Submitted by Luciana Ferreira (lucgeral@gmail.com) on 2018-05-07T12:10:17Z No. of bitstreams: 2 Dissertação - Maria do Socorro Pereira Lima - 2018.pdf: 8884808 bytes, checksum: 9db5d7bd63960f7488937a887cf325c0 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Approved for entry into archive by Luciana Ferreira (lucgeral@gmail.com) on 2018-05-07T12:57:40Z (GMT) No. of bitstreams: 2 Dissertação - Maria do Socorro Pereira Lima - 2018.pdf: 8884808 bytes, checksum: 9db5d7bd63960f7488937a887cf325c0 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Made available in DSpace on 2018-05-07T12:57:40Z (GMT). No. of bitstreams: 2 Dissertação - Maria do Socorro Pereira Lima - 2018.pdf: 8884808 bytes, checksum: 9db5d7bd63960f7488937a887cf325c0 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Previous issue date: 2018-04-09 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / The emphasis of this study relies on the arpillerista women`s movement and their arpilleras, an embroidery technique that served as a tool to speak out against the the military dictatorship of Augusto Pinochet (1915-2016). The movement characterized itself by political resistance, the denouncing and the defense of human rights, inspired by various groups in Chile and in other countries, such as Brazil. The experience of arpilleristas consists in what the British anthropologist Victor Turner would call a “social drama” (TURNER, 2005a, p.182). The goal of this research is to identify the possibilities of artistic practices in the arpilleras as events of cultural performativity in that we can observe the occurrence of a “social drama” according to the authors who have written in this field. The methodology chosen for this study was the cartographic method and the investigation tools we used were: observation, semi-structured interviews with the representatives of the movement of Brazilian arpilleristas (arpilleras do MAB) and of Chilean arpilleristas (Memorarte) as well with as the curator of current expositions in Northern Ireland, Roberta Bacic, and the curator and facilitator of expositions and workshops of arpilleras, Esther Conti; my participation in workshops of production of this technique, as well as photographs taken to register the process. We understand that the importance of this study to the interdisciplinary field of Cultural Performances is valuable because it delves into the social, political and artistic experiences which deals with significant transformations yet to be explored by the academic world at large as well as in our country. / A ênfase deste estudo recai no movimento de mulheres arpilleristas e suas arpilleras, técnica de bordado tradicional que serviu de instrumento de denúncia durante a ditadura militar do general Augusto Pinochet (1915-2006). O movimento se caracterizou pela resistência política, denúncia e defesa dos direitos humanos, inspirando vários grupos no Chile e em outros países como no Brasil. A experiência das arpilleristas se configura no que o antropólogo britânico Victor Turner denomina de “drama social”? (TURNER, 2005a, p.182). O objetivo desta pesquisa foi identificar as possibilidades das práticas artísticas nas arpilleras como eventos liminares de performances culturais, em que se pode observar a ocorrência do “drama social” conforme definem autores do campo. A metodologia transcorreu pelo método cartográfico e os instrumentos de investigação foram: a observação, entrevistas semiestruturadas com representantes de movimentos de arpilleristas brasileiras (arpilleras do MAB) e do Chile (Memorarte), além da curadora de exposições que atua na Irlanda do Norte, Roberta Bacic, e a curadora e facilitadora de exposições e oficinas de arpilleras Esther Conti; minha participação em oficinas de produção da técnica, além de fotografias para registrar o processo. Entendemos que a importância deste estudo para o campo interdisciplinar das Performances Culturais é valiosa por tratar de uma experiência social, política, e artística que envolve transformações significativas, ainda pouco exploradas no meio acadêmico e em nosso país.

This thesis represents an analysis of symbolic expressions used to convey traditional Chinese cultural values in marital relations as expressed through costumes and lyrics in Peking Opera plays and performances. Two symbols, dragon and phoenix, were selected from the costume collection. Four symbols--bird, tiger, wild goose, and dragon--were selected from compilations of lyrics. These symbols were selected because they expressed Chinese core cultural values, an imperial ideology based on Confucian thoughts, which were practiced rigidly during Qing Dynasty (1644-1911). Modeling Theory is applied to argue that dragon and phoenix as visual symbols convey ideas about characters' background, marital relationship, social status shifts, and socio-culturally desirable values. Social Drama Theory is employed to analyze the lyrics to understand how ideal images of husband and wife are constructed. The archetypes of Chinese traditional culture that have influenced Chinese thought and action for centuries are discovered and discussed.

Made available in DSpace on 2014-12-17T13:54:47Z (GMT). No. of bitstreams: 1 JorgeHTLM_DISSERT.pdf: 3836230 bytes, checksum: 8bed85be36e33fe7fd8c7710523e581f (MD5) Previous issue date: 2010-10-10 / Coordena??o de Aperfei?oamento de Pessoal de N?vel Superior / This paper proposes to analyse a situation of social drama involving the Krah? Indians (classified in ethnology as belonging to J?-Timbira group) and the Museu Paulista of the Universidade de S?o Paulo, which we can classify as two distinct social fields. The understanding of the drama is conveyed through an examination of each of these fields and the coming together of both on the basis of the positions taken up, within the network of relationships established during the social process, by actors representing both the Krah? field and what we may call here the academic-administrative field. A multi-sited ethnographic approach is adopted, seeking the complexity of the drama and the positions in the aforementioned network, taking into consideration institutional political projects, personal projects and personal trajectories within a historical perspective. The aim is to encourage discussion of the relationship between the formation of the historical-scientific and ethnographic museums and the practices of the anthropological discipline, as well as the social role of these institutions and the processes of signification of objects belonging to the indigenous material culture / O presente trabalho prop?e a an?lise de uma situa??o de drama social envolvendo a etnia Krah? (classificada na etnologia como pertencente ao grupo J?-Timbira) e o Museu Paulista da Universidade de S?o Paulo, os quais classificamos como dois campos sociais distintos. O entendimento do drama se objetiva por meio do exame de cada um desses campos e da aproxima??o de ambos com base nas posi??es assumidas, dentro da rede de rela??es estabelecidas durante o processo social, por atores representativos tanto do campo Krah? quanto do que convencionamos chamar aqui de campo acad?mico-administrativo. ? realizada uma abordagem etnogr?fica multi-situada, que busca complexificar a constru??o do drama e as posi??es na referida rede, levando-se em considera??o projetos pol?ticos institucionais, projetos pessoais e trajet?rias de vida inscritos em uma perspectiva hist?rica. Pretende-se levantar discuss?es sobre a rela??o da forma??o dos museus hist?rico-cient?ficos e etnogr?ficos com pr?ticas da disciplina antropol?gica, bem como o papel social dessas institui??es e os processos de significa??o de objetos de cultura material ind?gena

This dissertation examines how institutions generate, teach, and authorize normative performances through texts and/as pedagogical practices. Through an analysis of the University of South Florida’s mandatory reporting policy, training, and Title IX Incident Report Form, this project examines how institutions construct and privilege certain values, performances, and individuals as means of generating the legal compliance of the institution independent. These practices are valued independent of how such compliance enables and limits the relationship between students and teachers. I argue the University’s texts and pedagogical practices serve to substantiate, authorize, and perform the materialization of certain privileges and the normative standards for the performances of mandatory reporters – those specifically designated “responsible employees,” which includes graduate, teaching, and research assistants supervising or teaching possible victims. I further rely on critical communication pedagogy as a means of analyzing USF’s practices and calling for an altered pedagogy that better accounts for the subjectivity of individuals not previously recognized by/through current institutional practices. While USF’s mandatory reporting policy is merely one institutional mandate, the practices expressed and outlined in this research are indicative or the practices of institutions more broadly. Understanding those practices is essential to recognizing the ways institutional and individual actors relate and interact.

Spain's invasion of the Andes initiated a social drama unprecedented in the experience of the Andean natives. Spanish and Spanish-conscripted native chroniclers wrote extensively about Inca pageantry, spectacle, and ritual, and hastily attributed pagan belief to performances they witnessed or heard about. With equal haste, the Spanish appropriated performance as means of introducing and enforcing Christianity. In this thesis, I treat performance as the central feature of Andean Colonial transition. Performance may be viewed as an ephemeral feature of the Andean transition but fortunately, in mortuary performances (dealing with death and treatment of the body); there are many theatrical elements that survive in mortuary contexts (e.g., staging, setting, costumes, make-up, props, and choreography). Archaeology, history, and ethnographic observation together illustrate that performance has alternately established, celebrated, or subverted Andean power relations during hundreds of years. Mortuary performances are especially excellent commentaries about religious climate of Colonial Peru. In this thesis I analyze mortuary performance in Colonial and contemporary Peru. I argue that the Colonial Spanish saw performance as evidence of belief and sought to transform pagan belief to Christian belief. Ultimately, communities, religion, and performance itself were transformed; integrated and reintegrated into dynamic personal and public expressions.

This dissertation examines how a group of street vendors in Yogyakarta City, Indonesia, experienced a government-organized relocation from Mangkubumi Street to a newly renovated marketplace. In particular, I explore the strategies taken by the leaders of a street vendor organization called Pethikbumi to refuse the relocation and claim their right to the street. Contestations over streets, street vending and street vendor relocations constitute important moments during which citizenship, democracy and belonging are negotiated in the city. I argue that the conflict over belonging and democracy took the form of a social drama and was shaped and structured by specific moral appeals, public performances, and processes of imitation (cf. Turner 1974). The study begins with an exploration of the history of street vending and the pedagang kaki lima (street vendor) in Indonesia. I outline how the pedagang kaki lima were viewed as “dirty”, a simplified code for the transgression of social, spatial and legal boundaries. I move on to explore the way the street vendors of Pethikbumi drew on ideas of “the people” (rakyat), democracy and transparency in claiming their rights. I analyze the ways that Pethikbumi drew on important moments in Indonesia’s past and present, situating this relocation conflict as significant and as part of “history”. The relocation was also rooted in an epistemology of “skepticism” derived from an awareness of the ambiguity and tension between appearances and realities (cf. Anderson 1990). Pethikbumi engaged in tactics to both reveal and conceal the “unseen powers” that were imagined as working behind the scenes to generate conflict. The conflict over the relocation to a marketplace was not only a fight over who had access to the street but also a struggle over what constitutes democracy, how to achieve transparency, and who belongs in post-Suharto Indonesia.

1999年，味全龍在三連霸後意外解散，徒留龍迷無限思念，時至今日，許多龍迷仍在各BBS站的龍隊討論板，尋找、分享過去曾有的記憶。只是隨著時空的變遷，與龍隊相關的消息大幅減少，儘管仍有前龍將在球場上征戰，但他們的今日表現也不再與龍隊直接相關。假使網路中的虛擬社群能夠成為龍迷記憶過往的處所，對龍迷而言，社群記憶的形塑過程為何？社群成員之間又存在著什麼樣的關係？ 不同於過去虛擬社群之研究取徑集中於效果論、控制論的範疇，本論文試著從James Carey的傳播儀式觀點出發，從人類的固有行為，特別是儀式活動中，重新檢視社群記憶的產生與成員關係。研究對象為批踢踢實業坊（ptt）的Dragons板，研究分析之理論基礎包括了Maurice Halbwachs的集體記憶理論、Victor Turner的社會劇理論，以及Turner儀式研究的中介性與交融概念，研究方法為文本分析與深度訪談。 研究發現，奧運期間，針對徐生明爭議所引發的各個討論串內容，不僅彼此扣連，也互相影響著，使得討論串的主題發展，宛如社會劇中的情節更迭。在社會劇的修正行動中，龍迷則在討論串的字裡行間透露出對過去記憶的重組與召喚，目的時常是為了合理現狀、弭平對立與衝突。同時，由於社群管理者的管理態度與對自我職權的認識，讓參與者在取得社群身份，以及為文互動的過程裡，展現出類中介性的特徵，Dragons板也成為龍迷面對社會之不規律性與緊張時，自願而非義務結合的交融狀態。 從研究發現進一步延伸，「龍魂不滅」作為Dragons板的社群記憶，並非指成員之間的共同記憶，也絕非永恆不變。事實上，「龍魂不滅」應視為社群記憶形塑過程中的象徵性資源，此象徵不僅是儀式過程中成員行動的力量來源，象徵意義也可能在記憶重組與召喚的動態過程中，被賦予新的意義。另一方面，Dragons板所具有的類中介性，是龍迷遭逢危機與不安時的自發性結合；Dragons板所以能成為記憶社群，從儀式觀點，社群的參與宛如朝聖，社群的意義以及成員之間的關係，則是在選擇之後產生，也就是交融。

This paper studies the death in Aracaju society of the First Republic (1889-1930), from the perspective of social representation. The research seeks to clarify how men and women, adults and children, rich and poor behaved before death. Therefore, in seeking to understand the different perspectives on death would be examined how perceptions of individual and collective nature; wills are indicated as the main source of research and try them indicate the formulas, the votes and the latest provisions of the dead; also discuss death as a social event, a spectacle and her vision as a social drama. For this, the work will be used in some moments of narrative in the writing process, however, this will be through the use of different sources. Many studies have addressed the study of death in the nineteenth century, especially in changing burials from inside and around the churches to cemeteries, few were to surveys conducted during the First Republic, then, that dissertation proposes new approaches to the study death / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / O presente trabalho estuda a morte na sociedade aracajuana da Primeira República (1889-1930), sob a ótica da representação social. A pesquisa busca esclarecer como homens e mulheres, adultos e crianças, ricos e pobres se comportavam diante da morte. Portanto, na busca de compreender a morte em diferentes perspectivas a mesma será analisada como percepções de cunho individual e coletivo; os testamentos serão indicados como principal fonte de pesquisa e neles procuraremos indicar as fórmulas, os sufrágios e as últimas disposições do morto; ainda, abordaremos a morte como um acontecimento social, sua espetacularização e a visão dela enquanto um drama social. Para isso, o trabalho em alguns momentos se utilizará da narrativa no processo de escrita, porém, esta se dará através da utilização de diferentes fontes. Muitos trabalhos se debruçaram ao estudo da morte no século XIX, principalmente na mudança dos enterramentos do interior e ao redor das igrejas para os cemitérios, poucos foram às pesquisas realizadas no decorrer da Primeira República, logo, a referida Dissertação propõe novas abordagens para o estudo da morte.

Made available in DSpace on 2014-12-17T13:54:46Z (GMT). No. of bitstreams: 1 LuizAN.pdf: 1830713 bytes, checksum: 33c7ccb755be0994c00e84eb15cb1205 (MD5) Previous issue date: 2009-07-01 / This work considers a ethnography boarding on the Ap?niekra J?-Timbira group of Central Brazil - leaving of a proposal of agreement of the group in perspectives of historical situations, analyzing its social organization from situational approaches. Taking the ethnography as main tool of production of data, the focus of the research takes dimension, when in the course of the ethnography situation, they come out, from certain events, social dramas that if ramify in crises, conflicts, faccionalismo. I analyze the mechanisms elaborated for the group to neutralize these dramas , such as the constitution of a tribal court , composites for native mediators and external mediators, dynamics ritual processes and politicians. / Este trabalho prop?e uma abordagem etnogr?fica sobre os Ap?niekra grupo J?- Timbira do Brasil Central - partindo de uma proposta de entendimento do grupo em perspectivas de situa??es hist?ricas, analisando sua organiza??o social a partir de enfoques situacionais. Tomando a etnografia como ferramenta principal de produ??o de dados, o foco da pesquisa toma dimens?o, quando no curso da situa??o etnogr?fica, eclodem, a partir de certos eventos, dramas sociais que se ramificam em crises, conflitos, faccionalismo. Analiso os mecanismos elaborados pelo grupo para neutralizar esses dramas , tais como a constitui??o de um tribunal tribal , compostos por mediadores nativos e mediadores externos, dinamizando processos rituais e pol?ticos. Palavras- have: Ap?niekra, Timbira, situa??o social, drama social, processo ritual.

本文設定出三個研究目的 1.觀點建構：為了重新評估新聞敘事的生產與接受過程，我們基於社會真實建構論與James Carey所說的「溝通之儀式觀點」，進而提出敘事表演論，即敘事正是儀式表演。這裡，本文基於「社會空間一劇場空間－文本空間」的類比，進而主張敘事表演的背後程式和社會結構的運作邏輯密切有關。 2.理論建構：為了有系統性的探討整場敘事表演所展現的意義，同時提高閱聽眾的「批判的語言警覺性」，本文按照四個表演構成因素之間的關係網，區分了三種意義場域：「人際意義」(言者一聽者)、「理念意義」(故事主角)、「文本意義」 (舞臺場景工程)。據此，本文分別建構具體的理論工具箱，以期不但識別出文本上的微觀物理線索，即語法證據一如「語態」、「詞彙語域」、「社會行動詞」、「言說標誌詞」等；且進而尋繹出敘事所努力完成的意義網路和意象建構，即語用途徑－如「直示中心轉換模式」、「敘事轉換模式」、「引語文體」等。 3.實際應用：使用該語言工具箱來實際分析新聞範例－ 「97年台電核廢料案」，探討台/韓新聞媒體針對同一個社會事件，運用怎樣的象徵資源，如何再現言者對該議題的觀點位置，如何設定故事主角的形象與理念，又如何實現其報導內容的連貫性與事實性。對此，本文再細分成底下主要問題：(1)言者的觀點立場透過怎樣的語言用法和策略裝置展現在敘事新聞中？；(2)針對同一個故事，台/韓兩方的新聞版本所再現的理念圖像有什麼異同？；(3)針對同一個故事，台/韓雙方的新聞版本如何重說以塑造出敘事流程的一致方向？ / Is the press news a mirror of reality or constructed reality? In this debating epistemological approaches, we are based on latter as well as on the perspectives of “narrative as ritual performance” ,which is in the contextual mood of textual-oriented critical discourse analysis. From the view of media function of ‘reality-definition’, and also with socio-cultural anthropological perspectives, we are assumes that news is not reality itself and not information transfer too, but socially constructed multiple realities through social interaction on a ‘stage’ by various social actors as performers, either they are on ‘frontstage’ or ‘backstage’. In other words, in this study we attempt to reintroduce performative model into the discourse-textual analysis in media studies, and therefore propose that news is a mediated collective ritual performance in which we are both a performer and a participant, who have function of the “double subjectivity” in the context of news making and its reading. This study essentially also have a basic concern with the cultivation of what Fairclough called ‘critical language awareness’, in other to reflectively reconsider the problems of ethnocentrism and the webs of power-knowledge which can be inscribed in the form and content of ritual performance. And now, what is “narrative performance”? Based on Victor Turner‘s notion of performance, i.e. the processual sense of ‘bringing to completion’ or ‘accomplishing’, this study further defines narrative performance as those two connotations: generally speaking, it means “ritual performance of telling-stories in everyday life” and then specifically speaking, it means “all written text or printed text displaying dramatic formats ” which not only represents our interpretation of what is social reality, but also continually performing and reconstructing our collective consensus and affective memories of the historical culture including the context of “here-and-now”. What we want to do in this paper is to articulate and demonstrate the correspondence between social space and textual space which is based upon the analogies of “life-as-theatre” and “symbolic interaction-as-drama performing”. News narrative result of journalist’s convention, their sociocultural context, and the routinalized reporting practice. Through this study, we believe, it would provide a sort of alternative perspective and a set of useful metaphor for searching out new methodological directions in the fields of communication and mass media studies. The main object of this case study is to analyze the narrative structure of the press news on “the issue of Taiwan nuclear waste”, in other to identify the function of reality construction of a ritualized press performance as well as to show the process of image construction which is represented in the textual context of time-space. More specifically four research questions are raised. First, How we should rethink and reevaluate the process and significance of news-making? Second, How does teller‘s position represent in the news narrative by the use of what sorts of language-uses and tactic device? Three sub-questions as follows: a. How dose teller highlight “we-oriented” view points in the news reporting? b. How dose teller dissimulate “they-oriented” view points in the news reporting? c. How dose teller purposefully persuade the audience to be oriented and attached to the story-teller owns attitudinal position? Third, In relation to the given same social events, what is the distinctive differences of ideational pictures re-presented between Taiwan and Korean version of news story? Forth, In relation to a original newspaper article, how Taiwan and Korean press distinctively retelling or re-performing the story to be construct the thematic coherence of narrative flows ? In other to give answers to these practical questions, this study collected articles of Korean newspaper ‘Joongang Ilbo’ and Taiwan’s ‘United Daily’ and ‘China Times’, each dealing with the case of ‘nuclear waste’ which have drawn a firestorm from South Korea after Taiwan and North Korea had made the Jan. 11, 1997 deal of nuclear waste. To analysis these news articles, this study systemically build a set of analysis methods and several types of research-tools focusing on three categories of meaning-field, that is, fields of interpersonal meaning, ideational meaning, and textual meaning. Interpersonal meaning field including two types of tool or cues, that is “modality” and “deixis” by which to explore the process of image constructing of teller-audience nexus on backstage；in the filed of ideational meaning, there are three tools, that is “registers of lexical categorization”, “social-action-verbs”, and “modes of narrative transposition ” by which to investigate the process of image construction of social actors staged-on；and the textual meaning field mainly based on “discourse marker” and “speech genre(as quotation)” by which to demonstrate the thematic coherence in the semantic and pragmatic levels embodied by the operations of symbolic selection and composition of narrative devices. The above methodological approaches can be illustrated as follows: ┌───────┬──────┬───────┬──────────┬─────────┐ │Meaning-Field │Focus │Relation-Web │Image-Construction │Language-use-Cues │ │ │ │ │ │ │ ├───────┼──────┼───────┼──────────┼─────────┤ │Interpersonal │enonciative │enonciative │teller and listener │modalities deixis │ │ │event │context │ │ │ ├───────┼──────┼───────┼──────────┼─────────┤ │Ideational │episodic │representation│story actor’s │lexical registers │ │ │event │of 'people- │social action │social-action- │ │ │ │world' │ │verbs modes of │ │ │ │relations │ │narrative │ │ │ │ │ │transposition │ ├───────┼──────┼───────┼──────────┼─────────┤ │Textual │symbolic │thematic │selection and │discourse markers │ │ │textualizing│coherence │composition of │speech genres │ │ │ │ │narrative devices │ │ └───────┴──────┴───────┴──────────┴─────────┘ Major conclusion of the study: For the research question 2, we found that teller’s view position was demonstrated in those ‘deictic centers’ as like ‘WHO’, ‘WHEN-WHERE’, and ‘WHAT’ , which served as a sort of mechanism making a tragic spectacle, in other to set up the sympathetic involvement toward “Mr. Yan” as a hero as well as the resentment toward “Taiwan authority” as an antagonist, which is assume to be generated from the imagined domain of Korean audiences. More importantly, we further found that the three types of tactic devices of persuasiveness used by Korean teller which is this: a. to show concrete evidence including critical witness as a vivid symptoms on the could-be-impacts of pollution crisis；b. to evoke universal sense of moral justice；c. to support the technique of punishment. For research question 3, we found that Korean and Taiwan news articles not only shown the differences of representational orders on the ideational picture of the case of Taiwan nuclear waste, but also it supported the fact that, as Mary Douglas argued, ‘ritual of social hygiene’ would be performed when a social communities faced the pollution problems to solves, in order to manages the crisis through mobilizing a sorts of symbolic capitals available to use. we show first that the dominant value of Korean domains on the news issues are standard aggressive patterns of “the program of the witch-hunting” which is based on the ethical politics of environmental protection and the justice of human rights；and second that, compared with the Korean domain’s, Taiwan news narrative demonstrated the distinctive representational order, i.e. “the program of consolation” which is based on lawful and economic ways of thinking. For research question 4, we found that Korean and Taiwan news reporting did not have a distinctive characteristics in the ways of using ‘discourse markers’ to construct local coherence of narrative flow, because both of they are follow basic conventional norms of news writing just as . But, in the other hand, from the aspects of ‘speech genre’, we found that there are differences in the ways of quotation, Korean teller is favor to use ‘free direct speech’ with a discriminating reporting verbs by which highlight the negative aspects of the deal, While on the contrary, Taiwan teller is favored to use ‘indirect speech’ and with a neutral reporting verbs by whichrean teller is favor to use ‘free direct speech’ with a discriminating reporting verbs by which highlight the negative aspects of the deal, while on the contrary, Taiwan teller is favored to use 'indirect speech' and with a neutral reporting verbs by which selecting the good ones and dismilating the negative aspects of the deal.