La gazéification est un procédé de conversion thermochimique permettant de convertir un combustible solide en gaz de synthèse (syngaz), composé notamment de H2 et CO. L’utilisation de déchets non-dangereux sous forme de CSR doit, en plus de fournir une énergie avec de bons rendements, respecter les normes environnementales. Nos travaux évaluent les performances énergétiques et environnementales de la gazéification à l’air de CSR (bois, pneus, plastiques, boues de STEP) en réacteurs en lit fixe co-courant à l’échelle pilote et industrielle. Les méthodes d’analyse utilisées permettent un suivi de la composition du syngaz, ainsi que des polluants (soufrés, azotés, goudrons, métaux lourds) dans les effluents du procédé, par rapport à une ressource propre (bois brut). Les performances de gazéification du CSR Bois sont identiques au Bois. Cependant un ajout de 20%m de CSR Pneus, Plastique ou Boues de STEP à du CSR Bois conduit à une diminution de H2 et CO compensée par une augmentation d’hydrocarbures légers (CH4, C2), conduisant à un pouvoir calorifique similaire, compris entre 4,9 et 5,4 MJ/Nm3. Les performances de gazéification sont légèrement plus fiables avec les mélanges de CSR, entre 35 et 49% alors qu’elles atteignent 48 à 52% pour le Bois et le CSR Bois. Par rapport au Bois, seuls les composés azotés sont en plus grand nombre pour le CSR Bois. Pour les mélanges de CSR, les teneurs en goudrons, composés soufrés et azotés sont plus élevées. De plus, les teneurs en métaux lourds sont plus élevées dans les fines particules que dans les charbons, demandant probablement un traitement particulier. / Gasification is a thermochemical conversion process converting solid fuel into synthetic gas (syngas), containing H2 and CO. Sorting waste to produce SRF aims to allow a better energy recovery of waste, while satisfying environmental regulations. This study focuses on energetic and environmental performances of the air gasification of SRF (wood, tire, plastics, sewage sludge) using downdraft fixed bed reactors at pilot and industrial scale. Analytical procedures allow quantification of syngas composition as well as pollutant contents (sulfur, nitrogen, tars, heavy metals) in gasification outlet streams, considering raw wood as a reference. SRF Wood gasification performances are identical to Raw Wood. However adding 20%w of SRF Tire, Plastics or Sewage Sludge to SRF Wood leads to a decrease in H2 and CO contents, balanced by an increase in light hydrocarbons (CH4, C2), resulting in a similar syngas calorific value, ranging between 4.9 and 5.4 MJ/Nm3. Gasification performances are slightly lower with SRF mixes, ranging between 35 and 49%, while reaching 48 to 52% for Raw Wood and SRF Wood. Compared to Wood, only nitrogen containing pollutants are in higher concentrations with SRF Wood. In the case of SRF mixes, tars, sulfur and nitrogen containing pollutants are in higher concentrations. Moreover, heavy metals contents are higher in fine particles than in chars, resulting in a particular post-treatment.

Conselho Nacional de Desenvolvimento CientÃfico e TecnolÃgico / Nesta dissertaÃÃo, acompanho as trajetÃrias de jovens âafinadosâ com o gÃtico em seus circuitos de lazer na cidade de Fortaleza, a fim de observar como eles vivenciam uma experiÃncia com esse mundo artÃstico em diferentes espaÃos e eventos musicais. Trago para a pesquisa os seguintes questionamentos: como esses jovens produzem uma experiÃncia com o gÃtico a partir desses encontros? O que distingue ou caracteriza essa experiÃncia? O trabalho compreende uma descriÃÃo das trajetÃrias, eventos, performances, consumos e afetos que constituem e caracterizam esses encontros, ao mesmo tempo em que busca traÃar a multiplicidade de interaÃÃes e de fluxos que atravessam as subjetividades desses jovens. Na investigaÃÃo, utilizo o conceito de mundo artÃstico elaborado por Becker (2010) como estratÃgia metodolÃgica para pensar o universo gÃtico como uma rede de cooperaÃÃo entre indivÃduos em torno de trabalhos de arte, no caso, a arte gÃtica. / In this dissertation, I accompany young trajectories tune with the Gothic in their leisure circuit in Fortaleza city, in order to observe how they lived an experience with this art world in different spaces and musical events. I bring to research the following questions: how these young people produce an experience with gothic from these meetings? What distinguishes or characterizes this experience? The work includes a description of the trajectories, events, performances, consumptions and affections that constitute and characterize these meetings, while seeking to describe the multiplicity of interactions and flows through the subjectivities of these young people. During the investigation, I use the concept of art world prepared by Becker (2010) as a methodological strategy into think of the gothic universe as a network of cooperation between individuals around artworks in the case, the Gothic art.

Submitted by Leonardo Cavalcante (leo.ocavalcante@gmail.com) on 2018-04-10T17:47:48Z No. of bitstreams: 1 Aquivototal.pdf: 2468381 bytes, checksum: 8f96e778981206f36a1cb075bf76e1d8 (MD5) / Made available in DSpace on 2018-04-10T17:47:49Z (GMT). No. of bitstreams: 1 Aquivototal.pdf: 2468381 bytes, checksum: 8f96e778981206f36a1cb075bf76e1d8 (MD5) Previous issue date: 2016-08-19 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / Based on gender studies, media representation and Queer Theory, this research discusses the construction of identities, bodies and sexualities of trans characters in Pedro Almodovar's films, on the assumption that the filmmaker uses in his work elements that create questions about the conception of subjects, showing new ways of thinking truths about individuals, presented in his films, from slippery and fluid optical that does not hold the intelligibility standards that try to crystallize the social understanding of the bodies, identities and sexual experiences. / Baseado nos estudos de gênero, representação midiática e Teoria Queer, a pesquisa discute a construção das identidades, corpos e sexualidades das personagens trans nos filmes de Pedro Almodóvar. O trabalho parte do pressuposto que o cineasta utiliza em sua obra elementos que criam questionamentos sobre a concepção dos sujeitos, mostrando novas formas de pensar as verdades sobre os indivíduos, apresentados, nas suas películas, a partir de óticas escorregadias e fluidas que não se prendem às normas de inteligibilidade que tentam cristalizar a compreensão social acerca dos corpos, das autoafirmações identitárias e das vivências sexuais. As personagens revelam que determinados saberes tidos como únicos são mais plurais e múltiplos do que as regras normativas tentam impor.

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.