En la Comunidad Campesina de Lucanas (CCDL) se viene realizando, desde hace casi veinte años, un proyecto para la recuperación de la vicuña (vicugna vicugna mensalis) —el “Proyecto Vicuña” (PV)—. Se trata de la iniciativa comunal más grande para el manejo de ese animal en peligro a nivel nacional e internacional. Es en ese contexto en el que nace nuestra investigación al preguntarme de qué manera el manejo de la vicuña ha transformado la organización social local y, en específico, cómo se ha constituido como una nueva fuente de capital (social, económico y simbólico) en Lucanas. / Tesis

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136 f. : il / Submitted by JURANDI DE SOUZA SILVA (jssufba@hotmail.com) on 2013-03-21T20:14:38Z No. of bitstreams: 1 dissertacao antonio carlos portelas.pdf: 5506464 bytes, checksum: c6d57394b791bcff760d7f1e2efdf7f3 (MD5) / Approved for entry into archive by Rodrigo Meirelles(rodrigomei@ufba.br) on 2013-03-23T14:24:10Z (GMT) No. of bitstreams: 1 dissertacao antonio carlos portelas.pdf: 5506464 bytes, checksum: c6d57394b791bcff760d7f1e2efdf7f3 (MD5) / Made available in DSpace on 2013-03-23T14:24:10Z (GMT). No. of bitstreams: 1 dissertacao antonio carlos portelas.pdf: 5506464 bytes, checksum: c6d57394b791bcff760d7f1e2efdf7f3 (MD5) Previous issue date: 2010 / Impressões: Instâncias de Ausências e Presenças é o título desta dissertação realizada para o Mestrado em Artes Visuais, na Escola de Belas Artes da Universidade Federal da Bahia, na linha de pesquisa de Processos Visuais, no período de março de 2000 a fevereiro de 2002. O texto expõe os dispositivos conceituais que fundamentam a criação da poética Ausentes / Presentes, dispositivos esses que agregam técnicas e materiais que dialogam com o conceito impressões. Destaca-se a importância da semântica no jogo ambíguo das polaridades para identificar a diversidade simbólica da ação de imprimir e suas digressões. Assim, a palavra condensa sentidos conceituais e visuais em um único ponto, possibilitando o apresamento dos momentos em que os ausentes se tornam presentes, ou em que os presentes se tornam ausentes. / Salvador

98f. / Submitted by Suelen Reis (suziy.ellen@gmail.com) on 2013-03-25T16:36:47Z No. of bitstreams: 1 Handeler%20dissertacao.pdf: 4091885 bytes, checksum: d907d2eedc4f717946312794f6318bc2 (MD5) / Approved for entry into archive by Ednaide Gondim Magalhães(ednaide@ufba.br) on 2013-04-05T14:49:27Z (GMT) No. of bitstreams: 1 Handeler%20dissertacao.pdf: 4091885 bytes, checksum: d907d2eedc4f717946312794f6318bc2 (MD5) / Made available in DSpace on 2013-04-05T14:49:27Z (GMT). No. of bitstreams: 1 Handeler%20dissertacao.pdf: 4091885 bytes, checksum: d907d2eedc4f717946312794f6318bc2 (MD5) Previous issue date: 2010 / Esta dissertação tem o objetivo de demonstrar o processo e os resultados da criação de uma performance de dança teatro, inspirada nos rituais sagrados do Candomblé, assim como investigar as possíveis relações estéticas entre as danças dos rituais do Candomblé e as artes cênicas, com enfoque especifico na dança teatro. A pesquisa coreográfica foi inspirada na dança contemporânea, na dança moderna, no contact improvisation, na improvisação com os nove pontos do sistema de Laban e a Evolutionary Theory, Alexander Technique, dança afrobrasileira, dança dos Orixás, Butho e textos dramatizados. O projeto realizou a apresentação de uma performance multimídia e interativa de dança teatro, um trabalho de criação coletiva. Uma das principais metas desse projeto foi o trabalho integrado com a diretora artística Suzana Martins, os artistas colaboradores Victor Almeida de Souza, Inês Gomes, Tereza Fabião, Luisa Boca, Tony da Silva e Leonardo Luz, a dançarina convidada Norma Suely Santos, a atriz/dançarina Cristiane Pinho, os músicos Marion Von Tilzer e Bira Reis, além da participação do público. A performance foi gravada em forma digital. Os resultados do projeto da performance foram obtidos por meio da pesquisa bibliográfica e da pesquisa de campo. A pesquisa bibliográfica focalizou as festividades ritualísticas dos religiosos do Candomblé, os estudos de cultura, ritual, performance, etnicidade, cultura afrobrasileira e afroamericana, e o fenômeno de globalização. A pesquisa de campo tomou forma a partir da participação em festas públicas do Candomblé e da vida cotidiana dos religiosos, especialmente, focalizando no terreiro de Ilê Axé Jagun, e nas apresentações artisticoculturais na cidade de Salvador, Bahia, Brasil. O enfoque principal da criação da performance foi inspirado no arquétipo do Orixá Oxalá. Durante o período de dois meses, de maio até o final de junho de 2008, realizamos os ensaios e workshops de sensibilização, e apresentamos a performance Metamorfoses durante quatro fins de semana em julho de 2008, no teatro do Instituto Cultural Brasil Alemanha (ICBA), em Salvador, Bahia. / Salvador

This research aims to understand whether and how ritual manifests in ceramic objects dating to the Late Mississippian Period (ca. late 1200s A.D. to A.D. 1500) in southern Illinois. The study focuses on ritual phenomena that occurred at two village sites: Millstone Bluff (11Pp3) and Dillow’s Ridge (11U635). Millstone Bluff has been interpreted as a site of public ritual and unusual symbolic importance evidenced by its general location and topography, spatial organization, and distinctive rock art. Though Dillow’s Ridge was the locale for an inordinate level of lithic tool production, in other ways the site is understood to be typical of Mississippian villages for this region and time and unlikely to have accommodated large-scale public ritual activity. Through the analysis and comparison of ceramics from each site, this research seeks to identify the ceramic correlates of public ritual activity for this region and time. Statistical results suggest very little differentiation between the ceramic assemblages, suggesting the ritual activities that took place at either site may not have been substantially different from one another. Alternatively, the lack of differentiation may indicate ceramics do not play an active role in large-scale public ritual activity in this context.

The Tokugawa period (1600-1868) brought significant social, legislative, and institutional change to Japan, including peace and stability that pervaded much of early modern society. Life in these new social conditions was experienced under the authoritative and ideological influence of the shogunal regime, which sought to order society in a way reflective of administrative ideals. However, while control over Tokugawa inhabitants existed to a certain degree, there were also instances of geographical and social release from such control through engagement in religious pilgrimage and ritual. Practices such as these allowed some citizens to move around, through, and perhaps beyond the modes of confinement established by authorities. This release, which is illuminated by considerations of social and ritual theory, leaves us with a nuanced picture of Tokugawa life and indicates that relatively fluid portions of society may have maneuvered within the boundaries of the hegemonic structure.

Orientador: Marianna Francisca Martins Monteiro / Banca: Maria Thaís Lima Santos / Banca: Cassiano Quilici / Resumo: O percurso artístico de Jerzy Grotowski é marcado pela constante transformação e revisão de procedimentos. Ainda na fase em que o artista dedicou-se à elaboração de espetáculos, pode-se identificar esse movimento. Contudo, apesar de transformações e rupturas, é possível encontrar certas constantes. Frequentemente, Grotowski buscou aproximar seu trabalho artístico a questões ligadas ao ritual. Ao adotar, como perspectiva de análise, as temáticas da espiritualidade e do ritual, a pesquisa visa a encontrar as continuidades sob as rupturas em alguns processos de espetáculos de Grotowski. Pautado em Pierre Hadot e Michel Foucault, o trabalho utiliza a noção de espiritualidade em sentido amplo, não restrito a religião. A partir de Victor Turner e Richard Schechner, a pesquisa propõe refletir sobre as relações e as fricções entre cena e ritual nas propostas de Grotowski. Para a compreensão dos trabalhos do artista, além da análise dos textos dele próprio, o estudo embasa-se na pesquisa de Tatiana Motta Lima sobre as "palavras praticadas" do encenador / Abstract: The artistic path of Jerzy Grotowski is marked for constant transformation and revision of procedures. Even in the moment that the artist devoted his work to creation of performances, it is possible to identify this movement. However, despite of changes and ruptures, it can be found certain constants. Frequently, Grotowski tried to approximate his artist work to issues related to ritual. Adopting as analytical perspective the themes of spirituality and ritual, this research seeks to find the continuities behind the ruptures in some Grotowski's performances. Based in Pierre Hadot and Michel Foucault, the work uses the notion of spirituality in broad sense, not restricted to the religion. From Victor Turner and Richard Schechner, the research proposes to discuss about the relationship and the frictions between scene and ritual in Grotowski's proposals. In order to comprehend his works, beyond of the analysis of Grotowski's texts, this study was based on the research of Tatiana Motta Lima, about the "Palavras praticadas" of Polish director / Mestre

Submitted by Ana Carolina Abreu (anacarolinaabreu1886@gmail.com) on 2015-07-08T01:18:43Z No. of bitstreams: 1 VERSÃO FINAL-PÓSDEFESA.pdf: 4756684 bytes, checksum: 018d140db68150a4283786ca7c0c5c6b (MD5) / Approved for entry into archive by Rodrigo Meirelles (rodrigomei@ufba.br) on 2015-07-14T17:59:52Z (GMT) No. of bitstreams: 1 VERSÃO FINAL-PÓSDEFESA.pdf: 4756684 bytes, checksum: 018d140db68150a4283786ca7c0c5c6b (MD5) / Made available in DSpace on 2015-07-14T17:59:52Z (GMT). No. of bitstreams: 1 VERSÃO FINAL-PÓSDEFESA.pdf: 4756684 bytes, checksum: 018d140db68150a4283786ca7c0c5c6b (MD5) / CAPES / Este trabalho investiga o Hotxuá, cômico ritual da etnia Krahô, do estado do Tocantins, Brasil, à luz da etnocenologia. Para tanto, foi realizado um trabalho de campo e uma etnografia do ritual Perti ou Yótyõpi (Festa da Batata), onde o hotxuá é protagonista, observada e registrada a sua participação no ritual Pemp’kahààc (Festa de Iniciação das Crianças Krahô), a sua atuação no dia a dia da comunidade e a apresentação da “brincadeira” no I Encontro Internacional de Palhaços de Cataguases. A revisão da literatura se baseia num horizonte multirreferencial que envolve conceitos e teorias de diferentes disciplinas de áreas do conhecimento distintas, incluindo a Arte, a Filosofia, a Antropologia, a História e a Psicanálise; aparecem em destaque autores e mestres indígenas como: Del Bosque, Mazzoleni, Melatti, Bolognesi, Ismael Ahpracti Krahô, Getúlio Cruacraj Krahô e Pedro Peño Krahô. Por fim, este processo prático e reflexivo demonstra que o hotxuá, bem como o mito do trickster, é uma manifestação parcial do arquétipo da Sombra e que o artista que trabalha com este universo cômico deve se vincular ao personagem-tipo, que está próximo deste arquétipo. O resultado final mostra também que o hotxuá pertence e entrecruza os três subgrupos da etnocenologia: objetos substantivos, adjetivos e adverbiais.

The diploma thesis theme, which I have chosen, Addiction to the nasal use of pervitin, is based on my long-term interest in this subject.One of the factors that may be important in the study of any drug problem is the ritual. Rituals here may appear on several levels - it may contribute to the formation and maintenance of a dependency, in the application itself (creation of "lines" on the mirror, the use of identity cards, sniffing with a rolled banknote, etc.) and can take various forms (e.g., group or individual) (Holzbachova, 1999). For my thesis, I have chosen the method of qualitative research. The basic approach of qualitative research includes the grounded theory. The aim of the thesis is to analyze and describe the different aspects of ritual behavior of nasal drug users. The research question was to discover, which aspects of ritual occur in nasal drug users. As it is described in literature, all drug users ritualize the drug application to some extent. This represents stylized and routine behavior that occurs during drug use. There are situations, like the procurement of drugs, methods of taking, activities following the use of drugs and the ways to prevent the negative effects of drugs (Grund, 1993). During an interview, two of the interviewees said the word "ritual". Cyril considers it a ritual and the activities precede sniffing. These are activities associated with the hunt for the drug, the journey to the drug and the nervousness "before trip", which according to him is stronger than the feeling of drug application. Dana describes the application procedure as a ritual. However, she describes as ritualistic her behavior during the purchase of a sufficient supply of cigarettes for intoxication or when applying the drug on the toilet seat, wiping the toilet boards before the actual preparation of the drug for application. Although the other two interviewees did not use the word ritual in their answers directly, some ritualistic elements signaled a routine behavior in conducting the drugs process by them as well. In general, we assume that the thesis can contribute to the discussion about the ritual aspects of drug users. This work brings in new information about the rituals of nasal drug users. We anticipate publication in a professional periodical.

Interpreting culture as symbols, stories, rituals and values, the thesis explores the culture of a Jewish and a Catholic secondary school in a dialogical way. The survey of the literature in Chapter 1 identifies relevant school-based research and locates the chosen case-study schools within the context of the British 'dual system'. Chapter 2 draws on the theoretical and methodological literatures of inter-faith dialogue and ethnography to develop and defend a paradigm for the research defined as open-inclusivist and constructivist. The main body of the thesis (Chapters 3-5), based on field-work undertaken in 1996 and 1997, presents the two schools in parallel with each other. Chapter 3 describes the details of the case studies at 'St. Margaret's' and 'Mount Sinai' and my developing research relationship with each school. In Chapter 4 many different voices from each school are woven into two 'tales' about the schools' cultures. This central chapter has a deliberately narrative style. Chapter 5 amplifies the cultural tales through the analysis of broadly quantitative data gained from an extensive questionnaire administered to a sample of senior students in each school. It is the only place in the thesis where views and values from the two schools are directly compared. The final two chapters widen the horizon of the study. Chapter 6 presents voices which were not part of the original case studies but which relate, in different ways, to the culture of the two schools. Chapter 7, with theoretical ideas about Jewish schools and education, and Catholic schools and education, provides resources for further dialogue about culture within Judaism and Catholicism and for Jewish-Christian dialogue. The thesis ends with some reflections on possible implications of the two cultures for discussions about the common good in education.