Submitted by Jaqueline Duarte (1157279@mackenzie.br) on 2018-04-09T20:27:57Z No. of bitstreams: 2 Patricia Dias Creti.pdf: 6721651 bytes, checksum: e7697edb6fd44651595d49a790cefc19 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Approved for entry into archive by Eliana Barboza (eliana.silva1@mackenzie.br) on 2018-04-10T14:24:22Z (GMT) No. of bitstreams: 2 Patricia Dias Creti.pdf: 6721651 bytes, checksum: e7697edb6fd44651595d49a790cefc19 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Made available in DSpace on 2018-04-10T14:24:22Z (GMT). No. of bitstreams: 2 Patricia Dias Creti.pdf: 6721651 bytes, checksum: e7697edb6fd44651595d49a790cefc19 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Previous issue date: 2018-02-05 / This work aims to establish a theoretical and practical reflection between Anthropology and Art. Under the approach of the Anthropology of Performance, we delve into the experience of the huni kuin people, who inhabit Acre, in the Huwã Karu Yuxibu village. From the field research, materials were collected in the form of poetic writing, which was registered in a logbook to support the construction of an artistic process. Focusing on the memories of the journey and how they affect and permeate the artist-body, the research analyzes the Nixi Pae ritual to understand the relationship between ritual and performance. Based on these investigations, we develop the concept of a body as inscription of the experience in time. The concepts of memory, forgetfulness, territoriality and ethnic transfiguration permeate and weave theories on the indigenous culture and unfold into the artistic work. The space, figured in the poetics of the forest and the city, is traveled, revealing a performatic score and a practical process proposal of a moving body. / Este trabalho objetiva estabelecer a reflexão teórico-prática entre Antropologia e Arte. Sob o recorte da Antropologia da Performance, adentra-se na experiência do povo huni kuin, da aldeia Huwã Karu Yuxibu, no Acre. A partir da pesquisa de campo, foram recolhidos materiais na forma de escrita poética, registrada em um diário de bordo para amparo na construção de um processo artístico. Com enfoque nas memórias da viagem, e de como estas afetam e impregnam o corpo-artista, a pesquisa faz uma análise do ritual Nixi Pae para entender as relações entre ritual e performance. Com base nestas investigações, surge o conceito de um corpo que é inscrição da experiência no tempo. Os conceitos de memória, esquecimento, territorialidade e transfiguração étnica permeiam e tecem as teorias a respeito da cultura indígena e desdobram-se no trabalho artístico. O espaço, figurado na poética da floresta e da cidade, é percorrido, desvelando uma partitura performática e uma proposta de processo prático de um corpo em movimento.

Orientador: Marcio Ferreira da Silva / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas / Made available in DSpace on 2018-08-03T19:32:05Z (GMT). No. of bitstreams: 1 DalPozNeto_Joao_D.pdf: 8264039 bytes, checksum: ae7591c9e908a4a0f8772576c6c7e445 (MD5) Previous issue date: 2004 / Doutorado

Orientadores: Veronica Fabrini Machado de Almeida, Elizabeth Bauch Zimmermann / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-04T04:15:22Z (GMT). No. of bitstreams: 1 Nunes_AlexandreSilva_M.pdf: 899513 bytes, checksum: aa7d9b5a999bf0be4d2143de1d5310d0 (MD5) Previous issue date: 2005 / Resumo: A questão da interioridade do ator, em seu trabalho artístico, tem demandado, já há mais de um século, a atenção de diversos encenadores e teóricos teatrais. Paralelamente a esse movimento de atenção à subjetividade do ator, tem havido forte retomada de interesse pelas origens de sua arte, num ambiente cultural cada vez mais caracterizado pela pluralidade de formas e pela experimentação. Neste mesmo ambiente, a psicologia teve nascimento, enquanto ciência, estruturou-se e desestruturou-se, ao longo de um século. Um dos pais da psicologia profunda, Carl Gustav Jung, se dedicou ao estudo da alma humana, através de imagens de sonhos, mitos e símbolos da cultura. Em sua teoria, a alma possui uma característica teleológica, que aponta para o chamado processo de individuação, através do qual, potencialidades inatas da personalidade podem se desenvolver. Esta temática permanece até os dias de hoje, encontrando no pós-junguiano James Hillman um de seus principais expoentes. Hillman é um dos criadores do movimento psicológico denominado psicologia arquetípica, que tem buscado aproximar a psicologia (ou seja, o logos de psyqué) da cultura, das artes e da filosofia, em lugar do consultório médico. Recebendo influências de Henry Corbin e do renascimento florentino, Hillman demonstra a relação que existe entre a alma e a morte, e que a individuação junguiana pode ser vista como um processo de fazer a alma. Nesta dissertação, procuro coadunar a idéia do fazer a alma com o processo de formação e atuação em artes cênicas, usando a psicologia arquetípica como ferramenta para ampliar as discussões acerca da interioridade do ator e de sua relação com a corporeidade da cena / Abstract: The inner state of an actor, as well as the origins of the actor's art has been subject of discussions by directors and researchers in the field of theatre studies for more than a century. The cultural diversity and the development of science allowed researches in the field of psciology. Carl Gustav Jung dedicated his life to study the human soul, through dreams, myths and symbols of human culture. In his theory, the human soul has characteristics, which develops an individual process, allowig the inherents personality aspects of a person to develop. James Hillman developed jung's ideas in what is called archetipical psicology. This field of studies understand that the interweaving between psicology, arts, culture and philosophy is important to understand human kind as a whole. Hillman demonstrates the relationship between soul and death and believes that the jung's individual process can be understood as a way to create the soul. This dissertation intends to get hllman's concept and extend it to theatre studies in order to discuss the inner state of the actor and the relationship of the actor with the scene that is created. / Mestrado / Artes / Mestre em Artes

Este artículo trata sobre los espectáculos televisivos, y se propone esbozar una explicación de los mitos audiovisuales que consumimos y sobre por qué los consumimos de forma ritual. En la primera parte, se ofrece una definición de los espectáculos televisivos; en la segunda parte, se propone una teoría y metodología para el estudio de los mitos y ritos audiovisuales; y, en la tercera parte, se postulan las funciones rituales del consumo de mitos audiovisuales. / This paper is about television spectacles, and it intends to outline an explanation of the audiovisual myths that we consume and why we consume them ritually. In the first part, we offer a definition of television spectacles; in the second part, we propose a theory and methodology for the study of audiovisual myths and rites; and, in the third part, we postulate the ritual functions of the consumption of audiovisual myths.

Les musées et les zoos d’Afrique de l’Ouest apparaissent comme des « nouveaux terrains » pour la recherche ethnologique et invitent à articuler une anthropologie historique et une ethnographie de la mise en exposition (une ethnomuséologie). L’étude conjointe de ces musées et de ces zoos permet en effet de questionner à la fois les transformations historiques (notamment postcoloniales) que la présentation d’objets et d’animaux vivants subit et les différents usages qui en sont faits. Ce sont ces usages qui donnent un sens et une fonction sociale à la mise en exposition. En donnant à lire les résultats d’une recherche ethnographique approfondie, menée au Niger, au Mali et au Burkina Faso, il s’agit également d’expliquer comment les relations aux objets et aux animaux exposés dans les musées et les zoos de ces trois pays constituent avant tout des relations sociales. On verra ainsi que les usages rituels de la mise en exposition sont particulièrement fréquents en Afrique de l’Ouest, et obligent à interroger d’une manière nouvelle cette forme relationnelle spécifique qu’est l’exposition postcoloniale. / West African museums and zoos appear to be « new fieldworks » for anthropological research. They call for the articulation of an historical anthropology and an ethnographic analysis of exhibiting (an ethnomuseology). To study simultaneously such museums and zoos questions both the historical changes (including the postcolonial ones) that the display of objects and living animals is undergoing, and their various uses. It is precisely the ways in which objects and animals are use that give a meaning and a social function to the exhibition. This thorough ethnographic research (led in Niger, Mali and Burkina Faso) also aims at understanding how the relations with the objects and the animals exhibited in the museums and the zoos are primarily of a social nature. Ritual uses of the exhibition are indeed particularly frequent in West Africa, and therefore force us to question in a new way this specific form of relations : the postcolonial exhibition.

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This thesis examines the use of elements of myth and ritual in the work of Peter Brook, focusing primarily on The Mahabharata ( 1986 ). The argument proposes that Brook uses myth and ritual as an integral part of his search for the culture of links .. This thesis examines the precise functioning of myth and ritual in Brook's theatre, and places his work in relation to the concepts of interculturalism and postmodernism. In so doing, The Mahabharata is seen as a valid and important step in Brook's search for the culture of links. Chapter One formulates broad-based concepts of myth and ritual, and examines their function in society and culture, as well as their role in theatre. Chapter Two offers a brief discussion of the use of elements of myth and ritual in Brook's productions, beginning with King Lear (1962), and ending with 0rghast (1971). The discussion illustrates the multiple functions which myth and ritual serve in Brook's work. Chapter Three examines the trend of interculturalism, placing Brook's work within this franlework. Attention is given to the moral and political issues implicit in interculturalism. The chapter highlights the need for intercultural theatre to be evaluated in terms of artistic criteria, rather than on anthropological or political grounds. Finally, there is a discussion of the work of other intercultural theatre practitioners. Chapter Four examines Brook's Mahabharata. A detailed discussion of the authenticity and visual presentation of Brook's interpretation shows how Brook mediates between the Indian epic and a Western audience An examination of the critical response offers insights into the dangers of insensitive cross-cultural contact.. Chapter Five offers a critical summary of the argument. Brook's search for the culture of links has led him to use elements of myths and rituals of non-Western cultures. In so doing, Brook seeks to bring their living quality to his work, and to forge links between the peoples and cultures of the world.

Doctor of Philosophy / Department of Sociology, Anthropology, and Social Work / L. Frank Weyher / Deadheads (fans of the Grateful Dead) created a durable culture that has lasted for over 50 years despite the death of several band members and the break-up of the band in 1995. What mechanisms account for the rise and persistence of this culture? This empirical question informs a theoretical question: what mechanisms are responsible for social cohesion? Social cohesion has been widely studied in sociology, but because these studies range from sovereign states to interpersonal interaction, the field lacks definitional consensus for the term. Instead of focusing on definitions, therefore, this study instead seeks to contribute to the understanding of underlying mechanisms that are responsible for the development and maintenance of social cohesion. This study employs a mixture of qualitative methods: I conducted seven years of face-to-face and online participant observation, conducted 22 semi-structured, informal face-to-face interviews with 39 interviewees, and collected 86 online, long-form surveys (combined n=125). This study uses both inductive and deductive approaches to analyze material gathered from a mixture of qualitative methods: ethnography, open and closed coding of interviews and surveys, and triangulation to the body of historical work on the Grateful Dead. The mechanisms that emerged from this study suggest that processes related to ritual, religion, and identity, all operating through emotion, are central mechanisms in the longtime cohesion evidenced in the deadhead community. Fan behavior at Grateful Dead shows is reminiscent of Durkheim’s description of tribal behavior in The Elementary Forms of Religious Life, and my research shows that fans create collective effervescence, sacred objects, and feel that they are part of something larger than themselves. Randall Collins builds on Durkheim in his theory of Interaction Ritual Chains, which informs the ways in which deadheads, through engaging collectively in intense rituals, create a long-term sense of community. Finally, I explore the structural symbolic interactionist school of identity theory with Stryker, McCall and Simmons, and Burke. When combined, these theories describe influences on deadhead group composition, explore the complex interaction between the individual and the group, and emphasize the role that emotion plays in that identity-work. Using an inductive approach and Hedström and Swedberg’s (1996) typology of mechanisms, I arrive at a number of mechanisms at work in deadhead cohesion: (1) situational (macro-level) mechanisms include internal and external constraint; (2) individual action (micro-level) mechanisms include self-transcendence, self-reinforcement, and self-talk; and (3) transformational (micro-level to macro-level) mechanisms include group maintenance and disruption. Future work should test these mechanisms using a group that shares characteristics with deadhead culture (such as transience, emergence, boundedness, motivation, and with little official structure) such as the grassroots political movement that emerged after the November 2017 national election, as well as hate groups that have existed for years but have recently become more active. Looking forward, more work is needed on meaning-making and the role of emotions in social cohesion. This work has implications for several sociological disciplines, such as group behavior, social movements, and culture, as well as social cohesion, religion, ritual, and identity theory.

The purpose of this thesis was to explore the history and rituals of Japanese Soto Zen nuns and American Soto Zen ordained women in order to examine the motivations behind each group’s practices and distinguish the differences in the intent and practice of American Soto women’s rituals, specifically their reactions to the influence of feminism, and the effects of American syncretization in order to identify if a schism or a continuation is occurring within the Soto Zen tradition. Along with a survey of published research, interviews were conducted with two scholars and prominent ordained Soto practitioners–eight female and three male. Findings suggest that while maintaining strict adherence to specific orthodox rituals, American Soto women also reinterpret Soto traditions and adapt new practices to address the needs of American women’s practice. Findings further indicate the effects of American syncretization in nurturing a legitimate albeit uniquely American expression of Soto Zen.

This thesis is an ethnographic study of a rural community in central Vanuatu, many of whom have been engaged as seasonal workers in New Zealand and Australia’s horticultural industries since 2008. Based on sixteen months’ ethnographic fieldwork divided between Lamen Island and Lamen Bay, Epi, I examine why people choose to leave their home to engage in often-difficult work and seasonal absences, in order to build a ‘good house’ and ‘good life’ at home. I suggest that ‘the good house’ is an icon of the Li-Lamenu vision for improved moral and material ‘standards of living’. I reveal how seasonal work engagements emerge in the context of mutually dependent and moralised but often-ambivalent employer-employee relations. Time away is often experienced as the subordination of one’s life and work to the demands of a labour regime, but is submitted to as opening opportunities, or ‘roads’ for value conversions of time into money, and money in into the future of the household, and community development. However, the quest for a good life in the shape of the good house raises tensions and contradictions that householders must negotiate in order to ‘live together well’ with kin and community. The rise of the ‘good house’ is associated with a concomitant decline in ‘respect’ for kin and Chiefs, and the proliferation of ‘broken homes’, and land disputes. Throughout this thesis, I will suggest that the good house concretises the increasing direction of money, time and resources into household-oriented goals. This process of household nucleation is also evident in tensions over changes in ritual performance and expenditure and land tenure patterns. I conclude that these insights contribute to the anthropology of kinship and ritual, as well as wider understandings of temporary migration and development theory and policy.