Made available in DSpace on 2016-07-27T13:48:37Z (GMT). No. of bitstreams: 1 SAMUEL CAMPOS VAZ.pdf: 1391981 bytes, checksum: abf2d7eae63ffefae4f3773554f75efc (MD5) Previous issue date: 2014-03-14 / This work has as object of research a statue standing on Cidade de Goiás Cemetery which is known as "menina do caco" Some popular narratives say the statue is the girl who died by the punishment imposed on her. As they say she would have broken a piece of porcelain and was given to her the exemplary punishment that subjected her to wear a necklace of broken porcelain. This story is also told by Cora Coralina through her poems, however, vilaboense society does not recognize that the tales of the poetess would be the source of the story. The statuette in the San Miguel Cemetery, as well as theft and place changing, has helped to the social imaginary of the "menina do caco" Through the intersection of folk and Cora Coralina‟s fairy tail, I sought to understand some aspects of the social construction of the imaginary process, and through it realize important social changes, such as those imposed by the laws of the Empire, which forbade the burial in churches so the dead became to be buried in the cemetery, or other social behavior, which would be the end of exemplary punishment. This research used the photography to record the images of the cemetery and "menina do caco" statue. Through the images of the statuette made at different times can be seen, that silently, there was an act of religiosity being expressed about "menina do caco". This would be a devotion under construction. The tragic about the character story told and retold still stir emotion until today Therefore this research shows that the social imaginary in direct contact with the material culture becomes a major boost for the whole phenomenon created by faith. Material culture and photography were sources of research in this work. / Este trabalho tem como objeto de pesquisa uma estatueta que está no Cemitério da Cidade de Goiás que é conhecida como menina do caco . Algumas narrativas populares dizem que a estatueta representa a menina que veio a falecer pelo castigo imposto a ela, segundo contam, ela teria quebrado uma peça de porcelana e lhe deram o castigo exemplar que a submetia a usar um colar de cacos da própria porcelana quebra. Esta história também é contada por Cora Coralina através de seus poemas, no entanto, a sociedade vilaboense não reconhece que os contos da poetisa seriam a fonte da história. A estatueta no Cemitério São Miguel, bem como, outras façanhas de roubo e troca de lugar, tem contribuído para alimentar o imaginário social sobre a menina do caco . Através da intersecção do conto popular e do conto de Cora Coralina buscou-se compreender alguns aspectos do processo de construção social do imaginário, e através dele perceber mudanças sociais importantes, como por exemplo, as impostas por leis do Império, que proibia o enterramento nas igrejas que passam a ser feitos no cemitério, ou outras do comportamento social, que seria o fim do castigo exemplar. Esta pesquisa utilizou da fotografia para registrar as imagens do cemitério e da estatueta menina do caco . Através das imagens da estatueta feitas em épocas diferentes pode-se constatar, que silenciosamente, havia um ato de religiosidade sendo manifestado sobre a menina do caco . Esta seria uma devoção em construção. A história trágica da personagem contada e recontada leva a comoção até os dias atuais. Dessa forma essa pesquisa mostrou que o imaginário social em contato direto com a cultura material se torna um grande propulsor para todo o fenômeno criado pela fé. A cultura material e a fotografia foram fontes de pesquisa nesse trabalho.

A tese intitulada Coronel de Barranco: a literatura no imaginário social da Amazônia no primeiro ciclo da borracha tem como corpus de investigação o romance ambientado na Amazônia do final do século XIX e início do século XX Coronel de Barranco (1970), do autor brasileiro Cláudio de Araújo Lima. O objetivo dessa pesquisa é a percepção do imaginário social através do estudo do cruzamento de registros históricos e literários a respeito do universo imaginário amazônico. Para a presente análise são necessários alguns passos nos bosques da teoria e da tradição literária amazônica, além de incursões frutíferas na história para compreender melhor os caminhos percorridos por essas duas narrativas História e Literatura. Dessa forma, não se pode negar a contribuição das duas narrativas, aqui em estudo, para compreender não só o primeiro ciclo da borracha extrativista, mas, sobretudo, períodos posteriores de formação da região amazônica. Para fundamentar os estudos aqui desenvolvidos, fez-se uso de autores como Roland Barthes, Dominick LaCapra, Carlo Ginzburg, Hayden White entre outros que permitem uma compreensão maior a respeito do cruzamento narrativo entre história e literatura. / The work entitled Coronel de Barranco: literature in the social imaginary of the Amazon rubber boom in the first period is to research the novel set in the Amazon of the late nineteenth and early twentieth century - Coronel de Barranco (1970), the Brazilian author Claudio de Araújo Lima. The objective of this research is the perceived social imagery by studying the intersection of literary and historical records about the imaginary world of the Amazon. For this analysis takes a few steps in the woods of theory and literary tradition Amazon, and of course fruit of raids in history to better understand the paths taken by these two narratives History and Literature. Thus, one cannot deny the contribution of the two narratives here under study, to understand not only the first cycle of the rubber extraction, but above all periods subsequent formation of the Amazon region. In support of the studies developed here, it was used by authors such as Roland Barthes, Dominick LaCapra, Carlo Ginzburg, Hayden White and others that allow a greater understanding about the intersection between narrative history and literature.

A tese intitulada Coronel de Barranco: a literatura no imaginário social da Amazônia no primeiro ciclo da borracha tem como corpus de investigação o romance ambientado na Amazônia do final do século XIX e início do século XX Coronel de Barranco (1970), do autor brasileiro Cláudio de Araújo Lima. O objetivo dessa pesquisa é a percepção do imaginário social através do estudo do cruzamento de registros históricos e literários a respeito do universo imaginário amazônico. Para a presente análise são necessários alguns passos nos bosques da teoria e da tradição literária amazônica, além de incursões frutíferas na história para compreender melhor os caminhos percorridos por essas duas narrativas História e Literatura. Dessa forma, não se pode negar a contribuição das duas narrativas, aqui em estudo, para compreender não só o primeiro ciclo da borracha extrativista, mas, sobretudo, períodos posteriores de formação da região amazônica. Para fundamentar os estudos aqui desenvolvidos, fez-se uso de autores como Roland Barthes, Dominick LaCapra, Carlo Ginzburg, Hayden White entre outros que permitem uma compreensão maior a respeito do cruzamento narrativo entre história e literatura. / The work entitled Coronel de Barranco: literature in the social imaginary of the Amazon rubber boom in the first period is to research the novel set in the Amazon of the late nineteenth and early twentieth century - Coronel de Barranco (1970), the Brazilian author Claudio de Araújo Lima. The objective of this research is the perceived social imagery by studying the intersection of literary and historical records about the imaginary world of the Amazon. For this analysis takes a few steps in the woods of theory and literary tradition Amazon, and of course fruit of raids in history to better understand the paths taken by these two narratives History and Literature. Thus, one cannot deny the contribution of the two narratives here under study, to understand not only the first cycle of the rubber extraction, but above all periods subsequent formation of the Amazon region. In support of the studies developed here, it was used by authors such as Roland Barthes, Dominick LaCapra, Carlo Ginzburg, Hayden White and others that allow a greater understanding about the intersection between narrative history and literature.

Submitted by admin tede (tede@pucgoias.edu.br) on 2018-10-02T18:18:17Z No. of bitstreams: 1 Ana Rita Marcelo de Castro.pdf: 792037 bytes, checksum: 3767f4f551bb1f84180ebdbfe3457223 (MD5) / Made available in DSpace on 2018-10-02T18:18:18Z (GMT). No. of bitstreams: 1 Ana Rita Marcelo de Castro.pdf: 792037 bytes, checksum: 3767f4f551bb1f84180ebdbfe3457223 (MD5) Previous issue date: 2002-03-27 / The purpose of this thesis is to undestand the Neopentecostal phenomena and its reaching in the yoth universe, in teh Post-modern era. From this focus, we try to perceive the characteristics of the New protestant churches in the post-modern society; undestand the teenagers adehesions to those religions and perceive the practical implications of those adhesions to the daily routine of the young people and the society. This investigation is a tool torument to undestand the symbolic youth universe and, consequently, perceive the tendecies and constructions of the social imaginary. / O propósito deste trabalho é compreender o fenômeno Neopentecostal e sua abrangência no universo juvenil, no contexto da pós-modernidade. A partir deste enfoque geral, quer-se perceber as características das religiões neopentecostais na sociedade pós-moderna; compreender a adesão dos jovens às religiões neopentecostais e perceber quais as implicações práticas desta adesão no cotidiano do jovem e da sociedade. Esta investigação é um instrumento para compreender o universo simbólico juvenil e consequentemente perceber as tendências e construções do imaginário social.

Critics mostly dismiss Victor Villasenor's 1991 Rain of Gold—the supposed biography of the author's father who enters the United States during the Prohibition era. Nevertheless, upon closer examination this narrative explores and erodes corroded human categories and racial reductions present in the Southwestern penal system. According to scholars in critical prison studies and critical race theory, the prison functions as a state-sanctioned method for prosecuting criminals and persecuting minority Americans. Juxtaposing Rain of Gold with these two areas of academic research, however, reveals that penitentiaries produce faulty and fallible notions of personhood that are, in part, responsible for the racialization and decimation that occur with incarceration. In resistance, Rain of Gold's protagonist challenges the carceral's ability to overdetermine identity by outmaneuvering criminal labels, redefining oppressive narratives and refusing to accept a dehumanized existence. As a thirteen-year-old in the Tombstone penitentiary, Juan Salvador Villasenor preserves his dream of a better future. While criminals, especially Mexican American criminals, have little room for redemption or rehabilitation under state law, Juan carefully contradicts social normalization by learning to read The Count of Monte Cristo, escaping several cells and trumped-up criminal charges, and practicing the techniques of a successful bootlegger. Juan, then, changes the material condition of his life, and the lives of his family members, as he turns prison's identity play inside out.

L’objectif général de la thèse est de reconstruire et de périodiser les processus de représentation du brigandage italien à l’époque du Risorgimento, en croisant l’analyse avec le vaste panorama de l’imaginaire social relatif aux identités criminelles du XIXe siècle. La thèse possède une structure de type chronologique, bien que j’aie identifié trois noyaux thématiques fondamentaux, évoqués dans le sous-titre : crime, littérature et politique. Mon hypothèse est que la chronologie relative à l’histoire de l’imaginaire du brigandage italien (et en particulier méridional : Rome et Naples), est dictée par l’interaction entre la construction socio-culturelle de l’identité criminelle, le discours de nature littéraire et les dynamiques du conflit politique lié au processus de l’unification italienne. De telles interactions mettent continuellement en contact les représentations du brigand avec le débat public plus général sur les mécanismes de formation et d’enracinement du crime. L’étude du banditisme rural, en ce sens, ne peut pas être séparée des dynamiques de développement du concept de « classes dangereuses », du crime organisé et de la profession de criminel. Dans le même temps, le développement de modes littéraires détermine des étapes culturelles qui façonnent la sensibilité collective sur le brigandage en Europe et en Italie. Enfin, mettre en relation l’imaginaire du crime avec le thème du Risorgimento permet d’observer à quel point le discours sur le brigandage présente des pics d’intérêt politique, ou, à l’inverse, de relative folklorisation. Ceux-ci sont intimement liés aux luttes entre révolution et contre-révolution, et entre des projets nationaux opposés. Le titre de la thèse, en rappelant l’incipit de l’hymne national italien (« Frères d’Italie »), souhaite souligner l’ambiguïté et le chevauchement entre discours national et discours criminel qui, pour tout le XIXe siècle, accompagne l’imaginaire culturel, social et politique du brigandage. / The main aim of the thesis is to retrace and historicize the processes of representation of Italian brigands during the Risorgimento. The research situates the brigands within the general framework of construction of political and cultural models regarding criminal identities during the 19th century. My dissertation has a chronological structure, even though I identified three fundamental subjects, evoked in the subtitle: crime, literature and politics. The figure of the bandit has played a central role especially in the history and identity of Southern Italy (Rome and Naples). I assume that the chronology related to the imaginary of Italian brigands is the flourishing result of the interaction between the social and cultural construction of criminal identity, the literary discourse and the dynamics of political conflict related to the process of Italian unification. Such interactions constantly merge the representations of brigandage with the public debate about the mechanism at the origin and the embedding of crime. Therefore, the study of rural banditry cannot be separated from the concepts of “dangerous classes”, organized crime and criminal profession, and their dynamics and evolution. At the same time, the development of different literary genres determines the cultural phases shaping society’s sensitivity about brigands in Europe and Italy. Thus, putting into relation the social imaginary of crime with the theme of Risorgimento, the reader will notice to which point the representations of brigands offers insights of political interest, or, on the contrary, of folklorization. These dynamics are intimately linked at the struggle between revolution and counter-revolution, in a wider frame of opposite nation-building projects. The title of the thesis, recalling the beginning of Italian hymn (“Brothers of Italy”), highlights the ambiguity and the overlap of national and criminal discourses, which accompany the cultural, social and political imaginary of brigands and brigandage during the 19th century.

A veiled space - Ideological Images of Society in Swedish Compulsory School Civics Lars Sandin  This study deals with the ideological dimension of education in the Swedish compulsory school [grundskolan]. By focusing on the images of the social world which are configured in the content of education, the study pays attention to the reproduction of an ideological dimension which is latent in our social imaginary. The theoretical problem was formulated as a question about if, and in what form, critical knowledge content is offered as part of the reproduction of the social imaginary that takes place in education. The empirical aim was to interpret the images of society configured in policy documents and teaching practice in compulsory school civics [samhällskunskap] with regard to how the differentiation of social space appears in these images. A hermeneutic approach was used. In the first of the two parts of the study, a number of policy documents – curricula and syllabi – were interpreted. In these documents, the differentiation of social space was found to be made visible selectively. The gender dimension and the dimension termed “cultural diversity” were highlighted, while the link between social differences and the uneven distribution of resources could only be glimpsed sporadically. A clear pattern of individuality could also be interpreted. The second of the two parts of the study was designed as a multiple case study. In this, the teaching of two teaching contents in civics, politics and economics, were studied as two separate cases. Three different images of society could be interpreted: a rationalist, a functionalist and a socio-political image. Of these, only the socio-political image offered a transparent view into the differentiated social space. However, the socio-political image was given a weak and unclear legitimacy in the teaching. The dominance of the rationalist and functionalist images were related to traditions that embed the teaching of civics. In the discussion the results from the two parts of the study were taken together and related to the problem. Among other things, the results were interpreted as an example of a conflict between contemporary reproduction and historical reproduction in education.

This research is entitled: Cinema and Education: teachers, their imaginaries and relations with the visual audio. It is part of the post-graduation program at Universidade Federal de Santa Maria. This work investigates how cinema has been worked at Instituto Federal do Tocantins, Campus Araguaína. This investigation is theoretically based on scholars who study cinema, education, and social imaginary. They are Castoriadis (1982), Oliveira (2012); Duarte (2002), Fresquet (2013), Imbernon, Nóvoa (2009), Deleuze (1985) and Bergala (2008). This is a qualitative research. As a data generation, device semi-structured interviews were done with five teachers who teach students from the course of Computer Science Integrated to High School. One of our goals was to understand some possibilities of using cinema at school as a tool to empower teachers teaching practice. National cinema investigation also was inserted and highlighted here. Bardin s analyzes theory (1977) was used to analyze this data s research. Results point four relevant thematic area: cinema in the life, cinema at school, national cinema and knowledge and cinema. Teachers see cinema as a strong tool to produce knowledge and make it accessible to students in a certain way that only through the Seventh Art can do. However, some of them do not take much profit from cinema because they were not specifically prepared for that purpose. In this way, some get more profit than others do in how to explore this art s potential. National cinema is few known; consequently, it is not valued as much as it should. It is mentioned how cinema can help in the education and new generation formation can take profit from it. In overview, this work points a needing of offering opportunities where teachers can be exposed to different and specifically training aiming to empower to use cinema in their classes. The great majority of teachers did not have specific training to work with cinema, did not participate in symposia, conferences, forums on the topic. Thus, each seeking more, some less, go learning in everyday life, how to develop their practices involving the cinema. It appeared that the national cinema is little known and hence undervalued. It has also been seen in research that can be expanded using the cinema, from the potential of the seventh art in the formation of new generations. Thus, it is evident that this study is essential that made possible continuing education courses on the campus, which develops work, emphasizing the cinema as art, like creation, development of otherness, the expansion of the imaginary and knowledge. It is believed that from these activities are feasible the construction of knowledge also the cinematic bias is to enable you to (re) thinking of educational practices. Thus, we seek to see the film as a creative power and not just as an entertainment educational resource or content illustration. / Esta pesquisa intitulada Cinema e educação: os professores, seus imaginários e suas relações com o audiovisual está inserida na linha de pesquisa LP1 Formação, Saberes e Desenvolvimento Profissional do Programa de Pós-Graduação da Universidade Federal de Santa Maria. A presente dissertação pretendeu investigar quais os imaginários construídos sobre a sétima arte e seu uso na escola e, como o cinema está sendo retratado nas práticas educativas de professores do Instituto Federal de Tocantins (IFTO) Campus Araguaína. Para embasamento teórico, deste estudo, enfocamos autores que tratam de formação de professores, cinema e educação e imaginário social, dentre os quais estão: Castoriadis (1982), Oliveira (2012); Duarte (2002), Fresquet (2013), Imbernon, Nóvoa (2009), Deleuze (1985) e Bergala ( 2008). A abordagem teórico metodológica utilizada é a qualitativa. Como instrumento e procedimento de coleta de dados foram realizadas entrevistas semiestruturadas com cinco docentes do Curso de Informática Integrado ao Ensino Médio, a fim de se compreender as possibilidades de utilização do cinema no espaço escolar, suas representações sobre o cinema nacional e suas concepções sobre cinema e conhecimento. Os dados coletados foram explorados com o apoio da análise temática de Bardin (1977). Os resultados permitem a inferência de quatro eixos temáticos: cinema na vida, cinema no espaço escolar, cinema nacional e cinema e conhecimento. Constatou-se que os professores veem no cinema um aliado, um instrumento de grande relevância na construção e enriquecimento do conhecimento, porém, muitos ainda não conseguem utilizar o cinema em toda sua potencialidade. A grande maioria dos professores não tiveram uma formação específica para trabalhar com o cinema, não participaram de simpósios, congressos, fóruns sobre a temática. Sendo assim, uns buscam mais, outros menos, ir aprendendo no cotidiano, como desenvolver suas práticas envolvendo o cinema. Verificou-se que o cinema nacional é pouco conhecido e, consequentemente, pouco valorizado. Também foi visto na pesquisa que pode ser ampliado o uso do cinema, a partir do potencial da sétima arte na formação das novas gerações. Dessa forma, evidencia-se nesse estudo que é essencial que sejam viabilizados cursos de formação continuada no Campus, onde se desenvolva trabalhos, enfatizando o cinema como arte, como criação, no desenvolvimento da alteridade, na ampliação dos imaginários e dos saberes. Acredita-se que partir dessas atividades torne-se viável a construção do conhecimento também pelo viés cinematográfico, possibilitando-se o (re)pensar das práticas educativas. Desse modo busca-se ver o cinema como potencia criadora e não apenas como recurso pedagógico de entretenimento ou de ilustração de conteúdo.

Le reportage, comme journalisme d'investigation de la presse écrite, se constitue en France dans le dernier tiers du XIXe siècle, non sans susciter des débats et des représentations contradictoires entre tenants et opposants. Il connaît dans l'entre-deux-guerres une période d'effervescence, pendant laquelle il se décline en différents supports (volumes, presse quotidienne et hebdomadaire) et selon différents rapports à l'actualité et à la fictionnalisation. Le reportage apparaît dès lors moins comme un genre uniforme qu'en tant que matrice d'un journalisme d'enquête, dont on peut retracer la formation et l'évolution, décrire les différentes variations génériques (reportage collectif, feuilletonesque et d'actualité). Associé à l'essor de la presse d'information, le reportage instaure l'envoyé spécial en médiateur, en écrivain et en héros de la culture médiatique. Le Reporter, comme objet de l'imaginaire social de la Troisième République, est une figure complexe, dont il convient de retrouver les représentations à la croisée de différentes productions. Ce sont à la fois des fictions, des articles de presse (reportages, interviews, nécrologies, métadiscours), des Mémoires de journalistes, de même qu'un ensemble de représentations iconographiques qui sont convoqués, afin de tracer un répertoire culturel des scénographies journalistiques, des scénarios fictionnels et des postures auctoriales concourant à la formation d'un imaginaire social du reporter, figure médiatisée et médiatrice. Au cœur des intrigues et reportages où elle prend place se rencontrent d'autres imaginaires sociaux – de la colonisation, du corps, du progrès technique et social, de la Nation. Ils indiquent en quoi le reporter est une figure républicaine, intimement liée à l'instauration de la démocratie parlementaire et de la liberté de presse, à la modernité technique et médiatique. Enfin, héritier du journalisme littéraire à la française, mais également associé à de nouveaux modes de saisie du réel (notamment les médias visuels, photographie et cinéma), le reporter est le pivot entre deux imaginaires médiatiques : l'un fait reposer sur la subjectivité du journaliste la restitution d'une vision du monde, perçu à travers le prisme de la médiation humaine ; l'autre, qui triomphera dans la seconde moitié du XXe siècle, prétend à une illusion de saisie objective du réel, capturé par la médiation technique. / Reportage, understood as investigative journalism of the written press, was invented in France in the last third of the nineteenth century, not without causing debates and contradictory representations between supporters and opponents. During the interwar period its popularity is at its peak, as reportage presents itself in different media (books, daily and weekly press) and with different relations to news and fictionalization. Reportage therefore appears less like a genre than a matrix of investigative journalism, whose formation and evolution can be traced and generic variations described (such as collective, serialized and news reportages). Linked to the development of the news media, reportage establishes the special correspondent as a mediator, a writer and a hero of modern media culture. The Reporter, as an object of the social imaginary of the Third Republic, is a complex figure, which representations are situated at the crossroads of different productions. These include fictions, press articles (reportages, interviews, obituaries, metadiscourses), Memoirs of journalists, as well as a set of iconographic representations, all of which are drawn upon to define a cultural repertoire of journalistic scenographies, fictional scenarios and authorial positions contributing to the formation of a social imaginary of the reporter, defined both as a publicized figure and a mediator. In the intrigues and stories in which the reporter appears, he meets other social imaginaries – of colonization, of the body, of technical and social progress, of the Nation. These mould the reporter into a Republican figure, closely linked to the development of parliamentary democracy and of freedom of the press, and to modern technology and media. Finally, heir of the French literary journalism, but also associated with new recording techniques (that is, visual media, photography and cinema), the reporter is the pivot between two mediatic imaginaries : one that uses the journalist's subjectivity and the prism of human mediation to account for a worldview ; the other, which will prevail in the second half of the twentieth century, claims to offer an objective grasp of reality, as permitted by the illusion of technical mediation.

Conselho Nacional de Desenvolvimento Científico e Tecnológico / O presente trabalho visa demonstrar de que maneira os grafites se enquadram nos modos de narração e construção de laços de sociabilidade da sociedade pós-moderna. Segue-se o pensamento de Gianni Vattimo que questiona a ideia outrora dominante de uma história universal e linear, característica do pensamento moderno. O filósofo propõe que pensemos na figura fragmentada de mosaicos de narrativas onde prevalecem histórias locais de grupos antes vistos como subculturas. Com a difusão e acessibilidade aos diversos meios de comunicação, vislumbra-se a emergência de vozes outrora silenciadas pelo status quo, permitindo a materialização das várias weltanschauung (visões de mundo) dos grupos sociais na contemporaneidade. A disseminação dessas vozes não procura mais apresentar a história por meio de fatos concretos de um saber legítimo, mas através de fábulas que permitam a visualização e despertem o imaginário desses grupos sufocados. Na sociedade pós-moderna existem tantas narrativas locais quanto tribos urbanas. Ademais são abordadas as tensões existentes entre grafite e pichação e da comercialização e institucionalização do grafite sob a alcunha de "arte urbana". Também é destacado o papel dos museus na formação de identidades e de patrimônios locais e de como essas instituições culturais exercem influência na constituição de novos imaginários sociais ou na manutenção destes, que estão presentes na sociedade contemporânea. As cidades, bairros e territórios, e o sentimento de pertencimento, são essenciais para que as intervenções urbanas possam ocorrer. Assim, é explicitada a relação das diversas tribos urbanas com os espaços das cidades, os desdobramentos da globalização sobre esses grupos e a constituição de memórias subterrâneas, que podem se constituir em forças de resistência aos movimentos culturais midiáticos