Thesis (M.A.(Drama))--University of Pretoria, 2008. / Includes bibliographical references.

Submitted by Programa Pos-Graduação Estudos Etnicos Africanos (posafro@ufba.br) on 2013-12-12T12:28:05Z No. of bitstreams: 1 dissertacao_WSJesus.pdf: 9440001 bytes, checksum: 9c71487e0023723b866fbbfdb4f34326 (MD5) / Approved for entry into archive by Hozana Azevedo (hazevedo@ufba.br) on 2017-08-21T13:57:31Z (GMT) No. of bitstreams: 1 dissertacao_WSJesus.pdf: 9440001 bytes, checksum: 9c71487e0023723b866fbbfdb4f34326 (MD5) / Made available in DSpace on 2017-08-21T13:57:31Z (GMT). No. of bitstreams: 1 dissertacao_WSJesus.pdf: 9440001 bytes, checksum: 9c71487e0023723b866fbbfdb4f34326 (MD5) / Conheci a reza e as rezadeiras em minha infância, na comunidade onde me criei. As reencontrei coma mais força no Município de S. Francisco do Conde, um dos mais ricos e desiguais do Brasil, devido á impacto da indústria petrolífera, onde as rezadeiras continuam ativas e se organizam, também em torno da devoção a S. Antônio. Nesta dissertação mapeio o fenômeno no Município, identificando as rezadeiras mais conhecidas na opinião da população; descrevo suas rezas, práticas de cura e trajetórias pessoais; aponto por suas relações de encontro e desencontro com a biomedicina, assim como para suas relações com o catolicismo popular e o Candomblé. Nisto tenciono enfatizar a capacidade de agência destes ícones da religiosidade e memória popular. / I first got to know reza (the prayer) and rezadeiras (prayers) when I was young, in the community I grew up in. I came across them again, with renewed force, in the Municipality of S. Francisco do Conde (Bahia), one the richest and most unequal of all in Brazil, because of the impact of the oil industry, where these prayers are still active and got organized, also around the devotion to Saint Anthony. In the following dissertation I deal with this phenomenon in the Municipality, by singling out the most famous prayers according to the opinion of the population; I spell out their prayers, therapeutic methods, and their individual careers; I point out their encounters and conflicts with the biomedicine, as well as their relationship with popular Catholicism and the Afro-Brazilian religious system, Candomblé. In doing this my aim is stressing the agency of these real icons of popular religiosity and memory.

Submitted by FILIPE DIAS DOS SANTOS SILVA (dss.filipe@gmail.com) on 2017-05-30T19:32:26Z No. of bitstreams: 1 DISSERTAÇÃO - FILIPE DIAS - Preparar Rezar e Sambar - A Reza de Brejões-BA sob a perspectiva da etnocenologia - ALTERAÇÕES PÓS DEFESA - VERSÃO PARA IMPRESSÃO.pdf: 6048801 bytes, checksum: bdbd24fa721c4b728f302623439a3e1e (MD5) / Approved for entry into archive by Ednaide Gondim Magalhães (ednaide@ufba.br) on 2017-07-25T12:16:50Z (GMT) No. of bitstreams: 1 DISSERTAÇÃO - FILIPE DIAS - Preparar Rezar e Sambar - A Reza de Brejões-BA sob a perspectiva da etnocenologia - ALTERAÇÕES PÓS DEFESA - VERSÃO PARA IMPRESSÃO.pdf: 6048801 bytes, checksum: bdbd24fa721c4b728f302623439a3e1e (MD5) / Made available in DSpace on 2017-07-25T12:16:50Z (GMT). No. of bitstreams: 1 DISSERTAÇÃO - FILIPE DIAS - Preparar Rezar e Sambar - A Reza de Brejões-BA sob a perspectiva da etnocenologia - ALTERAÇÕES PÓS DEFESA - VERSÃO PARA IMPRESSÃO.pdf: 6048801 bytes, checksum: bdbd24fa721c4b728f302623439a3e1e (MD5) / CNPq / Este trabalho apresenta um estudo sobre uma manifestação cultural de caráter religioso, conhecida como Reza, que é pensada, elaborada e praticada, em grande parte, pelas comunidades rurais de Brejões, cidade localizada no interior da Bahia, ao sul do Recôncavo Baiano. No campo conceitual, a etnocenologia foi adotada como perspectiva disciplinar, utilizando o léxico proposto por Armindo Bião. A manifestação é descrita a partir da ênfase em três momentos que compõem sua estrutura: o preparar, o rezar e o sambar, interpretados como adverbialmente, adjetivamente e substantivamente espetaculares, respectivamente. Está inserida no contexto religioso do catolicismo popular e é entendida como festa. Defende-se que esta festa tem início junto com a fase preparatória da manifestação. Na Reza de Brejões, santos católicos são cultuados africanamente. Entre as particularidades da manifestação está a formação de uma roda de samba no interior da casa onde é realizada, em frente ao altar, na qual pode ser observada a incorporação de santos e caboclos. A partir da noção das matrizes estéticas, entende-se que a roda de samba pode ajudar a compreender determinados aspectos da formação social e histórica de Brejões. Sob o ponto de vista metodológico, a observação participante foi adotada para elaborar uma descrição etnográfica densa. Antes do início da pesquisa, o autor deste trabalho era integrante da manifestação. Por essa razão, optou pelo caminho da transformação do familiar em exótico para provocar um distanciamento intencional. Como estratégia, a Reza foi apresentada em comunicações por diversos eventos no Brasil com o intuito de construir uma descrição a partir do estranhamento de olhares estrangeiros.

From angry torch-swinging Parisians attacking the Bastille and Russian workers rising up against the Tsar to outraged Chinese peasants exacting revenge on their landlords and Cuban guerrillas battling Batista’s army, revolutions without violence have in the past been near inconceivable. But when unarmed Iranians after an extended popular struggle forced Muhammad Reza Pahlavi, the last king of Iran, to flee Tehran on January 16, 1979, they had gifted the world a new and seemingly paradoxical phenomenon: a nonviolent revolution. Far from a historical oddity, such revolutions have since occurred on almost every continent. Over the past thirty years the function of guerrilla tactics, military coups, and civil war has increasingly been replaced by demonstrations, boycotts, and strikes. How can social scientists account for this “evolution of revolution” that have so altered the appearance of the phenomenon that by Arendt’s definition events in places like Iran, the Philippines, Chile, Poland, East Germany, Czechoslovakia, Serbia, Georgia, and Ukraine may not even qualify as revolutions? Yet, the popular overthrows of authoritarian regimes in each and every one of those countries were nothing less than revolutionary. The dissertation seeks to understand this recent development in the nature of revolutions by historically examining the phenomenon’s signal case, the Iranian Revolution. The core question asked is: what are the structural and historical forces that caused the Iranian Revolution to be the world’s first nonviolent revolution? The central argument is that both the emergence and success of the nonviolent Iranian Revolution can be explained by its internationalization. In other words, the Iranian Revolution turned out to be successfully nonviolent because, unlike previous revolutions, it was a global affair in which the revolutionaries intentionally and strategically sought to bring the world into their struggle against the state. Indirectly, the aim of this study is to generate the genesis of a theoretical framework that can explain more broadly the emergence and success of nonviolent revolutions in the late 1970s and beyond. / text

Yasmina Reza, auteur de théâtre français, reconnue dans le monde entier, a reçu les prix les plus prestigieux : trois Molières (FR), un Laurence Olivier Award (GB), deux Tony Award (USA), le Die Welt (All), pour ne citer qu’eux. En France, elle est encore souvent considérée comme un auteur à succès, n’offrant au public qu’une forme de théâtre de boulevard contemporain. L’étude précise des textes dramatiques de Yasmina Reza, de sa langue, de ses personnages et des structures de ses pièces, laisse apparaître sous le masque de la comédie une richesse et une complexité plus profondes. Elle met en scène des personnages bourgeois dont la vie se caractérise par une certaine facilité, tout en levant le voile sur des préoccupations métaphysiques universelles. Il s’agit toujours de la confrontation de l’homme avec le monde ou avec ses semblables. Cette pensée de l’individu inquiet s’accompagne dans la forme d’une réflexion sur le pouvoir de l’art dramatique. La caractérisation bourgeoise de son théâtre est autant un miroir tendu au public qu’un masque qui voile une interrogation permanente sur le sens de la vie et de l’art, dans la continuité du travail de l’avant-garde du milieu du XXe siècle dont elle se révèle être une relève inattendue. / The Famous French playwright Yasmina Reza received some of the most prestigious prices in the world : three Molières (FR), a Laurence Olivier Award (UK), two Tony Award (USA), a Die Welt (DE). Nevertheless, in France she is still considered as merely a successful author, with some kind of new farce to offer. A specific study of Yasmina Reza’s drama, including her language, her characters and the architecture of her plays, brings out other meaningful and complex colors from under the mask of comedy. She stages middle-class characters whose life is quite easy; in the meantime she reveals universal metaphysical issues. It is always about a clash between a person and the world or a person and his kind. This reflection about the anxious being goes on stage with a reconsideration of the power of theater. The middle-class characterization is a mirror for the audience as well as it is a mask that covers a constant questioning about the meaning of life and art, continuing the work of the avant-garde of the middle of the 20th century, of which she appears to be an unexpected new recruit.

La première moitié du 19ème siècle, a constitué le point de départ de la mise en place de la modernisation d’Iran. Aucun domaine n’a pu échapper au défi lancé par la modernisation et la formation d’une nouvelle élite iranienne à travers l’envoi d’étudiants iraniens en Europe a contribué au projet de modernisation du pays. En considérant les jeunes iraniens instruits en Europe comme autant de figures emblématiques de mutation de la société iranienne dans le processus de la modernisation, ces derniers ont été considérés comme une élite moderne. Les évolutions sociopolitiques et économiques de la société iranienne, au début du 20ème siècle, mettent en lumière l’existence d’une dynamique de renouvellement et d’un changement élitaire. Les étudiants en tant qu’acteurs principaux du processus de modernisation de l’Iran constituent un nouveau courant de pensée, une nouvelle manière d’envisager la société par l’émergence de courants politiques et de nouvelles littératures. Dans ce registre la formation de la nouvelle élite en Iran à l’époque Pahlavi est passé par la formation d’enseignants instruits en Europe chargés de former la nouvelle élite nationale à l’intérieur du pays. Autrement dit ces étudiants ont été envoyés en Europe pour devenir formateurs, instituteurs et professeurs au sein des établissements d’enseignement iraniens à leur retour en Iran. En dressant le tableau de la vie quotidienne et les difficultés que ces étudiants ont rencontré, nous avons essayé de mettre en cause les idées reçues sur l’élite moderne et le rôle de l’élite et des intellectuels dans le projet de la modernisation ; sujet resté pendant longtemps entre mythe et réalité historique. / The first half of the 19th century was the starting point of the implementation of iranian modernization. No area has escaped the challenge posed by modernization and the formation of a new elite through the formation of Iranian students in Europe which has contributed to the modernization of Iran. Considering Iran's educated youth in Europe like so many emblematic figures of Iranian society’s transformation in the process of modernization, they have been regarded as a modern elite. The socio-political and economic developments of the Iranian society in the beginning of 20th century highlight the existence of a dynamic renewal and change of elite status. Students as major actors in the process of Iran’s modernization form a new school of thought, a new way of considering the society by the emergence of new political trend and literatures. In this context the formation of new elite in Iran in the Pahlavi era has gone through the training of teachers educated in Europe responsible for training the new national elite within the country. These students were sent to Europe to become at their return to Iran, trainers, teachers and professors in Iranian institutions. In drawing the picture of daily life and the difficulties that these students met, we tried to blame received ideas on the modern elite and its role in the project of modernization; a subject remained for a long time between myth and historical reality.

Wie werden Schrift und Schreiben in einem der erfolgreichsten Theatertstücke der Theatersaison 2007/2008 repräsentiert? Welche Rolle und Bedeutung wird Ihnen von der Autorin zugewiesen? Der Beitrag verweist darauf, wie verschiedene Schriftarten und Schreibweisen den dramatischen Konflikts gestalten und die Figuren konstituieren.

Yasmina Reza, l’une des dramaturges les plus honorées de la scène internationale, n’hésite pas à faire entrer son art dramatique sur la scène de l’art cinématographique : entre la forme romanesque et la forme dramatique, l’écriture rézienne expérimente également le domaine de l’image. Nous avons souhaité, d’abord, consacrer cette thèse à une étude analytique sur le théâtre rézien et ensuite sur son adaptation au cinéma. À travers ses pièces, Yasmina Reza met en scène des personnages ayant souvent les mêmes obsessions et soucis d’une pièce à l’autre, qui recourent fréquemment au même langage. Entre tragédie et comédie, la dramaturgie de Reza mélange le monologue et le dialogue pour raconter à la fois tout et presque rien. Le temps, l’espace, le décor, souvent simple et neutre, les objets quotidiens, servent à mettre en scène la vie quotidienne dans le théâtre rézien. De ce point de vue les ouvrages de Reza se rapprochent de ceux du cinéaste iranien Kiarostami. Au-delà de la présence des éléments autobiographiques et de la musique dans l’écriture dramatique rézienne, le théâtre de Reza se distingue par un langage spécifique, entre le silence, le non-dit et le récit, entre la conversation et le dialogue. Yasmina Reza déclare s’amuser avec les mises en abyme dans son théâtre, elle expérimente ainsi son premier film en tant que réalisatrice avec Chicas, une adaptation d’Une pièce espagnole qui multiplie les mises en abyme. Yasmina Resa poursuit avec l’écriture d’un scénario, Le pique-nique de Lulu Kreutz, réalisé par Didier Martiny, puis avec l’écriture du scénario de Carnage, d’après sa pièce Le dieu du carnage, en collaboration avec Roman Polanski. Dans cette thèse, nous avons tenté d’étudier l’adaptation des pièces réziennes au cinéma, leurs mises en scène et leurs personnages qui manifestent leurs violence et angoisses face à l’écran. / Yasmina Reza, one of the most honored dramaturge artist internationally, does not hesitate to introduce her dramatic art on the cinematographic scene: in between the Romanesque forme and the dramatic one, the Yasmina Reza also experiments in the pictorial art. In the first instance, we have sought to focus this thesis on an analytic study of the Rezian theater to follow with her work of adaptation to the cinema. In her theatre plays, Yasmina Reza’s characters have often the same obsessions and often use the same language. Between tragedy and comedy, Reza’s dramaturgy weaves with monologue and dialogue to relate about everything and at times almost nothing. Time, space, the setting, often simple and neutral, daily objects, are used to compose the contemporary life in Reza’s plays. From this standpoint, Reza’s theatre plays are echoing with Iranian Kiarostami’s cinema.Beyond the presence of autobiographic elements and references to music in Reza’s plays, her writing is singles out specifically, alternating between silences, the not-said and the narrative, between the conversation and the dialogue. Yasmina Reza affirms enjoying using of mise en abyme in her theatre plays, thus she experiments her first movie as script writer and director of Chicas, an adaptation of Une pièce espagnole which uses many mises en abyme. Yazmina Reza continues writing with the script Le pique-nique de Lulu Kreutz directed by Didier Martiny, then with the writing of the script of Le dieu du carnage, in collaboration with Roman Polanski. In this thesis, we have attempted to study the adaptation of Reza’s plays to the cinema, their dramatization along with their characters who display their violence and anxiety in front of the screen.

Wie werden Schrift und Schreiben in einem der erfolgreichsten Theatertstücke der Theatersaison 2007/2008 repräsentiert? Welche Rolle und Bedeutung wird Ihnen von der Autorin zugewiesen? Der Beitrag verweist darauf, wie verschiedene Schriftarten und Schreibweisen den dramatischen Konflikts gestalten und die Figuren konstituieren.

In 2001, Argentina suffered an economic collapse that almost wiped out the middle-class, leaving thousands homeless. This resulted in the growth of the informal settlements and informal sectors of employment in and around the formal city of Buenos Aires, the “Capital Federal.” The urgency for survival led to the rise of many waste-pickers or, as they became known the cartoneros. Today they are the primary recycling program in the city with many cooperatives helping their movement. The city has enforced a ‘zero waste’ policy for 2020 in dealing with their serious trash problem and the cartoneros will play a large role in this transformation. This thesis aims to address two complex social issues (disparity and waste) with a long-term architectural initiative which hopes to ultimately blur the social boundaries that exist in the “Paris of the South” via the cartoneros.