L'objectif principal de cette thèse est la formulation des mélanges stables contenant l'hydroxyapatite gel synthétisée (Ca-HAGel). Le comportement rhéologique des mélanges Eau/(sulfate de calcium) et hydroxyapatite/(sulfate de calcium) a été étudié. Les résultats ont montré que tout les mélanges sont caractérisés par un comportement rhéologique rhefluidifiant et thixotrope. Le potentiel zeta a été utilisé dans cette étude pour mieux appréhender les interactions entre les particules et leur effet sur le comportement des mélanges. La fixation de sulfate sur la surface de Ca- HA favorise la stabilité de la structure du Ca-HAGel. Les analyses de caractérisation effectuées sur les formulations ont montré la formation de nouveaux composés tels que le sulfate-phosphate de calcium hydrate et l'Ardealite. Les tests de lixiviation et de percolation ont révélé que le taux de relargage de soufre et strontium à partir des sous-produits de gypse était négligeable pour les mélanges contenant Ca-HAGel. Ca- HAGel stabilise les métaux lourds relargués à partir du gypse et plâtre. Les particules du gypse améliorent les performances hydrauliques de Ca-HAGel et le plâtre hydraté stabilise la structure de Ca-HAGel par la formation des particules agglomérées. Le test colonne effectué sur la formulation AWPG2 a montré une grande performance à retenir le plomb et le cadmium avec des capacités de rétention de plus de 99% et 88% respectivement. Le traitement des métaux lourds était lié aux particules de Ca-HA et aux phosphate et calcium libres. La formulation AWPG2 peut être utilisée dans les barrières perméables réactives pour traiter les eaux souterraines contaminées. / The main purpose of this thesis was the formulation of stable blends based on synthesized hydroxyapatite-gel (Ca-HAGel). The rheological behavior of water−calcium sulfates and hydroxyapatite−calcium sulfates blends was considered in this study. The results show that all blends and formulations exhibit a shearthinning effect and thixotropic behavior. The ζ potential was used in this study to understand the interaction between particles and its effect on the global behavior of the blends. Fixation of sulfate on Ca-HA surface promotes the stability of Ca-HAGel suspension. Characterization analysis of formulation shown the presence of new compounds such as calcium sulfate-phosphate hydrate and Ardealite. Leaching and percolation tests revealed that the release rate of sulfur and strontium from gypsum by-product was negligible in blends based on Ca- Agel. Ca-HAGel was stabilized the heavy metals released from plaster and gypsum. Gypsum particles enhanced hydraulic performances of Ca-HAGel and hydrated plaster stabilized Ca-HAGel structure by the formation of agglomerated particles. Column test carried out on AWPG2 blend revealed high removal performances for lead and cadmium with retention capacity of 99% and 88% respectively. The reactivity was related to Ca-HA and free calcium and phosphate contained in the selected formulation. AWPG2 blend is to be used as permeable reactive barrier for in-situ contaminated groundwater remediation

Le développement rapide des fonds souverains ces dernières années est un des sujets marquants de l'évolution des marchés financiers. Pourtant, il existe encore peu de recherches scientifiques dans ce domaine, compte tenu du très faible niveau d'information sur ces fonds. L'objet de notre étude est d'une part d'essayer de mieux comprendre les stratégies d'investissement, les déterminants qui expliquent les décisions d'investissement et les performances des fonds souverains. D'autre part, nous analysons l'impact des fonds souverains sur les performances des entreprises dans lesquelles les fonds souverains ont investi, et aussi sur les marchés financiers. Nos résultats indiquent que les fonds souverains présentent généralement des rentabilités satisfaisantes. Pourtant, la crise financière et les difficultés de l'économie ont influencé fortement leurs performances. La performance des fonds souverains est influencée aussi par leurs stratégies d'investissement. Nous constatons que les déterminants de l'allocation d'investissement des fonds souverains changent selon les périodes et selon les fonds souverains. Les résultats de notre étude indiquent que l'impact de l'investissement des fonds souverains sur la performance des entreprises est positif. Ils mettent en avant que le niveau de transparence des fonds souverains influence les réactions positives du prix des actions aux annonces des investissements de ces fonds. Plus le niveau de transparence des fonds souverains est élevé, plus la réaction positive est forte. Notre étude permet de mieux comprendre la stratégie et le comportement d'investissement des fonds souverains. En évaluant l'impact des fonds souverains sur les marchés financiers et sur la performance des firmes dans lesquelles ils investissent, elle contribue à mieux comprendre les performances des fonds souverains et des entreprises qui attirent les investissements des fonds souverains. / The rapid growth of sovereign wealth funds in recent years is one of the prominent subjects of the financial markets evolution. Yet, there has been very little academic research in this domain, taking in account the very low level of information on these funds. The purpose of our study is to understand the investment strategies, the determinants that explain the investment decisions and the evolution of the SWFs performance. On the other hand, we try to shed some light at the impact of SWFs on the performance of companies in which they invested, and on the financial markets. Our results indicate that the SWFs' returns are generally satisfactory. However, the financial crisis and the difficulties of the economies have greatly influenced their performance. The performance of SWFs is also influenced by the investment strategies. We find that the determinants of investment allocation of SWFs change over the time and in accordance to SWFs. The results of our study show that the impact of SWF investments on the performance of the companies is positive. They also indicate that the level of transparency of SWFs influence the positive reaction of stock prices to the announcements of investments by these funds. The greater the level of transparency of SWFs, the positive reaction is stronger. Our study provides a better understanding of strategies and investment behaviors of SWFs. By evaluating the impact of SWFs on the financial markets and on the performance of firms in which they invest, it contributes to enhance current understanding on the performance of SWFs and of the companies that attract SWF investments.

Made available in DSpace on 2014-12-17T14:20:14Z (GMT). No. of bitstreams: 1 RicardoEI_1_130.pdf: 3237846 bytes, checksum: 1ad77e9a096fdabc39e5054d241e574f (MD5) Previous issue date: 2009-11-05 / Coordena??o de Aperfei?oamento de Pessoal de N?vel Superior / The present thesis aims to get to know and to analyze the elements which make up the poetical performance of the Fandango from Canguaretama confirming/corroborating an eminently theatrical model. It still highlights the producers? history, its asset production and its insertion in community where we had contact with two other types of performances: the daily and the ritualistic. Such actions both combine and present different meanings and objectives, promoting distinct readings and experiences. Looking at these three ways of performances poetic, daily, and ritual enabled to go deeper in cultural aspects of the studied community and, thus, check over what is going on in these events, how they accord with and conceive a popular performance context. The research could substantiate the existence of a theatrical model whose performance by means of the voice and active presence of playful bodies, implied in getting to know the consolidation of a cultural patrimony which reveals us the past, but, especially, the present, its people and its place / A presente tese objetiva conhecer e analisar os elementos que comp?em a performance po?tica do Fandango de Canguaretama confirmando/ratificando um modelo eminentemente teatral. Evidencia-se, ainda, a hist?ria de seus produtores, a produ??o de seu bem e sua inser??o em sua comunidade, onde entramos em contato com outros dois tipos de performances: a cotidiana e a ritual?stica. Essas a??es se combinam, ao mesmo tempo em que apresentam significados e objetivos diferentes, proporcionando leituras e experi?ncias distintas. Olhar essas tr?s formas de performances - po?tica, cotidiana e ritual permitiu penetrar em aspectos da cultura da comunidade estudada e, assim, conferir o que est? em jogo nesses eventos, como eles se coadunam e formam um contexto performancial popular. A pesquisa p?de confirmar a exist?ncia de um modelo teatral cujo desempenho atrav?s da voz e presen?a ativa de corpos brincantes, implicou em conhecer a consolida??o de um patrim?nio cultural que nos fala de um passado, mas, sobretudo, de um presente, da sua gente e de seu lugar

Submitted by Luciana Ferreira (lucgeral@gmail.com) on 2018-05-07T12:10:17Z No. of bitstreams: 2 Dissertação - Maria do Socorro Pereira Lima - 2018.pdf: 8884808 bytes, checksum: 9db5d7bd63960f7488937a887cf325c0 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Approved for entry into archive by Luciana Ferreira (lucgeral@gmail.com) on 2018-05-07T12:57:40Z (GMT) No. of bitstreams: 2 Dissertação - Maria do Socorro Pereira Lima - 2018.pdf: 8884808 bytes, checksum: 9db5d7bd63960f7488937a887cf325c0 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Made available in DSpace on 2018-05-07T12:57:40Z (GMT). No. of bitstreams: 2 Dissertação - Maria do Socorro Pereira Lima - 2018.pdf: 8884808 bytes, checksum: 9db5d7bd63960f7488937a887cf325c0 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Previous issue date: 2018-04-09 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / The emphasis of this study relies on the arpillerista women`s movement and their arpilleras, an embroidery technique that served as a tool to speak out against the the military dictatorship of Augusto Pinochet (1915-2016). The movement characterized itself by political resistance, the denouncing and the defense of human rights, inspired by various groups in Chile and in other countries, such as Brazil. The experience of arpilleristas consists in what the British anthropologist Victor Turner would call a “social drama” (TURNER, 2005a, p.182). The goal of this research is to identify the possibilities of artistic practices in the arpilleras as events of cultural performativity in that we can observe the occurrence of a “social drama” according to the authors who have written in this field. The methodology chosen for this study was the cartographic method and the investigation tools we used were: observation, semi-structured interviews with the representatives of the movement of Brazilian arpilleristas (arpilleras do MAB) and of Chilean arpilleristas (Memorarte) as well with as the curator of current expositions in Northern Ireland, Roberta Bacic, and the curator and facilitator of expositions and workshops of arpilleras, Esther Conti; my participation in workshops of production of this technique, as well as photographs taken to register the process. We understand that the importance of this study to the interdisciplinary field of Cultural Performances is valuable because it delves into the social, political and artistic experiences which deals with significant transformations yet to be explored by the academic world at large as well as in our country. / A ênfase deste estudo recai no movimento de mulheres arpilleristas e suas arpilleras, técnica de bordado tradicional que serviu de instrumento de denúncia durante a ditadura militar do general Augusto Pinochet (1915-2006). O movimento se caracterizou pela resistência política, denúncia e defesa dos direitos humanos, inspirando vários grupos no Chile e em outros países como no Brasil. A experiência das arpilleristas se configura no que o antropólogo britânico Victor Turner denomina de “drama social”? (TURNER, 2005a, p.182). O objetivo desta pesquisa foi identificar as possibilidades das práticas artísticas nas arpilleras como eventos liminares de performances culturais, em que se pode observar a ocorrência do “drama social” conforme definem autores do campo. A metodologia transcorreu pelo método cartográfico e os instrumentos de investigação foram: a observação, entrevistas semiestruturadas com representantes de movimentos de arpilleristas brasileiras (arpilleras do MAB) e do Chile (Memorarte), além da curadora de exposições que atua na Irlanda do Norte, Roberta Bacic, e a curadora e facilitadora de exposições e oficinas de arpilleras Esther Conti; minha participação em oficinas de produção da técnica, além de fotografias para registrar o processo. Entendemos que a importância deste estudo para o campo interdisciplinar das Performances Culturais é valiosa por tratar de uma experiência social, política, e artística que envolve transformações significativas, ainda pouco exploradas no meio acadêmico e em nosso país.

Submitted by Liliane Ferreira (ljuvencia30@gmail.com) on 2018-05-17T11:20:49Z No. of bitstreams: 2 Dissertação - José Carlos Lima Costa - 2017.pdf: 3820877 bytes, checksum: 55ad8b83213bc9a98bce44861d256fb1 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Approved for entry into archive by Luciana Ferreira (lucgeral@gmail.com) on 2018-05-17T13:24:46Z (GMT) No. of bitstreams: 2 Dissertação - José Carlos Lima Costa - 2017.pdf: 3820877 bytes, checksum: 55ad8b83213bc9a98bce44861d256fb1 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Made available in DSpace on 2018-05-17T13:24:46Z (GMT). No. of bitstreams: 2 Dissertação - José Carlos Lima Costa - 2017.pdf: 3820877 bytes, checksum: 55ad8b83213bc9a98bce44861d256fb1 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Previous issue date: 2018-05-05 / The present research intends to analyze the play "BR Trans", taking as base the performances and the performativities that emerge from its. I took the notion of performance in Butler as the guiding thread of the current research, which disarticulates the process of materialization and normalization of bodies by demonstrating that the gender is a repetition of stylized acts. I read "Trans BR" as a political, revolutionary manifesto because it manifests an action; it is a “war machine” against the exclusionary standards, based on the silencing of differences. “BR Trans” brings together narratives from the relations that Silvero Pereira established with the trans universe. Therefore, to think the play in analysis is to disassemble the current theatrical thought, proposing a Queer Theater, that is, a micropolitical, aesthetic and artistic agency that devours the structures of contemporary theater and proposes a new scene that, in fact, is a way of life activist, because it no longer seeks to move away from life, but life itself is taking shape in each scene. As a perspective of analysis, I adopted cartography, a method attributed to Deleuze and Guattari, and that it is a way of thinking that puts in check the norms, the notion of subject, roots and the image-tree of the world. In cartography, binarisms deconstructed are, because it operates through the rhizome, not the representation or decal of the world. It is a look that bets on thinking in transit, displacing and deterritorializing ways of thinking and living, and drag us to new processes of subjectivation. The emergence of post-structuralism and post-Nietzsche's nomadic thoughts, such as Foucault, Deleuze, and Guattari, and post-identities such as Butler's, made it possible to think of theater, especially theater, as art traversed by social issues such as a “war machine” against the devices that try to adapt the subjects to the established binarisms. / A presente pesquisa pretende analisar o espetáculo “BR Trans”, tomando como base as performances e as performatividades que emergem dele. Tomei, desta forma, como fio condutor da atual pesquisa, a noção de performance em Butler, a qual desarticula o processo de materialização e normalização dos corpos ao demonstrar que o gênero é repetição de atos estilizados. Leio “BR Trans” como um manifesto político, revolucionário, porque manifesta uma ação, é uma máquina de guerra contra os padrões excludentes, pautados no silenciamento das diferenças. “BR Trans” reúne narrativas provenientes das relações que Silvero Pereira estabeleceu com o universo trans. Portanto, pensar o espetáculo em análise é desestruturar o pensamento teatral vigente, propondo um Teatro Queer, ou seja, um agenciamento micropolítico, estético e artístico que devora as estruturas do teatro contemporâneo e propõe uma nova cena que, de fato, é um modo de vida ativista, porque já não procura afastar-se da vida, mas é a própria vida tomando forma em cada encenação. Como perspectiva de análise, adotei a cartografia, método atribuído a Deleuze e Guattari, e que se trata de uma forma de pensar que coloca em xeque as normas, a noção de sujeito, as raízes e a imagem-árvore do mundo. Na cartografia, os binarismos são desconstruídos, pois ela opera por intermédio do rizoma e não da representação ou decalque do mundo. É um olhar que aposta num pensar em trânsito, deslocando e desterritorializando modos de pensar e de viver, além de nos arrastar para novos processos de subjetivação. A emergência do pós-estruturalismo e de pensamentos nômades pós-Nietzsche, como Foucault, Deleuze e Guattari, e pós-identitários, como o de Butler, possibilitaram pensar o teatro, sobretudo o teatro, como arte atravessada por questões sociais, como uma máquina de guerra contra os dispositivos que tentam adequar os sujeitos aos binarismos estabelecidos.

Submitted by Luciana Ferreira (lucgeral@gmail.com) on 2018-06-29T11:28:28Z No. of bitstreams: 2 Dissertação - Oscélia Domingues Bonifácio Conrado - 2018.pdf: 3981057 bytes, checksum: a91e5baf28d84a190c65d6aef2945e1d (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Approved for entry into archive by Luciana Ferreira (lucgeral@gmail.com) on 2018-06-29T11:56:31Z (GMT) No. of bitstreams: 2 Dissertação - Oscélia Domingues Bonifácio Conrado - 2018.pdf: 3981057 bytes, checksum: a91e5baf28d84a190c65d6aef2945e1d (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Made available in DSpace on 2018-06-29T11:56:31Z (GMT). No. of bitstreams: 2 Dissertação - Oscélia Domingues Bonifácio Conrado - 2018.pdf: 3981057 bytes, checksum: a91e5baf28d84a190c65d6aef2945e1d (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Previous issue date: 2018-06-15 / The dissertational work The woman in the dance of the catira: reminiscences and transformations consists of introduction presenting the object of study and the initial routes that circumscribed; three chapters and the closing remarks. The work consists of a study on the presence and women's role in the dance catira in which we seek to see if the woman's role in dance catira is real or imagery and whether it acts with her femininity or incorporates a gestural and male cosmetic for being the dance traditionally attributed to the male gender. This time to answer these questions we develop a field research with two groups of catireiras, a city of Jesúpolis and other city Itaguari, both in the interior of Goiás and catireiros group of the city of Annapolis also inside of Goiás. In the process of the research, we identify the performance acts through two strands, that is, the performance in its individual and collective scope. / O trabalho dissertativo A mulher na dança da catira: reminiscências e transformações é composto de: Introdução, que apresenta o objeto de estudo e os percursos iniciais que o circunscreveram, três capítulos e as considerações finais. O trabalho consiste em um estudo sobre a presença e a atuação da mulher na dança da catira, no qual buscamos observar se a atuação da mulher na dança da catira é real ou imagética e se esta atua com sua feminilidade ou incorpora um gestual e estética masculina por ser a dança, tradicionalmente, atribuída ao gênero masculino. Dessa feita, para responder a essas indagações, desenvolvemos uma pesquisa de campo com dois grupos de catireiras, um da cidade de Jesúpolis e outro da cidade de Itaguari, ambos do interior de Goiás, e um grupo de catireiros da cidade de Anápolis, também, no interior de Goiás. No processual da pesquisa, identificamos os atos performáticos por meio de duas vertentes, ou seja, a performance no seu âmbito individual e coletivo.

A presente dissertação propõe uma análise ética e estética do espaço urbano em busca de um território de Pertencimento na cidade de São Paulo. Trata-se de uma pesquisa interdisciplinar que, fazendo uso do método da cartografia e da arte como busca epistemológica, observou, no cotidiano da autora migrante, diferentes perspectivas de estar no mundo e de construir formas potentes de pertencer a um lugar na contemporaneidade. Além de abordagens teóricas, foram utilizados experimentos poéticos que resultaram na criação de uma obra Instalação chamada Cidade/Labirinto, que mescla vídeo performances, esculturas, um ato performativo e uma publicação montada com colagens feitas a partir de impressos coletados nas derivas. / This paper proposes an ethical and aesthetic analysis of urban space in search of a territory of Belonging in the city of São Paulo. It is an interdisciplinary research, that uses the method of cartography and art as an epistemological search to observe in everyday migrant author, different perspectives of being in the world and to build powerful forms of belonging to a place in the contemporary time. They were used in addition to theoretical approaches, poetical experiments that resulted in the creation of a work installation called Cidade/Labirinto that mixes video performances, sculptures, a performative act and a publication mounted with collages made above printed collected in drifts.

Submitted by Luciana Ferreira (lucgeral@gmail.com) on 2015-01-27T14:22:46Z No. of bitstreams: 2 license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) Dissertação - Samuel Ribeiro Zaratim - 2014.pdf: 3271932 bytes, checksum: ce0450ea3717df01c0c150504f782035 (MD5) / Approved for entry into archive by Luciana Ferreira (lucgeral@gmail.com) on 2015-01-28T12:09:08Z (GMT) No. of bitstreams: 2 license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) Dissertação - Samuel Ribeiro Zaratim - 2014.pdf: 3271932 bytes, checksum: ce0450ea3717df01c0c150504f782035 (MD5) / Made available in DSpace on 2015-01-28T12:09:08Z (GMT). No. of bitstreams: 2 license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) Dissertação - Samuel Ribeiro Zaratim - 2014.pdf: 3271932 bytes, checksum: ce0450ea3717df01c0c150504f782035 (MD5) Previous issue date: 2014-08-06 / This work aims to understand the dynamics of production and organization of quadrilhas juninas from metropolitan area of Goiânia – GO. This work also has as theoretical contribution the reflection on the cultural performances field. The research distinguished itself by the analysis of the tension between the traditional and contemporary aspects found in the quadrilhas juninas, comprising the celebration and the spectacle. The period (2012 - 2013) of total immersion in the junino world proposes as a field research method the observational study of three groups of quadrilhas juninas. The backstage of quadrilhas juninas groups provided an interpretative analysis of the peculiarities of the visited groups allowing the interpretation of the data and a dense description of elements that concretize the communities involved. The reflections related to this work, point to the understanding of that, currently, the quadrilhas juninas, in the great Goiania/GO, coexist simultaneously with traditional elements that acquire new symbologies facing the transformations caused by the characteristic of spectacle that involves it. Thus the structures that comprises the new senses and meanings of the quadrilhas juninas dynamics aggregate tools of recognition, re-signification and identification through complex web of meanings, in this context analyzed by theory of culture, particularly the cultural performances. / Este trabalho visa compreender a dinâmica de produção e organização das quadrilhas juninas da região metropolitana de Goiânia/GO, tendo como aporte teórico a reflexão do campo das performances culturais. A pesquisa primou pela análise da tensão entre as dimensões que envolvem aspectos tradicionais e contemporâneos nas quadrilhas juninas, abrangendo a festa e o espetáculo. O período (2012 – 2013) de total imersão no mundo junino propõe como método de pesquisa de campo a observação direta de três grupos de quadrilhas juninas. Os bastidores dos grupos das quadrilhas juninas proporcionaram uma análise interpretativa das particularidades dos grupos visitados possibilitando a interpretação de dados e uma descrição densa de elementos que concretizam as comunidades envolvidas. As reflexões do trabalho apontam para o entendimento de que, atualmente, as quadrilhas juninas, na região da grande Goiânia/GO, convivem simultaneamente com elementos tradicionais que adquirem novas simbologias mediante as transformações provocadas pelo caráter de espetacularização que as envolve. Assim, as estruturas que compõem os novos sentidos e significados das dinâmicas das quadrilhas juninas agregam ferramentas de reconhecimento, ressignificação e identificação, mediante as complexas redes de significados, aqui analisadas no contexto da teoria da cultura, particularmente as performances culturais.

Submitted by Luciana Ferreira (lucgeral@gmail.com) on 2016-04-20T13:50:30Z No. of bitstreams: 2 Dissertação - Valeria Braga dos Santos - 2015.pdf: 2043833 bytes, checksum: 91d6e13f2ebb4b133a4f41ebf1606e2c (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) / Approved for entry into archive by Luciana Ferreira (lucgeral@gmail.com) on 2016-04-20T13:51:49Z (GMT) No. of bitstreams: 2 Dissertação - Valeria Braga dos Santos - 2015.pdf: 2043833 bytes, checksum: 91d6e13f2ebb4b133a4f41ebf1606e2c (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) / Made available in DSpace on 2016-04-20T13:51:50Z (GMT). No. of bitstreams: 2 Dissertação - Valeria Braga dos Santos - 2015.pdf: 2043833 bytes, checksum: 91d6e13f2ebb4b133a4f41ebf1606e2c (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) Previous issue date: 2015-11-13 / The purpose of this work is to study Memória Roubada I (Sculpture, 2001) done by the plastic artist Ana Maria Pacheco, born in Goiânia, 1943. This sculpture condenses and opens new paths at the Brazilian art and their fictional representation of our memory. This artwork establishes more than a simple relationship between the parts. It enters the world as an intervention, which puts the viewer in the center of the perceptive action and allows multiple interpretations and experiences. This study aims enlarges questions and reflections with regard to dynamics of the perceptive act and the ability to formulate thoughts. It seeks to understand the complexity of Memória Roubada I, its domains and relationship to memory, history and cultural performances. / A proposta deste trabalho é estudar a obra Memória Roubada I (escultura, 2001) da artista plástica goiana, Ana Maria Pacheco (1943), que amplia noções sobre o imaginário brasileiro no campo da visualidade. A obra configura-se, neste caso, como mais que uma simples relação entre a obra e seu apreciador. Ela se insere no mundo como uma intervenção, o que coloca o espectador no centro da ação perceptiva e permite múltiplas interpretações e vivências. O estudo, então, abrange questões e reflexões no que se refere às dinâmicas do ato perceptivo e à capacidade de agir e formular pensamentos. Procura ainda compreender a complexidade do grupo escultórico Memória Roubada I, seus domínios e sua relação com a memória, a história e as performances culturais.

Submitted by Luciana Ferreira (lucgeral@gmail.com) on 2017-05-10T12:19:05Z No. of bitstreams: 2 Dissertação - Juliana Ribeiro Marra - 2016.pdf: 14129673 bytes, checksum: 368901560da895950cda377a4d390d26 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Approved for entry into archive by Luciana Ferreira (lucgeral@gmail.com) on 2017-05-10T12:19:40Z (GMT) No. of bitstreams: 2 Dissertação - Juliana Ribeiro Marra - 2016.pdf: 14129673 bytes, checksum: 368901560da895950cda377a4d390d26 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Made available in DSpace on 2017-05-10T12:19:40Z (GMT). No. of bitstreams: 2 Dissertação - Juliana Ribeiro Marra - 2016.pdf: 14129673 bytes, checksum: 368901560da895950cda377a4d390d26 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Previous issue date: 2016-10-27 / Fundação de Amparo à Pesquisa do Estado de Goiás - FAPEG / This research aims at proposing a widening of the understanding of catira, a traditional dance of the Brazilian popular culture. The dance territorializes itself in the region of the caipira culture and has its structure founded in the clapping of hands and on step dancing of the dancers under the rhythm of the moda de viola and of the recortado. The viola is therefore the essential instrument for the dance. Catira is a dance but also music and poetry, which find identification with the rural world of the southern center of Brazil. Although the practice is considered contemporary of the country´s colonization – and the catira groups are many – there are few records and studies that go about it. Therefore, initially to introduce the dance, its forms and elements were presented and there has been an attempt to analyze them bearing in mind its insertion in the studies concerning popular culture and folklore in Brazil. Following that the theoretical and methodological approach of the research is outlined. Catira becomes then the focus of an analysis built within interdisciplinary knowledge. Focus in which, a method and categories of analyses of social sciences and also of the arts, are supposed. Cultural performances rise as the interpretative axis of the research, as long as in relationship with other concepts that also establish themselves in the multidisciplinary perspective – i.e. tradition, socialization, memory, body and dance. Bearing in mind these concepts, we reach the analysis of the records gained from the field research of the work. The analytical narrative is built from the interviews, observation and participation, theoretical relationships and audiovisual records, mainly the photographs taken in the fieldwork. Firstly the dance of the catira within the ritual of folia of Companhia de Reis Bandeira Vermelha, in the town of Goiás/GO, is analyzed. After that the focus is turned to the town of Itaguari/GO and its enormous Folia de Reis, where the groups Irmãos Oliveira e Orgulho Caipira are to be found. Finally having the experience lived with the groups as a referential, the analysis is deepened with focus on the identities, the power relationships and the negotiating carried by the groups of catira. The understanding is that the identities sought and lived are related to the places and territories in which this performing heritage of the caipira culture takes place. The endurance is characteristic of these bodies that move harmonized and in pairs since immemorial times, in the conjunctures of nowadays – if permitted indicating a path beforehand – in a future not envisioned. / Essa pesquisa tem como objetivo propor uma ampliação da compreensão sobre a catira, dança tradicional da cultura popular brasileira. A dança se territorializa na região de cultura caipira e tem sua estrutura fundamentada no palmeado e sapateado dos dançadores no ritmo da moda de viola e do recortado. A viola é, pois, o instrumento essencial à dança. Assim, catira é dança, mas também música e poesia que se identificam com o mundo rural do centro-sul do Brasil. Embora a prática seja considerada contemporânea à colonização do país – e os grupos de catira sejam muitos –, são poucos os registros e estudos que versam sobre ela. Neste sentido, inicialmente se apresentou a dança, sua forma e elementos e buscou analisa-la tendo em vista sua inserção nos estudos acerca da cultura popular e do folclore no Brasil. Em seguida, delineia-se a abordagem teórica e metodológica da pesquisa, e a catira passa a ser o foco de uma análise construída na interdisciplinaridade dos saberes, no qual supõe-se métodos e categorias de análise das ciências sociais, mas também das artes. As performances culturais emergem como eixo interpretativo da pesquisa, desde que em relação com outros conceitos que também se estabelecem na perspectiva multidisciplinar – a saber: tradição, socialização, memória, corpo e dança. Tendo em vista esses conceitos, chega-se à análise dos dados obtidos a partir do trabalho de campo realizado na pesquisa. A narração analítica é construída a partir de entrevistas, observação e participação, relações teóricas e registros audiovisuais, sobretudo as fotografias produzidas em campo. Primeiramente, se analisa a dança da catira inserida no ritual da folia da Companhia de Reis da Bandeira Vermelha, na Cidade de Goiás/GO e, posteriormente, o foco se desloca para a cidade de Itaguari/GO e sua imensa Folia de Reis, onde se encontram os grupos Irmãos Oliveira e Orgulho Caipira. Finalmente, tendo ainda como referencial a experiência vivenciada com os grupos, o estudo é aprofundado focando as identidades, as relações de poder e negociações empreendidas pelos grupos de catira. Entende-se que as identidades buscadas e vividas se relacionam com os lugares e territórios nos quais são produzidos esse patrimônio performático da cultura caipira e que a resistência é característica desses corpos que se movimentam, harmonizados e em duplas, desde tempos imemoriais, nas conjunturas da atualidade e – se for permitido indicar um caminho de antemão – em um futuro a perder de vista.