensif du langage qui, au-delà de toute portée communicationnelle, s'acharne à faire jaillir des mots toute leur prodigieuse musicalité, picturalité, matérialité, et bien plus. Non pas « bien écrire », car cela n'est rien, mais faire délirer la langue, afin d'en revenir à l'émotion primordiale, au pouvoir et à la jouissance qu'elle procure. Évidemment, les rappeurs ne disent rien d'autre que ce que disaient déjà Céline, Artaud, pour ne citer qu'eux, quant aux capacités respiratoires décidément enfouies dans cette langue officielle qu'il faudra décidément secouer de tous les spasmes amoureux, cruels. En un premier chapitre génésique, nous arracherons le rap français c'est-à-dire notre corpus, à la culture mondiale du hip-hop pour lui reconnaître un droit au particularisme, à l'atavisme bien français. Nous verrons alors à travers la « petite invention » du flow (l'expression est célinienne), comment les rappeurs révèlent ce tiers-lieu fragile entre l'écrit et l'oralité, le papier muet (l'est-il jamais vraiment ?) et la gorge. Ce tiers-lieu, c'est aussi celui de la périphérie proprement banlieusarde que les rappeurs célèbrent à l'envi. Nous verrons ici comment les rappeurs rejetés aux lisières, et donc partant d'une situation d'étrangeté flagrante, ont su faire de cette minorité subie une véritable esthétique de la périphérie, mais plus encore, l'angle privilégié pour procéder à un usage intensif de la langue normative. Faire délirer la langue a un prix, celui de délirer avec, et partant, d'expérimenter les devenirs qui traversent alors cette écriture poétique, laquelle engage jusqu'au corps même de l'écrivain. Notre dernier axe d'étude sera donc consacré à cette grande question du moi je écrivant en littérature à laquelle les rappeurs semblent avoir apporté une réponse probante et même un terme consacré, l'egotrip. / Born out of the Literature and the debates maintained about itself, nevertheless the French rap revives its essential functions ; indeed, due to their participation in the most stubborn scriptural as in the most lively orality, the rappers remind us, by making offering of their voice so to speak, that the poetic writing always consists of an intensive use of the language which, beyond any communicational reach, persists in making spring from words all their prodigious musicality, pictoriality, materiality, and much more. Not "to write well", because this is nothing, but to make the tongue be delirious, in order to return to the essential emotion, to the power and to the pleasure which it brings. Obviously, the rappers say nothing else but what already said Céline, Artaud, to name but a few, about the breathing capacities undoubtedly buried in this official language which undoubtedly will have to be shaken by all the loving, cruel spasms. In a first genesic chapter, we shall tear the French rap that is our corpus, away from the world culture of the hip-hop in order to recognize it the right to particularism, to the very French atavism. We shall see then through the “small invention” of the flow (the expression belongs to Céline), how the rappers reveal this fragile third place between written and orality, the dumb paper (is-it ever, really?) and the throat. This third place is also the one of the strictly suburbanite outskirts which is celebrated over and over again by the rappers. We shall see here how the rappers, rejected to the borders, and thus leaving from a situation of blatant strangeness, knew how to do with this undergone minority a real esthetic of the periphery, but more than that, the privileged angle to proceed to an intensive use of the normative language. To make be delirious the language has a price, which is to be delirious with, and from this experimentation of future evolutions crossing then this poetic writing, which engages even the body of the writer. Thus our last axis of study will be dedicated to this big question of the writing subject in literature to which the rappers seem to have brought a convincing answer and even an usual term, the egotrip.

Orientador: Nadia Farage / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciências Humanas / Made available in DSpace on 2018-08-27T07:15:11Z (GMT). No. of bitstreams: 1 Lisboa_PauloVictorAlbertoni_M.pdf: 3020587 bytes, checksum: 7ca3c6374d8e0cba016304486190cd12 (MD5) Previous issue date: 2015 / Resumo: O objetivo desta pesquisa é apresentar uma interpretação da produção literária de Olívio Jekupé, escritor Guarani. A sua atividade literária, que dependia inicialmente dos meios independentes de publicação, mudou profundamente desde a incorporação da literatura indígena contemporânea à categoria editorial de "literatura infantojuvenil", motivada pela formação do Núcleo de Escritores e Artistas Indígenas (NEARIN), em parceria com a Fundação Nacional do Livro Infantil e Juvenil (FNLIJ), e pela legislação vigente. Nesse contexto, ganha relevo a defesa de Olívio Jekupé da consolidação de uma literatura nativa no Brasil que seja capaz de estabelecer uma narratividade outra, frente à sua percepção de que os narradores de histórias orais estão desaparecendo. Embora a compreensão do autor esteja centrada na escrita, suas narrativas literárias apresentam índices de oralidade e marcas composicionais de tradição oral que situam a sua literatura entre a letra e a voz. Por consequência, identificamos algumas das dimensões nas quais a oralidade e o letramento, a letra e a voz encontram-se inscritas nas suas narrativas: nos seus temas, nos seus personagens, na sua forma, na sua composição discursiva. Como pretendemos demonstrar, a literatura de Olívio Jekupé expressa seu hibridismo em várias dessas dimensões / Abstract: The aim of this work is to present an interpretation of Olívio Jekupé¿s literary production, a Guarani writer. His literary activity that was initially dependent of independent means of publication changed profoundly since the incorporation of the contemporary indigenous literature to the editorial category of "children's and youth literature", motivated by the formation of the Núcleo de Escritores e Artistas Indígenas - NEARIN (Center of Writers and Artists Indigenous), in partnership with the Fundação Nacional do Livro Infantil e Juvenil - FNLIJ (Foundation of Children¿s and Youth Book), and by the current legislation. In this context, Olívio Jekupé¿s defense of a consolidation of a native literature in Brazil which is able to establish another narrative before his perception that the narrators of the oral histories are disappearing becomes a highlighted one. Although the author¿s understanding is focused on writing, his literary narratives present rates of orality and compositional marks of oral tradition that place his literature between the letter and the voice. Consequently, we identified some dimensions in which orality and literacy, the letter and the voice meet one another in his narratives: in the themes, in the characters, in the form, in his discursive composition. As we intend to demonstrate, Olívio Jekupé¿s literature expresses its hybridity in several of those dimensions / Mestrado / Antropologia Social / Mestre em Antropologia Social