Com o intuito de investigar o papel relevante da memória na construção e formação do sentido nos poemas de João Cabral de Melo Neto e Carlos de Oliveira, e com base em estudos sobre a arte da memória, fizemos uma seleção paradigmática de textos cujo referencial ancora-se em imagens buscadas nas lembranças da infância de ambos os poetas. Partindo do referencial imagético regional, passamos a investigar como essa poesia evolui do referencial ao metapoético, passando a utilizar as imagens de densidade e estoicidade, resgatadas pela memória, como termos de comparação ao processo rigoroso e árduo de composição do poema, que atinge sua máxima depuração nas obras A educação pela pedra e Micropaisagem, de Melo Neto e Oliveira, respectivamente. A poesia crítica exercida racionalmente cria uma poética que teoriza a si mesma, refletindo sobre seus próprios meios de construção. Após essas obras que efetivaram a experiência oficinal, gradativamente tais comparações cedem lugar a construções mais indicativas, uma vez que já se conquistou o domínio das relações entre as palavras e as coisas. Seguros de que a palavra é o material com qual se constrói o poema, já não sentem a necessidade de explicar, passando a praticar a construção do poema como um elemento da realidade material. / In order to investigate the influence of memory on construction and formation of meaning in the poetry of João Cabral de Melo Neto and Carlos de Oliveira, based on studies about the art memory, we made a selection of texts whose paradigmatic referential anchors itself to fetch the images of childhood memories of poets. Starting from the benchmark regional imagery, we now investigate how poetry evolves from this reference to the metapoetry, starting to use images of density and stoicism, redeemed by memory, as terms of comparison to the rigorous and arduous process of composition poem, which reaches its maximum clearance works in Education by stone and Microlandscape, de Melo Neto and Oliveira, respectively. Poetry criticism exercised rationally creates a poetics which theorizes itself, reflecting on their means of construction. After these works that implemented the workshop experience, gradually give way to such comparisons constructions indicative, since it had already achieved the dominance relations between words and things. Convinced that the word is the material that builds the poem, no longer feel the need to explain, going to practice the construction of the poem as an element of material reality.

A presente dissertação visa repertoriar e fazer uma reflexão sobre obras e performances de música eletrônica experimental que utilizam músicas e gravações de músicas como material musical. Investiga a colagem musical enquanto prática, em suas diversas possibilidades de emprego. Contextualiza o tema, mostrando antecedentes na tradição da música europeia de concerto e nas artes visuais. Traça uma pequena cronologia a partir do repertório e realiza um histórico quanto às tecnologias empregadas. Introduz categorias importantes, como o sampleamento, o plunderphonics, a citação, o plágio e a intermusicalidade. Aborda o conceito de referencialidade e o coloca como importante fator composicional, relacionando-o a noções como reconhecimento, fontes sonoras e musicais, familiaridade, pastiche. Discorre sobre dois subtemas: o trio bricolagem, assemblagem e descolagem e o período pós-moderno. Conclui pensando a relação entre colagem musical e o caráter de incompletude dos artefatos musicais. / This research aims to make a repertoire of and a reflection upon works and performances of electronic experimental music that use music and musical recordings as compositional material. It investigates the practice of musical collage in its several possibilities of use. It starts by contextualizing the theme: showing some antecedents in the european concert music tradition and in the visual arts; making a small chronology from the repertoire and a historical account of the technologies employed. Introduces important categories such as sampling, plunderphonics, quotation, plagiarism and intermusicality. Addresses the concept of referentiality, treating it as an important compositional aspect and relating it with the notions of recognition, sound and musical sources, familiarity, pastiche. Explores two subthemes: the trio bricolage, assemblage, décollage and the postmodern period. In conclusion, thinks about the relation of musical collage and the incompleteness character of musical artefacts.

Automimesis oder die Idee, dass „jeder Maler sich selbst malt“, war eine Vorstellung, die in der Kunstliteratur der italienischen Renaissance immer wieder formuliert wurde. Zunächst als Makel von Malern interpretiert, der einer exakten Nachahmung der Natur entgegenstand, wurde die körperliche oder geistige Ähnlichkeit eines Künstlers mit seinem Werk jedoch schon bald positiv aufgefasst. Anhand von Künstlerbiografien, Kunsttraktaten und Kunstwerken untersucht diese Studie die Gründe für diesen Paradigmenwechsel und zeichnet nach, wie frühneuzeitliche Ideen unser Verständnis von der Autonomie der Künste bis heute prägen.

The purpose of this study is to explore the experiences (both professional and personal) of the therapist who is visually impaired or blind. This is a post-modernist dissertation contextualised within the ecosystemic-hermeneutical epistemology. These paradigms are two sides of the same coin and emphasize a social constructionist worldview. A descriptive methodology within the domain of language and narrative discourse is utilised in accordance with this worldview. The narratives of two research participants were recounted through the researcher's lens within particular `dimensions of understanding'. These `dimensions of understanding' were interpreted, deconstructed and co-constructed (with the research participants). Thus this dissertation operates simultaneously on a number of different levels which emphasises the social constructionist worldview. This also allowed for the hermeneutic-ecosystemic analysis of these `dimensions of understanding' as method of data analysis. There are also emerging `dimensions of understanding' from the researcher's own perspective and personal experience as a visually impaired therapist in training. / Psychology / M.A. (Clinical Psychology)

From the eighth to the fourteenth century, places of wonder and dread appear in a wide variety of genres in Old and Middle English: epics, lays, romances, saints’ lives, travel narratives, marvel collections, visions of the afterlife. These places appear in narratives of the other world, a term which in Old and Middle English texts refers to the Christian afterlife: Hell, Purgatory, even Paradise can be fraught with wonder, danger, and the possibility of harm. But in addition to the other world, there are places that are not theologically separate from the human world, but that are nevertheless both marvellous and horrifying: the monster-mere in Beowulf, the Faerie kingdom of Sir Orfeo, the demon-ridden Vale Perilous in Mandeville’s Travels, or the fearful landscape of the Green Chapel in Sir Gawain and the Green Knight. Fraught with horror or the possibility of harm, these places are profoundly different from the presented or implied home world of the text. My dissertation investigates how Old and Middle English narratives create places of wonder and dread; how they situate these places metaphysically between the world of living mortals and the world of the afterlife; how they furnish these places with dangerous topography and monstrous inhabitants, as well as with motifs, with tropes, and with thematic concerns that signal their marvellous and fearful nature. I argue that the heart of this poetics of marvellous spaces is displacement. Their wonder and dread comes from boundaries that these places blur and cross, from the resistance of these places to being known or mapped, and from the deliberate distancing between these places and the home of their texts. This overarching concern with displacement encourages the migration of iconographic motifs, tropes, and themes across genre boundaries and theological categories.

From the eighth to the fourteenth century, places of wonder and dread appear in a wide variety of genres in Old and Middle English: epics, lays, romances, saints’ lives, travel narratives, marvel collections, visions of the afterlife. These places appear in narratives of the other world, a term which in Old and Middle English texts refers to the Christian afterlife: Hell, Purgatory, even Paradise can be fraught with wonder, danger, and the possibility of harm. But in addition to the other world, there are places that are not theologically separate from the human world, but that are nevertheless both marvellous and horrifying: the monster-mere in Beowulf, the Faerie kingdom of Sir Orfeo, the demon-ridden Vale Perilous in Mandeville’s Travels, or the fearful landscape of the Green Chapel in Sir Gawain and the Green Knight. Fraught with horror or the possibility of harm, these places are profoundly different from the presented or implied home world of the text. My dissertation investigates how Old and Middle English narratives create places of wonder and dread; how they situate these places metaphysically between the world of living mortals and the world of the afterlife; how they furnish these places with dangerous topography and monstrous inhabitants, as well as with motifs, with tropes, and with thematic concerns that signal their marvellous and fearful nature. I argue that the heart of this poetics of marvellous spaces is displacement. Their wonder and dread comes from boundaries that these places blur and cross, from the resistance of these places to being known or mapped, and from the deliberate distancing between these places and the home of their texts. This overarching concern with displacement encourages the migration of iconographic motifs, tropes, and themes across genre boundaries and theological categories.

Néstor Perlongher (1949 Buenos Aires - 1992 Sao Paulo) est l'auteur d'une oeuvre poétique aussi impressionnante par ses thèmes que par son style. Sa poétique est fondée sur des opérations linguistiques variées tels qu'une mixité des niveaux de langue, l'utilisation des jargons et des argots régionaux, l'exaltation du pouvoir suggestif du son, la prolifération des références ambiguës dans le cadre d'une esthétique néobaroque, entre autres. Nous estimons que son oeuvre constitue un des travaux les plus intéressants dans le domaine de l'écriture néo-baroque argentine, tant par la radicalité de son travail avec la matérialité du signe linguistique que par la construction d'une poétique qu'actualise les valeurs esthétiques néo-baroques en les combinant avec des faits historiques et épiques. Cette étude propose de lire l'oeuvre de Néstor Perlongher à la lumière des concepts théoriques en provenance du néo-baroque cubain, ainsi que des ouvrages issus de philosophes poststructuralistes. L'analyse de cette problématique sera faite moyennant l'identification et la description des opérations symboliques et sémantiques que constitue le processus d'artificialisation de l'énoncé et qui finalement permettent l'inscription de ces oeuvres dans le style « néobarroso ». / Néstor Perlongher (1949 Buenos Aires - Sao Paulo in 1992) is the author of a work of impressive themes and tones. His poetry is based on various linguistic operations such as mixing levels of language, the use of jargon and regional slang, the exaltation of the suggestive power of sound, the proliferation of ambiguous references in the context of an aesthetic Neo-Baroque, among others. We believe that his writing is one of the most interesting work in the field of literature Argentine neo-baroque, considering that his work is radical to the materiality of the linguistic sign and build a vision that combines neo-baroque aesthetics with historical facts. This study proposes to read the work of Nestor Perlongher in the light of the theoretical concepts of the Cuban neo-baroque and post-structuralist philosophers. The analysis of this issue is made through the identification and description of the symbolic and semantic operations of artificiality process that allows the inclusion of these works in the style "neobarroso".

The purpose of this study is to explore the experiences (both professional and personal) of the therapist who is visually impaired or blind. This is a post-modernist dissertation contextualised within the ecosystemic-hermeneutical epistemology. These paradigms are two sides of the same coin and emphasize a social constructionist worldview. A descriptive methodology within the domain of language and narrative discourse is utilised in accordance with this worldview. The narratives of two research participants were recounted through the researcher's lens within particular `dimensions of understanding'. These `dimensions of understanding' were interpreted, deconstructed and co-constructed (with the research participants). Thus this dissertation operates simultaneously on a number of different levels which emphasises the social constructionist worldview. This also allowed for the hermeneutic-ecosystemic analysis of these `dimensions of understanding' as method of data analysis. There are also emerging `dimensions of understanding' from the researcher's own perspective and personal experience as a visually impaired therapist in training. / Psychology / M.A. (Clinical Psychology)

Made available in DSpace on 2016-08-03T16:16:13Z (GMT). No. of bitstreams: 1 Monica Ferreira Nunes.pdf: 1360676 bytes, checksum: 4367ee7932ba22f4e8c80808aa03ac46 (MD5) Previous issue date: 2009-09-14 / The present study proposes an understanding of the interpersonal relationships between subjects involved in the construction and execution of the pedagogic Project of Distance Learning under an ethno methodological and multi-referential perspective of education.We propose identifying how relationships are established in Distance Learning, which its organizational agents are and how they interact in the organization of the work, since Distance Learning requires an array of professionals with different kinds of knowledge so as to achieve its goals. We used as reference Distance Learning Courses at UNESP and through the use of observation, reports, questionnaires and interviews, we intend to identify how subjects see and understand themselves in the process and how they understand and recognize other subjects in the development of activities of such course. Using as reference the steps taken in the elaboration and realization of a video-conference, we aim at recognizing the communication process within the group of technicians, managers, professors and learners in the organization, as well as analyzing connections and ruptures, the wide-range actions and the importance of its functions on a daily basis.(AU) / O presente trabalho propõe um entendimento sobre as relações interpessoais entre os sujeitos envolvidos na construção e execução do projeto pedagógico de Educação na modalidade a distância sob uma perspectiva etnometodológica e multirreferencial de educação. Propomos identificar como as relações se estabelecem no cotidiano da EAD, quais são seus agentes organizacionais e como estes se interagem na estruturação do trabalho, uma vez que a EAD exige uma complexidade de profissionais de diferentes saberes para a concretização de seus objetivos. Tomando como referência os cursos de educação a distância da UMESP, pretendemos, por meio de observação, relatórios, aplicação de questionários e entrevistas, identificar como cada agente se vê e se percebe no processo, e de que forma entende e reconhece o outro no desenvolvimento das atividades do referido curso. Utilizando como referência o percurso realizado na elaboração e operacionalização de uma teleaula desejamos reconhecer os processos comunicacionais entre o grupo de profissionais técnicos, dos gestores, dos docentes e discentes dentro da organização acadêmica, analisando suas conexões e rupturas, assim como a abrangência e importância de suas funções na prática diária.(AU)

Made available in DSpace on 2014-06-11T19:32:49Z (GMT). No. of bitstreams: 0 Previous issue date: 2010-08-09Bitstream added on 2014-06-13T21:04:57Z : No. of bitstreams: 1 aleixo_ocm_dr_sjrp.pdf: 1020505 bytes, checksum: dd455b1af5e6a9451aa72c68ef3391f6 (MD5) / A arte contemporânea apresenta-se como palco de experimentações e intensificação de estratégias de elaboração estética que promovem o questionamento e a problematização do fazer artístico. Dentre os inúmeros recursos que engendram esse desafio, destaca-se aqui a gaucherie, procedimento discutido pelo crítico Roland Barthes e que atua com um viés crítico e irônico, atribuindo ao objeto artístico um proposital aspecto de “rebaixamento”, ou, como o prório nome sugere, um caráter de “desvio” por ser “canhoto”, “torto”, e, por extensão, aparentemente “desajustado”, “mal feito”. Nesse sentido, esta tese discute especificamente o funcionamento da gaucherie na literatura, buscando evidenciar que essa sensação de “desvio” ou “rebaixamento” é atingida a partir de um trabalho com a linguagem calcado na exploração da fala coloquial, do discurso do senso comum, de imagens que assimilam as categorias contra-sublimes, como o grotesco, o kitsch, o mau gosto e as manifestações do riso (comicidade, paródia, carnavalização), dentre outros recursos. Para tanto, são analisados textos dos autores brasileiros Dalton Trevisan e Hilda Hilst, e dos portugueses José Cardoso Pires e Adília Lopes. Tais obras revelam tratar-se de um procedimento marcado pela extrema consciência na inserção desses aspectos, o que culmina em um movimento autorreferencial, pois a obra expõe à discussão o seus próprios mecanismos de construção. Com isso, são gerados curiosos efeitos de ironia, visto que o texto convida o leitor a lançar um olhar crítico e sintonizado com o modo peculiar como essas produções leem a própria arte, relativizando as noções pré-concebidas acerca do fazer literário / Comtenporary Art presents itself as a stage for experimentations and intensification of strategies of aesthetic elaboration that promote the questioning of artistic manifestation and make it problematic. Among the innumerable resources that engender this challenge, here we emphasize gaucherie, a procedure that is discussed by the critic Roland Barthes and acts as a critical and ironic bias, attributing to the artistic object an intentional aspect of “lowering”, or, as the name itself suggests, a character of “deviation” because it is “left-handed”, “crooked”, and, by extension, apparently “maladjusted”, “rough”. Accordingly, this thesis specifically discusses how gaucherie works in literature, trying to make evident that this sensation of “deviation” or “lowering” is achieved as a result of a work with language based on the exploration of colloquial speech, the common sense discourse, images that assimilate the counter-sublime categories, such as the grotesque, kitsch, bad taste and the manifestations of laughter (comicality, parody, carnivalization), among other resources. In order to do so, texts written by the Brazilian authors Dalton Trevisan and Hilda Hilst and by the Portuguese authors José Cardoso Pires and Adília Lopes are analyzed. Such literary works reveal it is a process marked by the extreme awareness in the insertion of these aspects, which culminates in a self-referential movement, for the literary work introduces to discussion its own construction mechanisms. Thus, curious effects of irony are created, given that the text invites the reader to cast a critical eye to it, a critical look that is in tune with the peculiar way in which these productions read their own art, making relative the preconceived notions about literary manifestation