Les historiens modernes admettent qu’il y avait dans le monde grec de l’époque classique une grande variété dans la manière de vivre sa vie religieuse. Ainsi, les études des hellénistes sur la religion grecque se sont beaucoup portées sur des faits religieux particuliers : sur la religion à l’échelle de cités, de régions, ou encore sur des faits religieux minoritaires tels que la magie, l’orphisme et le pythagorisme, voire sur la religion à l’échelle d’individus comme Platon. La notion de « norme » religieuse et, par conséquent, de ce qui ne fait pas partie de la norme, suscite également un intérêt, de même que celle d’altérité. Une étude sur les différences religieuses et leur appréciation en Grèce à l’époque classique se conçoit comme le prolongement de ces travaux, en cherchant notamment à créer un lien entre eux. La question principale qui est posée est celle du rapport à l’autre en matière religieuse. Comment les Grecs pensaient-ils et se comportaient-ils lorsqu’ils se trouvaient confrontés à une autre manière de penser et d’agir que la leur en matière de religion ? Étaient-ils indifférents, curieux, intéressés, méprisants, violents ? Il faut également rechercher les causes de telles attitudes : pourquoi pensaient-ils et agissaient-ils comme ils faisaient ? L’étude porte donc sur de nombreux thèmes – de la religion des Barbares à celle du voisin le plus proche, en passant par celle des Grecs d’autres cités – selon un angle particulier. Il est question d’étudier la différence, la pluralité des expériences religieuses et la rencontre entre différentes expériences religieuses, entre diverses manières de penser et de pratiquer la religion. Cela revient à analyser le frottement entre plusieurs systèmes religieux, entre plusieurs normes religieuses ou entre un phénomène religieux minoritaire, voire individuel, et la norme religieuse telle qu'elle peut être définie par ailleurs. / Modern historians admit that there was a great variety in the Greek world of the classical period in the way one lives one's religious life. Thus, studies on the Greek religion have focused much on particular religious facts: on religion at the level of cities, regions, or even on minority religious facts such as magic, orphism and pythagorism, or even on religion of individuals like Plato. The notion of a religious "norm" and, therefore, of what is not part of the norm, is also of interest, as is the notion of otherness. A study on religious differences and their appreciation in Greece in the classical period is conceived as an extension of these works, seeking in particular to create a link between them. The main question that is asked is that of the relationship with the other in religious matters. How did the Greeks think and behave when confronted with a different way of thinking and acting than their own in matters of religion? Were they indifferent, curious, interested, contemptuous, violent? We must also look for the causes of such attitudes: why did they think and act as they did? The study therefore focuses on many themes - from the religion of the Barbarians to that of the nearest neighbour, including that of the Greeks in other cities - from a particular angle. It is about studying the difference, the plurality of religious experiences and the encounter between different religious experiences, between different ways of thinking and practising religion. This amounts to analysing the friction between several religious systems, between several religious norms or between a minority or even individual religious phenomenon and the religious norm.

This dissertation investigates the cultural connections made between race and color in works of fiction from the Victorian and Edwardian era, particularly how authors who are also artists invent fantastically colored characters who are purple, blue, red, and yellow to rewrite (and sometimes reclaim) difference in their fiction. These strange and eccentric characters include the purple madwoman in Charlotte Brontë’s Jane Eyre (1847), the blue gentleman from Wilkie Collins’s Poor Miss Finch (1872), the red peddler in Thomas Hardy’s The Return of the Native (1878), and the little yellow girls of Arthur Conan Doyle’s “The Yellow Face” (1893) and Frances Hodgson Burnett’s The Secret Garden (1911). These fictional texts serve as a point of access into the cultural meanings of color in the nineteenth century and are situated at the intersection of Victorian discourses on the visual arts and race science. The second half of the nineteenth century constitutes a significant moment in the history of color: the rapid development of new color technologies helps to trigger the upheavals of the first avant-garde artistic movements and a reassessment of coloring’s prestige in the art academies. At the same time, race science appropriates color, using it as a criterion for classification in the establishment of global racial hierarchies. By imagining what it would be like to change one’s skin color, these artist-authors employ the aesthetic realm of color to explore the nature of human difference and alterity. In doing so, some of them are able to successfully formulate their own challenges to nineteenth-century racial discourse.

This essay is a study of the film and novelization of the story of King Kong from the 1930’s. The aims of this paper are to analyze ways in which the character Kong represents the stereotypical image of the black male that existed in American society in 1930 by applying theories of masculinity and ethnicity and how they combined make Kong a representation of an Other. In order to study the construction of Kong as an Other an analysis of the film and a close reading of selected passages of the novelization were made in combination with the theories. Masculinity and ethnicity are studied in terms of how they create Kong’s otherness, casting him as a metaphor of a black male.          The conclusion is that the construction of Kong’s ethnicity and masculinity makes him a metaphor of the stereotype of the black male that existed in the American society of the 1930s, i.e. an Other. The conclusion is based on how the contrast is portrayed between Kong and the main characters, the fact that he is a god of the black natives of his island, and how the novelization literally describes Kong as black (and the only black character) in the fictional representation of the hegemonic white city New York.

A presente Dissertação propôs a interação - por meio da criação artística - entre dois grupos de crianças, residentes em Porto Alegre-RS e Cumuruxatiba-BA. A pesquisa de campo consistiu na realização de 12 encontros em Porto Alegre e 10 encontros em Cumuruxatiba realizados entre os meses de junho a dezembro de 2014. O estudo buscou compreender as visões que as crianças produziram sobre si e sobre o outro a partir da correspondência estabelecida pelos grupos. Neste contexto, o principal objetivo do trabalho constou em analisar as possibilidades de criação e de invenção de si mesmo na interação com crianças de um contexto distante. Esta pesquisa discute o deslocamento e o encontro com a alteridade como proposições metodológicas no ensino da arte. Problematizam-se neste trabalho os conceitos de alteridade e deslocamento a partir de Bakthin, Foucault e Onfray; o conceito de infância a partir de Larrosa, Kristeva e Kohan e as proposições artísticas de caráter colaborativo a partir de Bourriaud e Laddaga. Como eixo metodológico, apresenta projetos e obras de artistas e educadores contemporâneos. Dentre os elementos centrais de análise, estão a relação de alteridade e estranhamento a partir da qual as crianças modificam a relação de si para si mesmo e de si para o outro por meio do olhar. A partir destes elementos a experiência estética é apresentada como meio de reconstrução do entendimento do outro. / This Dissertation proposed interaction - through artistic creation - between two groups of children, one living in Porto Alegre-RS and the other living in Cumuruxatiba, Bahia. The field research consisted of 12 meetings in Porto Alegre and 10 meetings in Cumuruxatiba carried out between the months of June and December 2014. The study sought to understand the visions that children produce about themselves and each other from the established correspondence by the groups. In this context, the main objective of the study consisted in analyzing the possibilities of creation and invention of oneself throug interaction with children from a distant context. This research also discusses the displacement and the encounter with otherness as methodological propositions in art education. To problematize in this work the concepts of otherness and displacement from Bakhtin, Foucault and Onfray; the concept of childhood from Larrosa, Kristeva and Kohan and artistic propositions collaborative character from Bourriaud and Laddaga. As a methodological line, the research presents projects and works of contemporary artists and educators. Among the central elements of analysis, are otherness relationship and estrangement from which children change the relation of himself to himself and of himself to the other through the use of the vision. From these elements aesthetic experience is presented as a means for reconstruction of THE understanding of the other (OTHERNESS?).

135f. / Submitted by Suelen Reis (suziy.ellen@gmail.com) on 2013-05-08T17:40:56Z No. of bitstreams: 1 dissert_Cibele Costa.pdf: 1307299 bytes, checksum: 65aebf0f26cd871ed1c660282ba35161 (MD5) / Approved for entry into archive by Alda Lima da Silva(sivalda@ufba.br) on 2013-05-08T18:04:01Z (GMT) No. of bitstreams: 1 dissert_Cibele Costa.pdf: 1307299 bytes, checksum: 65aebf0f26cd871ed1c660282ba35161 (MD5) / Made available in DSpace on 2013-05-08T18:04:01Z (GMT). No. of bitstreams: 1 dissert_Cibele Costa.pdf: 1307299 bytes, checksum: 65aebf0f26cd871ed1c660282ba35161 (MD5) Previous issue date: 2010 / O presente trabalho tem a intenção de aprofundar o debate sobre a televisão brasileira, especificamente o telejornalismo, e sua influência na expressão de identidades culturais e alteridades. A questão é pertinente numa época em que a TV deixa de ser um simples eletrodoméstico para se tornar um centro de poder político ou de controle social e cultural, como acontece nos dias atuais. Para tanto, foi feita a análise do Jornal Hoje, da Rede Globo, a fim de verificar qual é o grupo identitário de referência e como transparecem as figuras da alteridade, na concepção sociossemiótica de Éric Landowski, no telejornal transmitido em rede e padronizado para todo o Brasil – país de dimensões continentais, com múltiplas faces identitárias e diverso por sua própria natureza. O percurso de análise correspondeu ao acompanhamento sistemático de edições do programa, buscando identificar a referência cultural das reportagens e a forma como apareceram as alteridades, com base na identificação de critérios de noticiabilidade e de categorias de apresentação da alteridade. Ao final do trabalho, verificou-se que o Jornal Hoje tem como referência principal para o padrão das matérias o eixo Rio-São Paulo. Também foi possível perceber que a Rede Globo constrói o “outro” em suas reportagens por meio de uma diversidade de modos de tratamento do grupo de referência para com a alteridade exibida na televisão. / Salvador

A presente Dissertação propôs a interação - por meio da criação artística - entre dois grupos de crianças, residentes em Porto Alegre-RS e Cumuruxatiba-BA. A pesquisa de campo consistiu na realização de 12 encontros em Porto Alegre e 10 encontros em Cumuruxatiba realizados entre os meses de junho a dezembro de 2014. O estudo buscou compreender as visões que as crianças produziram sobre si e sobre o outro a partir da correspondência estabelecida pelos grupos. Neste contexto, o principal objetivo do trabalho constou em analisar as possibilidades de criação e de invenção de si mesmo na interação com crianças de um contexto distante. Esta pesquisa discute o deslocamento e o encontro com a alteridade como proposições metodológicas no ensino da arte. Problematizam-se neste trabalho os conceitos de alteridade e deslocamento a partir de Bakthin, Foucault e Onfray; o conceito de infância a partir de Larrosa, Kristeva e Kohan e as proposições artísticas de caráter colaborativo a partir de Bourriaud e Laddaga. Como eixo metodológico, apresenta projetos e obras de artistas e educadores contemporâneos. Dentre os elementos centrais de análise, estão a relação de alteridade e estranhamento a partir da qual as crianças modificam a relação de si para si mesmo e de si para o outro por meio do olhar. A partir destes elementos a experiência estética é apresentada como meio de reconstrução do entendimento do outro. / This Dissertation proposed interaction - through artistic creation - between two groups of children, one living in Porto Alegre-RS and the other living in Cumuruxatiba, Bahia. The field research consisted of 12 meetings in Porto Alegre and 10 meetings in Cumuruxatiba carried out between the months of June and December 2014. The study sought to understand the visions that children produce about themselves and each other from the established correspondence by the groups. In this context, the main objective of the study consisted in analyzing the possibilities of creation and invention of oneself throug interaction with children from a distant context. This research also discusses the displacement and the encounter with otherness as methodological propositions in art education. To problematize in this work the concepts of otherness and displacement from Bakhtin, Foucault and Onfray; the concept of childhood from Larrosa, Kristeva and Kohan and artistic propositions collaborative character from Bourriaud and Laddaga. As a methodological line, the research presents projects and works of contemporary artists and educators. Among the central elements of analysis, are otherness relationship and estrangement from which children change the relation of himself to himself and of himself to the other through the use of the vision. From these elements aesthetic experience is presented as a means for reconstruction of THE understanding of the other (OTHERNESS?).

A presente dissertação de mestrado, vinculada à Pós-graduação em Educação da Universidade Federal do Rio Grande do Sul, Linha de Pesquisa Educação Especial e processos Inclusivos, tematiza a produção de conhecimento e o acolhimento da alteridade em educação especial pelas vias da estética. Trata-se de um estudo teórico, onde os conceitos dialogam com uma experiência formativa, através da análise das produções de uma professora-cursista, entre os anos de 2011 e 2014. O tecido argumentativo tem os fios Schiller. Outro operador importante são as formulações conceituais da pesquisadora Nadja Hermann ao aproximar a hermenêutica filosófica gadameriana da educação. Bakhtin ofereceu os instrumentos necessários a análise da forma enunciativa das narrativas e como determinam seu conteúdo. No entretecimento destes fios, os sentidos por ora propostos permitem distinguir nos escritos da professora Joana, dois gêneros enunciativos: o primeiro, instrutivo, extenso e descritivo. O segundo, de natureza poética, errante e capaz de estranhamento e acolhimento, possibilitando instaurar o diálogo. Esta análise, espera-se, estende à educação especial a possibilidade de questionar pressupostos naturalizados na prática pedagógica. / This dissertation for a Master's Degree, linked to the Graduate Program in Education of the Federal University of Rio Grande do Sul, Line of Research of Special Education and Inclusive Processes, studies the production of knowledge and acceptance of otherness in special education by way of aesthetics. This is a theoretical study, in which concepts dialogue with a formative experience, by analyzing the productions of a teacher-intraining, during 2011 to 2014. This argumentative material is based on Schiller. Another important element is the conceptual formulations of Nadja Hermann, the researcher, when bringing Gadamer's philosophical hermeneutics to education. Bakhtin offered the necessary tools to analyze the expository form of narratives and how they determine their contents. In the interweaving of these elements, the meanings proposed for now allow us to distinguish two enunciative genres in the writings of Professor Joana: the first, the instructional, extensive and descriptive. The second genre, of a poetic nature, wandering and capable of estrangement and acceptance, making it possible to start a dialogue. It is expected that this analysis will extend the chance to question assumptions naturalized in pedagogical practice to special education.

O nome próprio não permite calcular uma posição ou mesmo desenhar uma definição. Ele não diz quem ou o que somos e, ao mesmo tempo, é insubstituível. Se ele não diz quem ou o que somos; por que, para alguns, se impõe a necessidade de duplicar – ou mesmo triplicar – seus nomes? Prostitutas com seus nomes de batalha; moradores de rua, quando vão cometer algum delito; militares em situação de guerra; celebridades com seus nomes de artista. Essa dissertação parte da experiência de escuta de prostitutas num espaço de oficina de escrita, onde a duplicação do nome se colocou como elemento da construção de uma narrativa ficcional, para entender qual a função da reinvenção do nome próprio e suas relações com os modos de habitar o espaço público. Seu ponto de mira é discutir o que a duplicação do nome para as prostitutas pode dizer da relação dos sujeitos a seu nome próprio. Para desdobrarmos esta questão, utilizaremos a história ficcional produzida em oficina com esse grupo de mulheres, que resultou na publicação Mariposa, Uma Puta História e no vídeo-dança Quando Aprendeu a Pular. Nesse caminho, veremos como a duplicação dos nomes, como uma operação denegatória, pode nos dar notícias da condição própria à posição de sujeito: somos divididos e não sabemos de que matéria somos feitos. / The personal name itself does not allow us to calculate a position, or even draw a definition. It does not say who or what we are, but - at the same time - it is irreplaceable. If it does not say who or what we are, why, for some, it is necessary to duplicate - or even triple - their names? Prostitu tes with their hooker names; street people prone to commit crimes; military at war, celebrities with their artist names. This essay comes from the experience of listening to prostitutes during a writing workshop, in which name duplication was an essencial part of the building up of fictional narratives - in order to better understand the whole process of name reinvention and its relations with the ways of living within the public space. Its main focus is to discuss to what extent the name duplication of prostitutes could help shed light about the way people in general relate to their own given names. To unfold this issue, we will use the fictional story produced in the workshop with this group of women, which resulted in the publication "Mariposa, Uma Puta História" (Moth, a Fucking Story) and in the video-dance “Quando Aprendeu a Pular" (When Learned to Jump). Along this path, we will show how the name duplication process, acting as an denial operation, can somehow inform us about the proper nature regarding the subject's condition: that we are divided beings, who do not know for sure from which matter we are made of.

The approach to translating multilingual texts has long been a subject of debate among scholars and translators, sparking discussions on which translational choices and strategies should be employed. An additional challenge occurs when a minority language in a multilingual (or rather, heterolingual) text becomes the target language. In these circumstances, the translator faces the dilemma of choosing how to preserve the Otherness that the non-dominant language conveys in the first text without overly manipulating it or stripping it of its nature. My analysis focuses on the challenges of translating Black Madonna (1982), a novel by prolific Italian-Canadian writer Frank Paci. Like many Italian-Canadian authors, the vast majority of Paci’s novels feature untranslated Italian terms and dialogues throughout the text. The first chapter of this thesis provides an introduction to the author and the basic concepts around which I structure my discourse, such as immigrant writing and the so-called ‘linguistic stones’ (untranslated terms). The section that follows features an overview of the most prominent Italian-Canadian plurilingual writers, as well as a brief analysis of a few selected works with a special focus on Scarpe Italiane (2007), the only novel by Paci to ever be translated into Italian. The research moves on to theories of translation, discussing various strategies and solutions proposed by scholars involved in the debate. The following chapter consists of a commentary in which I support a balance of foreignization and domestication by converting Italian terms into the appropriate regional dialect, since dialect is a prominent element in Paci’s novels. Finally, in the last section, I provide my translation of the novel into Italian.

A proposta desta tese é problematizar, isto é, produzir questões, sobre a noção de alteridade, esta tomada em seu sentido amplo do outro que não eu que nos dicionários tem como sinônimos: diferente, diverso, distinto e estranho. Mais especificamente, essa problematização se dará articulada com as transformações, também históricas, da cidade do Rio de Janeiro, escolhida por sua importância, em função de ter abrigado, desde o final do século XVIII até 1960, a sede do governo do Brasil, configurando-se como irradiadora das políticas governamentais para os outros estados e capitais. Trata-se, então, de uma pesquisa histórica que não privilegia a linearidade de acontecimentos, o que poderia nos levar a pensar que o passado nos determina de forma inexorável. Em nossa perspectiva, a história das estratégias que produziram as rotulações sobre a alteridade os outros, índios, negros escravos e mestiços postas em ação nos períodos colonial, imperial e republicano e, na contemporaneiade, pode nos levar a questionar nossa atualidade e as formas pelas quais lidamos com a alteridade, os outros, os estranhos e também com a cidade. A história que queremos contar, enfim, utiliza a própria história como modo de questionarmos nossa própria identidade e nossa contemporaneidade, de modo que nos provoque a pensar e a inventar formas singulares de lidar com os espaços urbanos e com os outros/estranhos. / This thesis proposition is to open a debate, that is, to raise questions about the meaning of otherness (differentness) in its wide sense of the other than me, which has many diverse synonyms, such as: distinct, peculiar, variant and strange. More specifically this debate is articulated to the historical changes that happened in Rio de Janeiro, which was chosen by us for its political significance as it had been the seat of Brazilian government from the end of XVIII century to 1960. During that period of time all the government policies were driven from Rio de Janeiro to all others Brazilian states and capitals. So this thesis is a historical research that is not concerned with the linear perspective of events, which could lead us to think that the past determine our lives in an inexorable way. In our perspective the history of the strategies which attached the labels to otherness (differentness) the others indians, black slaves, half breeds, had their source in the colonial, imperial and republican periods, and jumping to our days, it leads us to question our reality and the way we deal with otherness (diferentness) concerning the others, the strangers and the city itself. Finally the story we want to tell apllies its own history as a way to question our own identity and to force us to think and to create original ways to deal with the urban spaces and the others/ strangers.