Modern scholarly theories of oral folk narrative suggest that urban legends contain expressions of cultural beliefs that can be understood both through the contexts in which these stories are told and through the elements of the stories that remain constant across multiple tellings by various narrators. This study centers exclusively on stories and popular culture products that utilize missing or damaged fingers, hands, or arms, in order to identify the cultural values that are attached to hands in American culture. These stories in particular were chosen because the severed hand was perceived at the onset to be a common element within stories that had not been broadly analyzed. The particular theories that drive this study are drawn from the fields of folklore, disability studies, psychology, and neuroscience, and suggest that stories about severed hands express belief about the nature of humanity. Once the hypothesis was formed, I turned to the Fife Folklore Archives of the Merril-Cazier Library at Utah State University in order to collect transcripts of interviews in which severed hand legends had been told. Three hundred fifty potential texts were initially identified, and two hundred fifty featured a mention of severed hands. Those texts were then classified by what role the severed hand played in the course of the story into three distinct categories: villains with severed hands and prosthetics, victims who lose hands in the course of the narrative, and severed hands appearing in pranks or as contaminants. The narratives of each category were then analyzed, and themes of evil, risk, safety, and crossed boundaries began to emerge. To verify the cultural themes of the textual study, popular culture narratives were then analyzed to determine if similar themes were expressed. This set of narratives included movies, television, comic books, and novels. While the same themes were expressed in these narratives, the categories of evil and crossed boundaries each featured subverted forms of heroism and hands as characters as well, all of which supported the original interpretation. The results indicate that severed hands in American narratives represent lost humanity, and therefore that the hand is a vital part of how individuals within the culture might perceive their own humanity.

Made available in DSpace on 2016-04-26T18:18:47Z (GMT). No. of bitstreams: 1 Natalia Eunice Paiva Moreira.pdf: 1414671 bytes, checksum: a64da425a26b2aba68f8ba150207fca0 (MD5) Previous issue date: 2010-07-02 / This research processes and analyzes the popular contemporary narratives that are told in Brazil. The material was collected through bibliographical researches and interviews. This work aims to explain how the urban legend phenomenon is constituted of media production and historical and cultural environment, plus social, political and cultural mediations and impacts over daily life. The urban legend in this work is seen as an actualization of tradition, which is build in a mobile cultural network that involves orality and multiple media supports (such as newspaper, internet, mobile phone). This creative network reveals anxieties, interdictions, fears and prescriptions of a determined society in a determined place. The main references of this research are the contemporary legend studies, such as Paul Smith, Gillian Bennet, Jean-Bruno Renard, Jean-Nöel Kapferer, Véronique Campion-Vincent; the ideia of mythpoetics found in the work of Eleazar Meletinski; the cultural studies of Jerusa Pires Ferreira and Jesus Martin-Barbero; the idea of semiosphere, from Iuri Lotman. The collected material is analyzed in its internal and external aspects. The goal is to understand how each urban legend is constituted and how it operates in determined society and place / Esta dissertação mapeia, processa e analisa as narrativas populares contemporâneas que circulam no Brasil, a partir de pesquisas bibliográficas e de entrevistas. O objetivo é refletir sobre o fenômeno lenda urbana a partir das relações entre a produção midiática e o ambiente histórico e cultural, implicando, nesse recorte, as mediações e os impactos sociais, políticos e tecnológicos na organização da vida cotidiana. A lenda urbana é aqui vista como uma atualização de repertórios da tradição, que se articulam numa rede de cultura viva e móvel, que envolve oralidade e migra de suportes (para jornal, internet), em uma rede de recriação, revelando anseios, prescrições, interdições e desejos de determinada sociedade, em determinado espaço. As referências teóricas estão ligadas ao estudo do lendário contemporâneo, como Paul Smith, Gillian Bennet, Jean-Bruno Renard, Jean-Nöel Kapferer, Véronique Campion-Vincent; à idéia de mitopoética de Eleazar Meletínski; à constituição de sociabilidades no espaço urbano, em Janice Caiafa; ao conceito de cultura das bordas , de Jerusa Pires Ferreira, e de produção popular-massiva , de Jesús Martín-Barbero; à multiplicidade de suportes na comunicação e constituição de novas maneiras de expressar, como em Lúcia Santaella. Toda essa discussão é apoiada, no background, pela semiótica da cultura de Iuri Lótman e seu conceito de semiosfera, e o material recolhido é analisado em seus aspectos internos e externos , com a finalidade de compreender o modo de ser e a inserção de cada lenda urbana em determinado ambiente

Made available in DSpace on 2014-12-17T15:07:10Z (GMT). No. of bitstreams: 1 ValdirMS_DISSERT.pdf: 1165784 bytes, checksum: e09c8ae650aaf09bf77116ad1c4e2f7f (MD5) Previous issue date: 2014-01-28 / This current study consists in an analysis of the work Contos de enganar a morte (2004), of the novelist, illustrator and researcher of popular culture Ricardo Azevedo, aiming to highlight aspects and elements present in this work which show the update and the permanence of traditional popular narratives, widespread by orality, especially those collected by the Lu?s da C?mara Cascudo in Literatura oral no Brasil (1984), linked to the category of the Cycle of the Death and Tales of the Deceived Demon. It is argued that the symbolic, playful, humor and aspects of orality, evident in these narratives are cultural possessions own of a popular tradition that diffuses, is updated and maintained by the memory of handmade anonymous narrators (BENJAMIN, 1994), poets and brazilian singers of cordel, holders of the traditional knowledge not established, but polyphonic, dialogical and democratic in essence (BAKHTIN, 1996). Still, alongside the people who know and counts the stories of Trancoso and Fairies, the tale, as a written literary genre, has allowed to maintain outstanding the same subjects successively renewed, enabling the resistance of popular narrative tradition and understanding and appreciation of popular orality (ZUMTHOR, 1993; 2000) and of the updates performed in the contemporarity (CANDIDO, 1976), without losing sight of the singularity and autonomy of the literary work / O presente estudo consiste em an?lise comparativa objetivando ressaltar a atualiza??o e a perman?ncia entre narrativas populares tradicionais, pr?prias da tradi??o oral, em especial as coligidas por Lu?s da C?mara Cascudo, em Literatura oral no Brasil (1984), vinculadas ? categoria dos Contos de Dem?nio Logrado e do Ciclo da Morte, e os Contos de enganar a morte (2004), do ficcionista, ilustrador e pesquisador de cultura popular Ricardo Azevedo. Nesta obra, tra?os e motivos recorrentes nas narrativas orais est?o vivos e duradouros, evidenciando a perman?ncia das narrativas tradicionais, difundidas na Idade M?dia (SARAIVA, 1996; DUBY, 1988; 1990), atualizadas na contemporaneidade especialmente pelo g?nero liter?rio conto. Defende-se que o car?ter simb?lico, l?dico e o humor inerentes a essas narrativas orais (ZUMTHOR, 1993; BURKE, 2010) s?o bens culturais pr?prios de uma tradi??o popular que se difunde, se atualiza e se mant?m pela mem?ria (BOSI, 2006; BRANDAO, 2008) de narradores artesanais an?nimos (BENJAMIN, 1994), poetas e cantores de cordel (FERREIRA, 1979) ainda existentes nos rec?nditos dos sert?es brasileiros, detentores de um saber tradicional n?o institu?do, mas polif?nico, dial?gico e democr?tico em ess?ncia (COELHO, 1991, 2003; TURCHI, 2004; BAKHTIN, 1996). Boa parte dessas narrativas que t?m se tornado cl?ssicos catalogados como Literatura Infantil s?o maravilhas nascidas na boca do povo e muito ap?s ? que se popularizaram em adapta??es do mercado liter?rio (COELHO, 1991; BENJAMIN, 1994). Al?m disso, ao lado do povo que sabe e ainda conta est?rias de Trancoso e de Fadas, o g?nero liter?rio conto tem podido manter em circula??o os mesmos assuntos sucessivamente renovados (CASCUDO, 1984), possibilitando o resgate da narrativa oral tradicional, bem como a compreens?o e valoriza??o tanto da tradi??o popular oral quanto da renova??o imposta por nosso tempo, perenizando-se a concep??o est?tica filtrada por elementos sociais sincr?nicos e diacr?nicos (C?NDIDO, 1976), sem perder de vista a singularidade e a autonomia da obra liter?ria

Submitted by Leonardo Lima (leonardoperlim@gmail.com) on 2016-04-11T14:36:12Z No. of bitstreams: 2 Seu Paulo - a escrita no barro.pdf: 4210919 bytes, checksum: 17d895ef7cf8318db86ed788f8e47f67 (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) / Approved for entry into archive by Aline Batista (alinehb.ufpel@gmail.com) on 2016-04-11T16:13:32Z (GMT) No. of bitstreams: 2 Seu Paulo - a escrita no barro.pdf: 4210919 bytes, checksum: 17d895ef7cf8318db86ed788f8e47f67 (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) / Approved for entry into archive by Aline Batista (alinehb.ufpel@gmail.com) on 2016-04-11T16:16:30Z (GMT) No. of bitstreams: 2 Seu Paulo - a escrita no barro.pdf: 4210919 bytes, checksum: 17d895ef7cf8318db86ed788f8e47f67 (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) / Made available in DSpace on 2016-04-11T16:16:39Z (GMT). No. of bitstreams: 2 Seu Paulo - a escrita no barro.pdf: 4210919 bytes, checksum: 17d895ef7cf8318db86ed788f8e47f67 (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) Previous issue date: 2014-10-22 / Sem bolsa / A dissertação “Seu Paulo – a escrita no barro: um Outro Sujeito, um Sujeito Outro, uma Pedagogia Outra, uma Outra Pedagogia”, partilha da interação entre os pressupostos metodológicos que caracterizam o estudo de caso, a observação participante, a entrevista narrativa e a etnografia surrealista. Nesta dinâmica o “corpus” do trabalho indica como resultado a proposta da surrealização da escrita de pesquisa (BUSSOLETTI, 2013) problematizando a escultura enquanto narrativa dentro de um processo educativo de resistência cultural e social e capaz de mostrar Outros Sujeitos,Outras Pedagogias. Para o desenvolvimento dessa discussão são utilizados na centralidade autores como Walter Benjamin e Friedrich Nietzsche, aproximando-os da perspectiva da Pedagogia Crítica de Peter McLaren e de Henry Giroux e culminando através da cumplicidade com Miguel Arroyo na defesa dos denominados “Outros Sujeitos e Outras Pedagogias”. A proposta é de que através de um estudo deste caso único possamos ter elementos para estabelecer um diálogo entre educação e arte e reafirmar a educação nos marcos de uma Pedagogia da Fronteira. / The dissertation "Seu Paulo- a escrita no barro: um Outro Sujeito, um Sujeito Outro, uma Pedagogia Outra, uma Outra Pedagogia" (Seu Paulo- Writing in the Clay: Another Subject, an Other Subject, Another Pedagogy, a different Pedagogy) emerges from the interaction between the assumed methodologies that characterize the case study- participant observation, the narrative interview, and surrealist ethnography. In this vein, the "corpus" of the work explores the intentional use of surrealization of written research, problematizing the position of sculpture as a narrative working within an educational process of cultural and social resistance, as a medium capable of revealing alternative subjects and pedagogies. In the development of his argument, this author primarily draws upon the works of Walter Benjamin and Friedrich Nietzsche, as well as Peter McLaren and Henry Giroux's perspectives on critical pedagogy. Finally, this author applies the works of Miguel Arroyo in support of his defense of the so-called "other subjects and other pedagogies". The final proposal being that, through the study of this unique case, one might find elements that work in unison to establish a dialogue between the arts and education, and thus reaffirm education as one of the goals of Frontier/ Border Pedagogy.

The present research aims to define how the discourses, written and published in the second half of the 19th century, and present in Sílvio Romero's work were in dialogue to define a "place" for the national popular culture, in a confluence of manifestations that went from the field to the city, through its historical, ethnographic and literary narratives, in the collection and transmission of songs (folk songs), folk tales, customs, traditions, profans and religious festivals, devotions, cults, prayers, tracing a picture of the social constitution of the wonderful and fascinating popular universe erected by the discursive sign of Brazilian people's miscegenation, searching, in these entangled nodes, to find the fossilized roots of the past imaginary, in ourselves and in others, immersed in the fringe of the various stories told and refold by the simple people, and materialized in time and in the blotter of some intellectuals. Then we use some of the author's works, such as: Popular Songs of Brazil (1883), Popular Tales of Brazil (1885), Studies on Popular Poetry in Brazil (1888), The History of Brazilian Literature (1808), which present themselves as documentary contributions for the understanding of an era and its sociocultural mentality, besides being also constituted is the first written records on the national oral history literature. / A presente pesquisa se propõe a definir como os discursos, escritos e publicados na segunda metade do século XIX, e presentes na obra de Sílvio Romero dialogavam no sentido de definir um “lugar” para a cultura popular nacional, numa confluência de manifestações que iam do campo à cidade, através de suas narrativas históricas, etnográficas e literárias, na recolha e transmissão de cantos (cantigas), contos (causos populares), costumes, tradições, festas profanas e religiosas, devoções, cultos, orações, parlendas, tipos populares e folguedos, traçando um quadro do tecido social do mágico e fascinante universo popular erigido que foi pelo signo do mote discursivo da mestiçagem do povo brasileiro, buscando nesses nós enredados, encontrar as raízes fossilizadas do imaginário pretérito, em nós e nos outros, imerso na franja das várias estórias contadas e recontadas pelo povo simples, e materializadas no tempo e no mata-borrão de intelectuais da causa. Nesse sentido, nos servimos de algumas das obras do autor, tais como: Cantos Populares do Brasil (1883), Contos Populares do Brasil (1885), Estudos sobre a Poesia Popular no Brasil (1888), História da Literatura Brasileira (1888), os quais se nos apresentam como aportes documentais para a compreensão de uma época e de sua mentalidade sociocultural, para além de constituírem-se, também, nos primeiros registros escritos da literatura histórica oral da nação.

Made available in DSpace on 2014-08-20T13:47:55Z (GMT). No. of bitstreams: 1 Cristiano Guedes Pinheiro_Dissertacao.pdf: 2353517 bytes, checksum: cac9b76167b7f415663110dc1f0eac4c (MD5) Previous issue date: 2013-03-27 / The dissertation Narratives of Education and Resistance: The Griot Popular Practice of Mrs Sirley, addresses the problem of a popular narrative as a process of education and resistance in our days. Based on the methodological assumptions of the case study, participant observation and narrative interview, the research deals with the following issue: can the practice of popular narratives, by means of a specific subject, be perceived as an educational and resistance process? In the context of this discussion, authors like Walter Benjamin, Homi Bhabha and Pedrinho Guareschi are used and read from the perspective of the Critical Pedagogy by Peter McLaren and Henry Giroux. At the end, the practice of storytelling griot is proposed as a process of education and resistance in the framework of a border pedagogy. / A dissertação Narrativas de Educação e Resistência: A Prática Popular Griô de Dona Sirley, problematiza uma prática narrativa popular enquanto processo educativo e de resistência na atualidade. Partindo dos pressupostos metodológicos do estudo de caso, da observação participante e da entrevista narrativa, a pesquisa trabalha com a seguinte questão: a prática das narrativas populares, através de um sujeito específico, pode ser apreendida como processo educativo e de resistência? No contexto dessa discussão são utilizados autores como Walter Benjamin, Homi Bhabha e Pedrinho Guareschi, aproximando-os da perspectiva da Pedagogia Crítica de Peter McLaren e de Henry Giroux. Por fim, propomos a prática da contação de histórias griô, como processo educativo e de resistência nos marcos de uma pedagogia da fronteira.

Thesis (PhD (English))--University of Stellenbosch, 2010. / ENGLISH ABSTRACT: This thesis undertakes a comparative examination of South African and Kenyan auto/biographical narratives of crime and imprisonment. Although some attention is paid to narratives of political imprisonment, the study focuses primarily on autobiographical accounts by criminals, confessional narratives, popular fiction about crime and prison experience, and journalistic accounts of prison life. There is very little critical work at this moment that refers to these forms of prison writing in South Africa and Kenya. Popular prison narratives and to a certain extent the autobiographical in general are characterised by an under-theorised dialecticism. As academic concepts, both the popular and the autobiographical form are characterised by an unstable duality. While the popular has been theorised as being both a field of resistance to power and of consent to its demands, the autobiographical occupies a similar precariously divided position, in this case between fact and fiction, a place where the „I‟ that narrates is simultaneously the subject and object of the narrative. In examining an eclectic body of texts that share the prison as common denominator, my study problematises the tension between self and world, popular and canonical, political and criminal, factual and fictional. In both settings, South Africa and Kenya, the prison as a material and discursive space does not only mirror society but effects shifts and changes in society, and becomes a space of dynamic adaptation and also a locus that disturbs certain hegemonic relations. The way in which the experience of prison opens up to a fundamentally unsettling ambiguity resonates with the ambivalence that characterises both autobiography as genre and the popular as a theoretical concept. My thesis argues that during the entire historical period covered by the narratives that I examine there is a certain excess that attends on the social production of criminality and the practice of imprisonment, both as material realities and as discursive concepts, which allows them to have a haunting effect both on individuals‟ notions of „the self‟ and the constitution of national identities and nationhoods. I argue that the distinction between the colonial and the postcolonial prison is hazy. Therefore a comparative study of Kenyan and South African prison literature helps us understand how modern prisons and notions of criminality in contemporary Africa are intertwined with the broad European colonial project, reflecting larger issues of state power and control over the populace. In relation to South Africa, my study begins with Ruth First‟s 117 Days (1963), and makes a selection of other prisons narratives throughout the apartheid era up to the post-apartheid period which was ushered in by Mandela‟s Long Walk to Freedom (1994). Moving beyond Mandela, I examine other forms of South African crime and prison narratives which have emerged since the publication of Pumla Gobodo-Madikizela‟s A Human Being Died that Night (2003) and Jonny Steinberg‟s The Number (2004). In Kenya, I begin with Ngugi wa Thiongo‟s Detained (1981). I then focus on popular narratives of crime and imprisonment which began with the publication of John Kiriamiti‟s My Life in Crime (1984) up to the first decade of the 21st century, marked yet again by the publication of Kiriamiti‟s My Life in Prison (2004). Besides Kiriamiti‟s two narratives, the other Kenyan texts which I examine are John Kiggia Kimani‟s Life and Times of a Bank Robber (1988) and Prison is not a Holiday Camp (1994), Benjamin Garth Bundeh‟s Birds of Kamiti (1991), and Charles Githae‟s, Comrade Inmate (1994). / AFRIKAANSE OPSOMMING: My proefskrif onderneem ‟n vergelykende studie van Suid-Afrikaanse en Keniaanse auto/biografiese narratiewe van misdaad en gevangeneskap. Hoewel aandag tot ‟n mate geskenk word aan verhale van politieke gevangeneskap, is die primêre fokus van die studie eerder op autobiografiese narratiewe deur misdadigers, konfessionele narratiewe, populêre fiksie met betrekking tot misdaad en gevangenis-ondervindinge, sowel as joernalistieke verslae oor gevangenes se lewens agter tralies. Min kritiese werk is tot dusver in verband met hierdie vorme van gevangenis-narratiewe in Suid-Afrika en Kenia gedoen. Populêre prisoniers-narratiewe, en tot ‟n mate autobiografieë oor die algemeen, word deur ‟n onder-geteoriseerde dialektisisme gekenmerk. As akademiese konsepte word beide die populêre en die autobiografiese vorme deur ‟n onstabiele dualisme gekenmerk. Terwyl die populêre tipe geteoretiseer word as sowel ‟n vorm van weerstand teen mag as van toegee daaraan, word aan die autobiografiese tipe ‟n soortgelyke onstabiele, verdeelde rol toegeskryf – in hierdie geval, tussen feitelikheid en fiksie, ‟n plek waar die “ek” wat vertel terselfdertyd die subjek en objek van die verhaal is. Deur middel van ‟n eklektiese versameling van tekste wat die gevangenis as verwysingspunt deel, problematiseer my verhandeling die spanning tussen self en wêreld, die populêre en die gekanoniseerde, die politieke en die kriminele, die feitelike en die fiktiewe. In beide kontekste, Suid-Afrika en Kenia, weerspieël die gevangenis as diskursiewe spasie nie alleenlik die gemeenskapsomgewing nie, maar veroorsaak dit ook veranderings en verskuiwings in die gemeenskap – sodoende word die gevangenis self ‟n ruimte van dinamiese verandering en ‟n plek wat sekere hegemoniese verhoudings versteur. Die manier waarop die ondervinding van gevangeneskap lei tot ‟n fundamentele versteurende dubbelsinningheid resoneer met die dubbelsinnigheid wat beide die autobiografiese as genre en die populêre as teoretiese konsep karakteriseer. My tesis voer aan dat, gedurende die ganse historiese tydperk wat gedek word deur die narratiewe wat ek hier betrag, daar ‟n sekere oormaat is wat die sosiale produksie van misdaad en die toepassing van gevangesetting begelei, beide as stoflike werklikhede en as diskursiewe konsepte, wat hulle toelaat om ‟n kwellende effek uit te oefen beide of individuele mense se sin van „self‟ en die samestelling van nasionale identiteite en nasionaliteite. Ek voer aan dat die onderskeid tussen die koloniale en die postkoloniale gevangenis onduidelik is, en dat ‟n vergelykende studie van Keniaanse en Suid-Afrikaanse gevangenes-narratiewe ons dus help om te verstaan hoe moderne tronke en idees oor misdaad in Afrika deureengevleg is met die breë Europese koloniale projek, en groter kwessies van staatsmag en beheer oor die bevolking weerspieël. In Suid Afrika begin my studie met Ruth First se 117 Days (1963), en maak dan ‟n seleksie van ander gevangenes-narratiewe van die apartheid-era tot en met die post-apartheid oomblik wat deur Mandela se Long Walk to Freedom ingelui word. Ek vestig dan my aandag op ander vorme van Suid-Afrikaanse misdaad- en gevangenes-narratiewe wat sedert die publikasie van Pumla Gobodo-Madikizela se A Human Being Died that Night (2003) en Jonny Steinberg se The Number (2004) verskyn het. In Kenia begin ek met Ngugi wa Thiongo se Detained (1981), en kyk dan ten slotte na populêre narratiewe van misdaad en gevangeneskap wat hulle aanvang vind met die publikasie van John Kiriamiti se My Life in Crime (1984) tot en met die eerste dekade van die 21ste eeu, nogmaals gemerk deur die publikasie van Kiriamiti se My Life in Prison (2004).