The essays opens with a discussion about the terms: Storia and Storie and their English equivalent History’ and ‘Story/Stories’.   As a migrant artist I explore, transform and translate Andean – and other ancient – myths, legends and rituals into contemporary pieces of art, for which Storia and Storie are fundamental. Aiming to critically engage with and contextualize my own practice, several historical examples of artists who have used pictorial narrations are presented. On the process of contextualizing my own practise, the essay engages in understanding the multi-layered components of some historic paintings such the Miracle of the cross by Bellini, or The slave ship by Turner to offer more complete and complex reading of its existence.   The final part start defining the concept of the word protrusion. Taking from the language of science of conservation, the word on the essay is applied to the discussion of migration and art. On the presumption that art is a reflection of cultural heritage and traditions, art pieces can symbolically recapture past people’s forms of thoughts and re-embody their emotions individual and collective memory.

Dissertação(mestrado) - Universidade Federal do Rio Grande, Programa de Pós-Graduação em Letras, Instituto de Letras e Artes, 2010. / Submitted by Cristiane Silva (cristiane_gomides@hotmail.com) on 2012-09-24T12:30:12Z No. of bitstreams: 1 deisebastos.pdf: 1074024 bytes, checksum: dbea90ca29ec6848098cd17d9e863a30 (MD5) / Approved for entry into archive by Bruna Vieira(bruninha_vieira@ibest.com.br) on 2012-11-06T15:29:24Z (GMT) No. of bitstreams: 1 deisebastos.pdf: 1074024 bytes, checksum: dbea90ca29ec6848098cd17d9e863a30 (MD5) / Made available in DSpace on 2012-11-06T15:29:24Z (GMT). No. of bitstreams: 1 deisebastos.pdf: 1074024 bytes, checksum: dbea90ca29ec6848098cd17d9e863a30 (MD5) Previous issue date: 2010 / Nesta dissertação, a partir da análise do conto “Uma biografia para Barbie”, em As meninas da Torre Helsinque (1996), e de “Sonhadora”, “Ginny”, “Flapper” e “Clarice”, em Vésperas (2002), ambas as obras de autoria de Adriana Lunardi (SC, 1964), investigo as estratégias narrativas que a escritora utiliza, a fim de iluminar questões que envolvem a arte e a artista. Situo seu discurso na confluência de três paradigmas de gênero (literário e categoria de análise) postos em tensão: o Künstlerroman de autoria feminina, a biografia ficcional ou imaginária e o conto. Examino de que modo a autora constrói retratos da mulher-artista, seja ela uma figura documentada pela historiografia oficial ou um ser possível e imaginável, no viés tanto da trajetória da protagonista-artista, quanto dos processos intertextuais e dialógicos presentes na écriture lunardiana. A ênfase na análise da representação da artista em narrativas curtas de Adriana Lunardi conduz a discussões tais como: o conflito arte versus vida, o diálogo constante entre memória e expressão artística, o corpo feminino, o processo simbólico de morte e re/nascimento, as construções literárias mise en abyme e os jogos intertextuais. Devido ao caráter bibliográfico e hermenêutico da presente pesquisa, na abordagem crítica e analítica aos textos, além dos fundamentos teóricos, utilizo documentos externos aos contos; alguns pertencem ao campo da história (biografias oficiais) e outros, ao da literatura (obras das protagonistas). A narrativa curta de Lunardi, além de inovar configurações dos gêneros literários, Künstlerroman e biografia ficcional, amplia as fronteiras dos estudos de gênero. As distintas figurações da mulher-artista nos contos instauram o diálogo entre uma grande diversidade de textos, fato que traz maior visibilidade à autoria feminina e demonstra a flexibilidade da moldura da historiografia literária brasileira. / In this dissertation, from the analysis of “Uma biografia para Barbie”, in As meninas da Torre Helsinque (1966), of “Sonhadora”, “Ginny”, “Flapper” and “Clarice”, in Vésperas (2002), both works by Adriana Lunardi (SC, 1964), I investigate the narrative strategies the writer uses in order to enlighten the questions that deal with art and the woman-artist. I locate her discourse in the confluence of three paradigms of gender as well as genre which are placed under tension: the female Künstlerroman, the fictional biography and the short-story. I examine how the writer builds pictures of the woman-artist, being her a historical and officially documented subject or a possible and imaginary being, from the perspective of both the protagonist-artist´s trajectory and of the writer´s intertextual and dialogic processes involved in her écriture. The emphasis on the analysis of the artist´s representation in shortstories by Adriana Lunardi leads to discussions on: the conflict art versus life, the permanent dialogue between memory and artistic expression, the female body, the symbolic process of death and re/birth, the mise en abyme literary constructions and the intertextual games. Due to the bibliographic and hermeneutic character of the present research, throughout the critic and analytic approach to the short-stories besides the theoretical basis I use documental material external to the corpus; some of them belong to the field of history (traditional and official biographies) and some to the literary one (the protagonists´ works). Lunardi´s short-stories, besides innovating in terms of the configurations of literary genres, Künstlerroman and fictional biography, enlarge the frontiers of the studies of gender. The distinct representations of the woman-artist in the short-stories establish the dialogue among a great diversity of texts, fact that allows the female authorship a wider visibility and demonstrates how flexible the framework of the Brazilian literary historiography is.

Partindo das narrativas de ficção Galo cantou na baía (1936), de Manuel Lopes, e Um ladrão (1939), de Graciliano Ramos, buscamos investigar as estratégias discursivas dos autores de nosso corpus quando da tentativa de se mobilizar em favor das populações que viviam em condições de extrema carência, tendo na literatura um forte meio de promover os debates urgentes daquele momento histórico, caracterizado pela opressão de regimes ditatoriais. Desta maneira, a perspectiva narrativa é um dos pontos centrais do trabalho. Em confluência com a fatia social retratada nos contos, pareceu-nos fundamental o debate sobre a fome e seus efeitos para o organismo humano, que findou por dirigir nosso trabalho. Encontramos na obra de Josué de Castro uma rica pesquisa capaz de conduzir nossas análises, levando-nos da condição de faminto dos personagens a seu desdobramento: a condição de criminoso principiante. Buscamos analisar, também, as construções ideológicas que influenciavam as consciências naquele período da história, encontrando em Louis Althusser os subsídios para tal análise. / Based on the narratives of fiction Galo cantou na baía (Rooster crowed at the bay) (1936), of Manuel Lopez, and Um ladrão (A thief) (1939), of Graciliano Ramos, we attempted to investigate the discursive strategies of the authors of our corpus, trying a mobilization in the benefit of the people living in extreme deprivation situation, taking the literature as a strong tool to promote urgent debates on that historical moment, characterized by the oppression of dictatorial regimes. Being so, the narrative perspective is one of the central points of this/our work. In confluence with the social share portrayed in the stories, it seemed crucial the debate on hunger and its effects on the human body, which turned out to direct our work.We find in the work of Josué de Castro a rich research capable of conducting our analysis, leading us from the starving condition of the characters to their deployment: the condition of a debut criminal. We also sought to analyze the ideological patterns which influenced the consciousness of that period of the History, getting from Louis Althusser subsidies for such analysis.

Partindo das narrativas de ficção Galo cantou na baía (1936), de Manuel Lopes, e Um ladrão (1939), de Graciliano Ramos, buscamos investigar as estratégias discursivas dos autores de nosso corpus quando da tentativa de se mobilizar em favor das populações que viviam em condições de extrema carência, tendo na literatura um forte meio de promover os debates urgentes daquele momento histórico, caracterizado pela opressão de regimes ditatoriais. Desta maneira, a perspectiva narrativa é um dos pontos centrais do trabalho. Em confluência com a fatia social retratada nos contos, pareceu-nos fundamental o debate sobre a fome e seus efeitos para o organismo humano, que findou por dirigir nosso trabalho. Encontramos na obra de Josué de Castro uma rica pesquisa capaz de conduzir nossas análises, levando-nos da condição de faminto dos personagens a seu desdobramento: a condição de criminoso principiante. Buscamos analisar, também, as construções ideológicas que influenciavam as consciências naquele período da história, encontrando em Louis Althusser os subsídios para tal análise. / Based on the narratives of fiction Galo cantou na baía (Rooster crowed at the bay) (1936), of Manuel Lopez, and Um ladrão (A thief) (1939), of Graciliano Ramos, we attempted to investigate the discursive strategies of the authors of our corpus, trying a mobilization in the benefit of the people living in extreme deprivation situation, taking the literature as a strong tool to promote urgent debates on that historical moment, characterized by the oppression of dictatorial regimes. Being so, the narrative perspective is one of the central points of this/our work. In confluence with the social share portrayed in the stories, it seemed crucial the debate on hunger and its effects on the human body, which turned out to direct our work.We find in the work of Josué de Castro a rich research capable of conducting our analysis, leading us from the starving condition of the characters to their deployment: the condition of a debut criminal. We also sought to analyze the ideological patterns which influenced the consciousness of that period of the History, getting from Louis Althusser subsidies for such analysis.

Questo studio si occupa di investigare il percorso abitativo degli immigrati, dedicando un’attenzione particolare alla varietà degli elementi che contribuiscono al suo evolversi e alla loro connessione con fenomeni macro, come il mercato abitativo o le politiche abitative. Il fieldwork, un quartiere nel Sud della città di Milano, è stato scelto per due ragioni: da una parte, esso è infatti caratterizzato da una considerevole presenza di popolazione immigrata, dall’altra, tale quartiere, è stato soggetto, nel corso degli ultimi anni a una serie di interventi di recupero urbano e sociale promossi da attori privati e pubblici. Tramite l’utilizzo di diversi strumenti metodologici, le storie di vita, le interviste a testimoni chiave, l’osservazione etnografica e la creazione di mappe, la ricerca mira a cogliere la complessità che caratterizza la dimensione abitativa nell’esperienza migratoria. Esperienze individuali, fenomeni spaziali e politiche sono tutti elementi oggetto di osservazione. L’utilizzo delle mappe, inoltre, costituisce un’innovazione e un esperimento in ambito metodologico. Il complesso della ricerca è volto a suggerire un nuovo approccio all’analisi dei percorsi abitativi, sia da un punto di vista teorico che metodologico. L’analisi finale è dedicata a una riflessione sull’efficacia e i limiti delle politiche per la casa e per l’immigrazione. / This work aims to investigate the housing pathway of migrants, paying attention to the variety of different features from which they are shaped over time and their interaction with structural dimensions, as housing market and policies. Through the use of different methodological instruments, this research tries to gather the complexity concerning the dimension of home in migrants’ experience. The fieldwork, a neighborhood in Southern Milan, has been chosen for two main reasons: in the one hand it is characterized by a considerable presence of migrants at different stages of their migration experience, on the other hand it has been interested by urban renovation programs and social interventions promoted by private and public actors. Individual experiences are thus investigated, alongside with spatial phenomena, policies and interventions. Achieving these different fields of interest implied the utilization of life story interviews, ethnographic observation, key informants interviews and participatory maps. This last technique constitutes a methodological innovation. The purpose is to suggest a new approach in analyzing housing pathway, both from a theoretical and methodological perspective. In addition the research aims to reflect on the efficacy and limits of housing and immigration policies drawing on evidence based data.

Internationally, there is concern among judges and organisers of documentary film festivals pertaining to the lack of a proper storyline in documentary films. According to certain documentary film producers and theoreticians, however, there is a solution. They are of the opinion that the three-act structure that was originally applicable to fiction films can also be applied to documentary films. The three-act paradigm serves as a guideline for the writing of successful fiction film screenplays. Should the three-act structure be applied to documentary films, the three-act paradigm could possibly achieve the same measure of success. Therefore, the research questions are, firstly: What are the basic elements of successful screenplay writer, Syd Field’s three-act structure? Secondly, to what extent do the three selected films by Michael Moore namely Bowling for Columbine (2003), Sicko (2007) and Fahrenheit 9/11 (2004) adhere to the requirements of Syd Field’s three-act structure? The research for this study was performed by means of a literature overview of Field’s three-act structure; secondly, by means of semi-structured interviews with four South African documentary film producers; and thirdly, a qualitative content analysis of three of Michael Moore’s films. The interviews consisted of semi-structured questions about the problem pertaining to story structure in documentary films, and how Syd Field’s three-act structure can make a contribution to the success of the documentary film. The study entails a qualitative content analysis of three selected documentary films by Michael Moore. The three-act structure of Syd Field was analysed by means of a literature study and seven main elements were identified as the important elements for a three-act structure. The three films by Michael Moore were analysed by means of a qualitative content analysis based on the seven elements to determine whether the three films adhere to the three-act structure elements. The findings of the study are as follows: The three documentary films by Michael Moore, namely Bowling for Columbine, Sicko and Fahrenheit 9/11, possess all seven elements of the analysis framework that was composed according to Syd Field’s three-act structure. The conclusion can therefore be drawn that a large part of the success of the three selected films by Moore is based on the three-act structure elements that can be found in all three films. / MA (Communication Studies), North-West University, Potchefstroom Campus, 2014

Internationally, there is concern among judges and organisers of documentary film festivals pertaining to the lack of a proper storyline in documentary films. According to certain documentary film producers and theoreticians, however, there is a solution. They are of the opinion that the three-act structure that was originally applicable to fiction films can also be applied to documentary films. The three-act paradigm serves as a guideline for the writing of successful fiction film screenplays. Should the three-act structure be applied to documentary films, the three-act paradigm could possibly achieve the same measure of success. Therefore, the research questions are, firstly: What are the basic elements of successful screenplay writer, Syd Field’s three-act structure? Secondly, to what extent do the three selected films by Michael Moore namely Bowling for Columbine (2003), Sicko (2007) and Fahrenheit 9/11 (2004) adhere to the requirements of Syd Field’s three-act structure? The research for this study was performed by means of a literature overview of Field’s three-act structure; secondly, by means of semi-structured interviews with four South African documentary film producers; and thirdly, a qualitative content analysis of three of Michael Moore’s films. The interviews consisted of semi-structured questions about the problem pertaining to story structure in documentary films, and how Syd Field’s three-act structure can make a contribution to the success of the documentary film. The study entails a qualitative content analysis of three selected documentary films by Michael Moore. The three-act structure of Syd Field was analysed by means of a literature study and seven main elements were identified as the important elements for a three-act structure. The three films by Michael Moore were analysed by means of a qualitative content analysis based on the seven elements to determine whether the three films adhere to the three-act structure elements. The findings of the study are as follows: The three documentary films by Michael Moore, namely Bowling for Columbine, Sicko and Fahrenheit 9/11, possess all seven elements of the analysis framework that was composed according to Syd Field’s three-act structure. The conclusion can therefore be drawn that a large part of the success of the three selected films by Moore is based on the three-act structure elements that can be found in all three films. / MA (Communication Studies), North-West University, Potchefstroom Campus, 2014

Questa tesi presenta un’indagine sugli attivisti del Partito Democratico, condotta tra il 2009 e il 2010 nei circoli di quattro città italiane (Milano, Perugia, Roma e Napoli) attraverso etnografie e interviste biografiche. L’identità degli attivisti è studiata attraverso il metodo dello storytelling, ampiamente utilizzato negli studi dei fenomeni politici. Partendo dal presupposto teorico che ogni attivista possiede tante identità quanti sono i suoi flussi stabili di relazioni verso altri attori (individuali o collettivi), ne vengono individuati essenzialmente due: il primo verso l’interno dell’organizzazione e il secondo verso l’esterno. Nel primo caso, l’identità degli attivisti viene studiata attraverso le relazioni che essi intrattengono all’interno del partito (con leader, dirigenti e altri attivisti). Nel secondo caso, vengono analizzate le relazioni che gli attivisti intrattengono con elettori e realtà associative dei territori. Infine, si presenteranno gli aspetti dinamici delle identità degli attivisti, le scintille del mutamento che attraversano le loro storie. Il quadro generale che emerge dalla ricerca è un attivismo che viene definito, con una metafora informatica, “1.5”: un attivismo contemporaneo che sta esperendo un mutamento dalla militanza tradizionale dei partiti elettorali di massa, in una direzione che però è ancora per molti aspetti nebulosa. Un mutamento incompiuto: una rivoluzione “1.5”. / This work presents field research on the activists of the Italian Democratic Party, developed between 2009 and 2010 in four Italian cities (Milan, Perugia, Rome and Naples) through ethnographies and in-depth interviews. The identity of the activists is studied through the method of storytelling, widely used within the field of political studies. Starting from the theoretical assumption that social identities are stable steams of relations between actors, this work identifies two relevant steams for party activists: the first is toward the organization itself, and the second is toward the territory. In the first case, the identity of the activists is examined through the relationships with party leaders, managers and other activists. In the second case, it is analyzed the relation that activists maintain with the territory: voters, associations, and other political organizations. Finally, it is presented the dynamic aspect of the activists’ identities, the spark of change that run through their stories. The overall picture that emerges from the research is a “1.5 activism”: a contemporary form of activism that is experiencing a shift from traditional electoral mass parties, yet still remaining unfinished. A “1.5” revolution.

This is a study of the fifteenth-century, “Storie of Asneth,” a late-medieval English translation of a Jewish Hellenistic romance about the Patriarch, Joseph, and his Egyptian wife, Asneth (also spelled Aseneth, Asenath). Belonging to the collection of stories known as The Old Testament Pseudepigrapha and derived from Jewish Midrash, the story was widely read among medieval religious in England in Latin before being translated into the vernacular for devotional purposes. Part of this study considers and identifies the aristocratic female patron (Elizabeth Berkeley) and author (John Walton) of the fifteenth-century Middle English text, based on literary, historical, and manuscript evidence from the sole surviving copy of the text in Huntington Library EL.26.A.13, a manuscript once owned by John Shirley. Also explored is the ritualistic pattern of events in the text (original to its Hellenistic origins) that coincides with ancient female initiation rites as we understand them from recent studies of Greek mythology. Centred in the narrative, culminating Asneth’s liminal seclusion, is her sacred marriage with a heavenly being. The argument suggests that in the Middle Ages this sacred consummation would have been interpreted as the union of God with the soul, similar to the love union in the Song of Songs. In the Christian tradition it is referred to as mystical marriage. Early Christian exegesis supports that Joseph was considered a prefigurement of Christ in the Middle Ages. In her role as divine consort and Joseph’s wife, Asneth would also have been identified as a type of Ecclesia in the Middle Ages—the symbolic bride of Christ. Patterns of female initiation in the story are also reflected in the hagiographical accounts of female saints, female mystics, and the ritual consecration of nuns to their orders, especially where they focus on marriage to Christ. The similarity of Asneth with Ecclesia, and therefore Asneth’s identity as a type of the church in the Middle Ages, is then explored in the context of the theology of the twelfth-century Cistercian prophet, Joachim of Fiore. The thirteenth-century Canterbury manuscript, Cambridge Corpus Christi College MS 288 (CCCC MS 288), which holds a Latin copy of Asneth also contains one of the earliest Joachite prophecies in England, known as Fata Monent. The study suggests Asneth may have held theological currency for early followers of Joachim of Fiore in England. / Graduate

Please read the abstract in the section 00front of this document / Thesis (DPhil (Educational Psychology))--University of Pretoria, 2008. / Educational Psychology / unrestricted