Made available in DSpace on 2017-07-10T18:55:33Z (GMT). No. of bitstreams: 1 Helena.pdf: 3354486 bytes, checksum: df3e5498bd66a5f596faa86670a86e41 (MD5) Previous issue date: 2013-03-07 / This investigation about the work of Alice Ruiz S. is founded in criticism and phenomenology with theoretical approaches on imaginary, so that the recurrent symbols, myths and poetic images can be analysed. In addition, the time of production is also considered, as well as its relationship with the social context, the age, and the influences on the production of the poet, with theretical foundations in Durand, studies of relationship between author, text and social environment that are calles mythcriticism and mythanalysis. The critical-theoretical notions were based on Durand, Bachelard, Cassirer Brunel , Chevalier; Gheerbrandt , Merleau Ponty, Nunes, Mello,among others. The research includes the study of the lyrics of Alice Ruiz S. by using Durand's methodologies of mythanalysis, mythochritics as well as hermeneutics and the identification and myths, symbols and images.The corpus consists of the following works: Navalhanaliga (1980), Até 79, Paixão Xama Paixão (1983), Minimal, Pelos Pêlos (1984), Hai-Tropikai (1985), Rimagens (1985), Vice-versos (1988), Desorientais (1996), Haikai (1998), Alice Ruiz Série Paranaenses nº3. (1988), Poesia pra Tocar no Rádio (1999), Yuuka (2004), Salada de Frutas (2008), Conversa de Passarinhos (2008), Dois em Um (2010), Três Linhas (2009), Boa Companhia (2009), Jardim de Haijin (2010), Estação dos Bichos (2011). Through this study it was possible to identify and analyze the main symbols, myths and images, from the perspective of mythocritics, mythoanalysis and that allowed us to understand the influence of the socio-cultural context on the lyrics of Alice Ruiz S. Ruiz It was noted the frequent use of word play and rhymes, poems that reflect existential crisis related to the position of women and historical situation; orientalism; greek mythology and integration with I-lyric with nature in her poetry. / Esta pesquisa sobre a obra de Alice Ruiz S. fundamenta-se na crítica e na fenomenologia com abordagens teóricas sobre crítica e imaginário, isto é, analisa-se os símbolos, mitos e imagens poéticas recorrentes na poesia de Alice Ruiz S. Além disso, também será considerado o momento de sua produção e sua relação com o contexto social da época e com as influências na produção da poeta, com bases teóricas em Durand, nos estudos entre: o autor, o texto e o meio social - por ele denominado mitocrítica e o contexto sociocultural - mitoanálise. As noções teórico-críticas foram embasadas em Durand, Bachelard, Cassirer, Brunel, Chevalier; Gheerbrandt, Merleau Ponty, Nunes, Mello, dentre outros. A pesquisa engloba o estudo da lírica de Alice Ruiz S. com base nos métodos da mitoanálise e mitocrítica de Durand, na hermenêutica e na identificação e mitos, símbolos e imagens. O corpus é constituído das seguintes obras Os livros analisados são: Navalhanaliga (1980), Até 79, Paixão Xama Paixão (1983), Minimal, Pelos Pêlos (1984), Hai-Tropikai (1985), Rimagens (1985), Vice-versos (1988), Desorientais (1996), Haikai (1998), Alice Ruiz Série Paranaenses nº3. (1988), Poesia pra Tocar no Rádio (1999), Yuuka (2004), Salada de Frutas (2008), Conversa de Passarinhos (2008), Dois em Um (2010), Três Linhas (2009), Boa Companhia (2009), Jardim de Haijin (2010), Estação dos Bichos (2011). Através deste estudo foi possível identificar e analisar os principais símbolos, mitos e imagens, dentro da perspectiva da mitocrítica e mitoanálise, que permitiram compreender as influências do contexto sociocultural da época na lírica de Alice Ruiz S. Constatou-se o uso frequente de jogo de palavras e rimas; poemas que refletem crise existencial relacionada à posição da mulher e situação histórica; o orientalismo; a mitologia grega e a integração com eu-lírico com a natureza em sua poética.

Made available in DSpace on 2017-07-10T18:55:40Z (GMT). No. of bitstreams: 1 Helena Marques.pdf: 3354452 bytes, checksum: ce0675d6006c65b08419bffa88cdaec5 (MD5) Previous issue date: 2013-03-05 / This investigation about the work of Alice Ruiz S. is founded in criticism and phenomenology with theoretical approaches on imaginary, so that the recurrent symbols, myths and poetic images can be analysed. In addition, the time of production is also considered, as well as its relationship with the social context, the age, and the influences on the production of the poet, with theretical foundations in Durand, studies of relationship between author, text and social environment that are calles mythcriticism and mythanalysis. The critical-theoretical notions were based on Durand, Bachelard, Cassirer Brunel , Chevalier; Gheerbrandt , Merleau Ponty, Nunes, Mello,among others. The research includes the study of the lyrics of Alice Ruiz S. by using Durand's methodologies of mythanalysis, mythochritics as well as hermeneutics and the identification and myths, symbols and images.The corpus consists of the following works: Navalhanaliga (1980), Até 79, Paixão Xama Paixão (1983), Minimal, Pelos Pêlos (1984), Hai-Tropikai (1985), Rimagens (1985), Vice-versos (1988), Desorientais (1996), Haikai (1998), Alice Ruiz Série Paranaenses nº3. (1988), Poesia pra Tocar no Rádio (1999), Yuuka (2004), Salada de Frutas (2008), Conversa de Passarinhos (2008), Dois em Um (2010), Três Linhas (2009), Boa Companhia (2009), Jardim de Haijin (2010), Estação dos Bichos (2011). Through this study it was possible to identify and analyze the main symbols, myths and images, from the perspective of mythocritics, mythoanalysis and that allowed us to understand the influence of the socio-cultural context on the lyrics of Alice Ruiz S. Ruiz It was noted the frequent use of word play and rhymes, poems that reflect existential crisis related to the position of women and historical situation; orientalism; greek mythology and integration with I-lyric with nature in her poetry / Esta pesquisa sobre a obra de Alice Ruiz S. fundamenta-se na crítica e na fenomenologia com abordagens teóricas sobre crítica e imaginário, isto é, analisa-se os símbolos, mitos e imagens poéticas recorrentes na poesia de Alice Ruiz S. Além disso, também será considerado o momento de sua produção e sua relação com o contexto social da época e com as influências na produção da poeta, com bases teóricas em Durand, nos estudos entre: o autor, o texto e o meio social - por ele denominado mitocrítica e o contexto sociocultural - mitoanálise. As noções teórico-críticas foram embasadas em Durand, Bachelard, Cassirer, Brunel, Chevalier; Gheerbrandt, Merleau Ponty, Nunes, Mello, dentre outros. A pesquisa engloba o estudo da lírica de Alice Ruiz S. com base nos métodos da mitoanálise e mitocrítica de Durand, na hermenêutica e na identificação e mitos, símbolos e imagens. O corpus é constituído das seguintes obras Os livros analisados são: Navalhanaliga (1980), Até 79, Paixão Xama Paixão (1983), Minimal, Pelos Pêlos (1984), Hai-Tropikai (1985), Rimagens (1985), Vice-versos (1988), Desorientais (1996), Haikai (1998), Alice Ruiz Série Paranaenses nº3. (1988), Poesia pra Tocar no Rádio (1999), Yuuka (2004), Salada de Frutas (2008), Conversa de Passarinhos (2008), Dois em Um (2010), Três Linhas (2009), Boa Companhia (2009), Jardim de Haijin (2010), Estação dos Bichos (2011). Através deste estudo foi possível identificar e analisar os principais símbolos, mitos e imagens, dentro da perspectiva da mitocrítica e mitoanálise, que permitiram compreender as influências do contexto sociocultural da época na lírica de Alice Ruiz S. Constatou-se o uso frequente de jogo de palavras e rimas; poemas que refletem crise existencial relacionada à posição da mulher e situação histórica; o orientalismo; a mitologia grega e a integração com eu-lírico com a natureza em sua poética

A Lei n° 10.639/2003 tornou obrigatório o ensino de História da África e Cultura Afro-brasileira nos estabelecimentos escolares do país. A partir disso, as religiões afro-brasileiras começaram a ser abordadas em sala de aula, como parte de um conjunto de práticas e valores de origem africana importante no desenvolvimento da população negra no Brasil. Este trabalho teve como objetivo estudar o modo como essas manifestações religiosas aparecem nos materiais didáticos, cursos de formação continuada de professores e, por vezes, na própria sala de aula a partir dessa Lei, assim como procurou identificar as tensões e negociações verificadas quando essas religiões saem de seus espaços de manifestação próprios, os terreiros, e adentram a escola. As relações entre a visão de mundo religiosa e do senso comum (presente nos discursos e práticas de professores e alunos praticantes de diferentes denominações religiosas: como o catolicismo, pentecostalismo etc.) com o ensino e aprendizado de valores vistos simultaneamente como religiosos e símbolos culturais étnicos (a serem mobilizados na constituição de identidades diferenciais) constituem, portanto, o foco desta pesquisa. / Law n. 10.639/2003 made the teaching of African and Afro-Brazilian Culture obligatory in Brazilian schools. In this way, the African-Brazilian religions started to be addressed in the classrooms as part of a set of practices and values of African origin important in the historical development of the Brazilian black population. This study aimed at analyzing how these religious expressions are approached in school text books, in continuing education courses for teachers and, in some cases, in the class room since the approval of this Law, as well as tried to identify the conflicts and the negotiations occurring when these religions leave their own traditional places, the terreiros, and move into the schools. The relations between the religious environment and the common sense (present in the discourses and the practices of teachers and students who are followers of different religions as Catholics, Pentecostals and others) and the teaching and learning of values seen at the same time as religious and ethnical cultural symbols (to be mobilized in the building up of differential identities), are, therefore the focus of this research.

Tit et djed sont les noms égyptiens de deux signes utilisés à la fois dans le système hiéroglyphique et dans le domaine iconographique, mais qui se matérialisent aussi sous forme d’objets (amulettes) intégrés aux rites funéraires ; ce triple emploi ayant longtemps empêché de définir distinctement leur nature. Leur apparition, remontant aux plus hautes époques de l’histoire de l’Égypte ancienne (Ire dynastie), montre déjà une affectation funéraire marquée des emblèmes, spécialisation qui ne cessera de progresser tout au long de cette vaste période, avec une nette transition au Nouvel Empire, justifiant le cadrage chronologique mais aussi la sélection du contexte funéraire pour notre étude. Celle-ci se propose d’examiner trois catégories principales de documents : les papyri du Livre des Morts, l’iconographie des tombes et les décors du mobilier funéraire, dans le but de comprendre les croyances et fonctions associées à l’emploi combiné des deux emblèmes, en tenant toujours compte des aspects politiques et religieux relatifs à l’institution pharaonique qui pourraient l’éclairer. / Tit and djed are the egyptian names of two signs employed at the same time in the hieroglyphic system and in the iconographic domain, but which materialize too in the form of objects (amulets) into the funerary rites ; this triple use long prevented to define their nature. Their occurrence, which dates from the first dynasty, already shows a funerary affectation of the emblems, specialization which continues to progress during this period, with a transition during the New Kingdom, justifying the chronological framing but also the selection of the funeral context for our study. This one intends to examine three main categories of documents : the Book of the Dead papyri, the iconography of the tombs and the decorations of the funeral furniture, in order to understand the beliefs and functions concerning both signs, always by taking into account political and religious aspects relative to the pharaonic institution, which could enlighten it.

During the last years “Accounting for Diversity” has become a trendy concept, around which the research interest of scholars and the reports published by of the top rated accounting firms have been increasingly evolving. In this paper, the term “Accounting for Diversity” has been addressed within the societal context of the stakeholder concept, in attempt to explore how the Swedish listed companies account for and communicate the demographic diversity of their society constituents in their disclosure means. In order to achieve this purpose, a quantitative approach has been conducted using a content analysis of the disclosed pictures, drawings and symbols in the annual reports and websites of the companies listed on the Swedish Stock Exchange (Nasdaq Stockholm). The data collected was then statistically analysed through a two-step cluster analysis. The empirical results show a preference for companies to use pictures in disclosing demographic attributes and diversity rather than symbols and drawings. Moreover, companies were found to prefer using their annual reports in disclosing the demographic diversity than their websites. Furthermore and regarding the companies’ behaviour in disclosing demographic diversity; large companies, belonging to high sensitive industries, were found to disclose higher levels of demographic diversity in their disclosure means, than the other small ones belonging to less sensitive industries. The results also show that companies belonging to different industries tend to mostly follow a convergent behaviour in accounting for diversity. Thus, it has been concluded that; the companies’ size seems to play a significant role in diverging and converging the companies’ behaviour in accounting for the demographic diversity in their disclosure means, while industry was not found to play a significantly salient role in that.

This thesis analyzes and demonstrates the similarities and differences between some of the national symbols of France and the United States. This includes the shared and borrowed aspects of each one and the ways in which each culture is reflected through, and built around them. The flags, national anthems, and several national icons such as France's Marianne and Uncle Sam are discussed. This analysis deals with the historical contexts and cultural meanings of the symbols, showing the changes each has undertaken in form and in national and international importance. Through the study of national symbols, this thesis reveals the similarities along with the differences between the two nations, which are often perceived as being highly dissimilar and even opposing in belief systems, cultures, and histories.

This study introduces rapid design ethnography as a research strategy that may be used in design as an alternative to conventional ethnography. It interrogates this strategy by means of a study of the Ghanaian Adinkra symbols. Adinkra is an indigenous graphic language that carries specific cultural narratives that embody proverbs and or poetic messages. In view of this, this study discusses how a collaboration between ethnography (and rapid ethnography) and design can be merged to create appropriate visual communication with specific reference to this indigenous visual vernacular. The study also highlights the evolution of rapid ethnographic techniques in comparison to conventional ethnography, as well as the way that these techniques may be of assistance to both designer and ethnographer. / Mini Dissertation (MA)--University of Pretoria, 2016. / Visual Arts / MA / Unrestricted

Submitted by Renata Lopes (renatasil82@gmail.com) on 2016-01-25T12:16:18Z No. of bitstreams: 1 veraneuzalemos.pdf: 1080518 bytes, checksum: 2d8b53003baf61076b879eb69c950de0 (MD5) / Approved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2016-01-25T19:28:41Z (GMT) No. of bitstreams: 1 veraneuzalemos.pdf: 1080518 bytes, checksum: 2d8b53003baf61076b879eb69c950de0 (MD5) / Made available in DSpace on 2016-01-25T19:28:41Z (GMT). No. of bitstreams: 1 veraneuzalemos.pdf: 1080518 bytes, checksum: 2d8b53003baf61076b879eb69c950de0 (MD5) Previous issue date: 2014-08-29 / Esta dissertação tem o propósito de compreender como os enfermeiros e as famílias de crianças internadas vivenciam as expressões e as simbologias religiosas no Centro de Terapia Intensiva Pediátrica (CETIP), do Hospital Federal dos Servidores do Estado no Rio de Janeiro (HFSE). O motivo do estudo é contribuir para o aprofundamento das discussões sobre as crenças religiosas no enfrentamento da doença, levando à compreensão da complexa relação entre doente, família, profissional de saúde e religiosidade. Essa abordagem permite, a partir de uma visão socioantropológica, uma construção de modelos de saúde-doença que recuperam a dimensão experiencial, psicossocial, espiritual e religiosa. A legitimação da religiosidade em situações de doença, cura e enfrentamento não se restringe aos familiares, mas também aos enfermeiros, que compartilham a crença na eficácia divina em torno da cura e recuperação do doente. Entre os sujeitos pesquisados não houve antagonismo entre biomedicina e fenômeno religioso, mas uma relação complementar. / This dissertation has the purpose of understanding how the nurses and the families with hospitalized children experience aspect and religious symbologies in the Centro de Terapia Intensiva Pediatrica (CETIP), at the Hospital Federal dos Servidores do Estado in Rio de Janeiro (HFSE). This study seeks to contribute to deepen the discussions about religious belief when facing the illness, leading to understand the complex relationship between patient, family, health professional and religiosity. This approach allows, from a socio anthropological view, to construct models of health-illness which recover the experience, psychosocial, spiritual and religious dimensions. The legitimation of the religiosity in illness situations, healing and confrontation is not only restricted to the family, but also about the recovery of the patient. Among the subjects studied, there was no antagonism between biomedicine and religious phenomenon, but a complementary relationship.

Emotions are an essential part of development. There is evidence that young children understand and express emotions through facial expressions. Correct identification and recognition of facial expressions is important to facilitate communication and social interaction. Emotions are represented in a wide variety of symbol sets and systems in Alternative and Augmentative Communication (AAC) to enable a person with little or no functional speech to express emotion. These symbols consist of a facial expression with facial features to distinguish between emotions. In spite of the importance of expressing and understanding emotions to facilitate communication, there is limited research on young children’s ability to recognize emotions represented by graphic symbols. The purpose of this study was to investigate the ability of typically developing fouryearold children to recognize basic emotions as represented by graphic symbols. In order to determine their ability to recognize emotions on graphic symbols, their ability to understand emotions had to be determined. Participants were then required to recognize four basic emotions (happy, sad, afraid, angry) represented by various graphic symbols, taken from PCS (Johnson, 1981), PICSYMS (Carlson, 1985) and Makaton (Grove&Walker, 1990). The purpose was to determine which graphic symbol the children recognized as representation of an emotion. Results showed that the emotion of happy was easier to recognize, which might be because it was the only emotion in the pleasure dimension of emotions. Sad, afraid and angry were more difficult to recognize which might be because they fall in the displeasure dimension. It is also evident from the findings that the facial features in the graphic symbol play an important part in conveying a specific emotion. The results that were obtained are discussed in relation to previous findings. Finally, recommendations for future use are made. / Dissertation (MA (Augumentative and Alternative Communication))--University of Pretoria, 2008. / Centre for Augmentative and Alternative Communication (CAAC) / MA / unrestricted

The aim of this study is to describe the changes at the end of the Aeneolithic period and at the beginning of the Bronze Age, on the basis of the analysis of graves with weapons and the possibilities (limits) of identifying the warrior graves in Bohemia. The end of the Aeneolithic is characterized by two cultural complexes, the Corded Ware Culture and the Bell Beaker Culture, on which the Early Bronze civilization evolved, characterized by the Únětice Culture in our context. It is in this transitional period, that graves with specific goods appear increasingly, and we can finally call these as true weapons. Weapons are associated with warfare attributes that, according to the latest theories, played an active role in prehistoric society. The identification of the warfare in archaeological sources is, however, often not without problems. Several types of evidence can be consulted: graves of warriors with specialized weapons, typical fortifications (ramparts), remains of battlefields, iconographic and written sources. In our conditions, the focus is on graves with weapons, due to the lack of other mentioned entities. Keywords: Late Aeneolithic, Early Bronze Age, graves, weapons, tools, symbols