This study investigates the underlying factors of paternalism and dependency in the mission work of the Reformed Churches in South Africa by focusing on the KOSH region. The study will examine, as a case study, the missionary work done by the white Reformed Churches among the black communities and the Reformed Churches in the Klerksdorp, Orkney, Stilfontein, Hartbeesfontein (KOSH) region. Such a case study aims to lay bare the main causes of the black Reformed churches’ dependency on their white Reformed counterparts. It will examine the issues of attitude, cultural and world view prevalent among the Reformed church members in the KOSH region that may cause paternalism and dependency in missions. The possible influence of apartheid developments on mission methodology and the strategy of the GKSA churches will be examined closely. As a proposal to overcome the residue of paternalism and dependency in the black church community, this study will expound the biblical principle of partnership in missions. Thereafter the focus will fall on the biblical point of departure of a partnership model in missions. Some practical guidelines as recommendations will also be suggested in terms of which such a holistic transformational model of missions could help to overcome tendencies of paternalism and dependency in the missionary situation. Chapter 1 focuses on the formulation of the research. It states the background, problem statement, research limitation, main research question, aim and objectives as well as central argument and method of research. To conclude, the chapter division is presented. Chapter 2 studies and outlines definitions, historical development and missiological reflection on paternalism and dependency. Chapter 3 studies and outlines key biblical perspectives on mission, paternalism and dependency from the missio-Dei point of departure. Chapter 4 investigates and analyzes the attitude, cultural and worldview issues prevalent among the Reformed church members in the KOSH region that may cause paternalism and dependency in missions. Chapter 5 investigates the field work on mission, paternalism and dependency in the case of the Reformed Churches in South Africa, focusing on the KOSH region. Chapter 6 investigates key biblical and missiological perspectives on partnership and interdependency in missions by which to overcome paternalism and dependency. Chapter 7 investigates the relevant principles and possible pitfalls regarding the motives of partnership and interdependency with the aim of establishing a holistic transformational model of missions in the post-apartheid dispensation in South Africa. Chapter 8 consists of the conclusions and summary of this study. The partnership model is proposed and practical guidelines as recommendations are made finally on the transformation of mission within the Reformed Churches in South Africa in the KOSH region in post-apartheid South Africa. / PhD (Missiology), North-West University, Potchefstroom Campus, 2015

This thesis looks at the life and works of Daphne du Maurier in the context of the inter-related ideas of religion, psychology and politics. Throughout, I use a methodology based on the concept of the palimpsest. But I also use theory provided by Jung, Plato and Nietzsche – all of which were known to du Maurier to a greater or lesser degree. Other theory is used occasionally, but only as it suggests itself in the context under consideration. The ideas of ‘Resurrection, Renaissance and Rebirth' give the thesis a structure and a theme. The interaction of Christianity and Paganism is also examined. Section One, ‘Introduction – Resurrecting Texts/Lives', introduces the idea of the palimpsest. In reality, this is a twice-written document frequently containing a Christian text which is written over a Pagan one, with the Pagan text resurrecting itself over time. In theory, the palimpsest is a textual space where disparate texts collide and collude in an involuted manner. Section Two, ‘Life and Text – Renaissance Inspired Men', looks at two men who drew their inspiration from the Renaissance as either age or idea - the socialist Victor Gollancz and the conservative Frank Buchman - and to what degree du Maurier interacted with both the people and their conceptual framework. Section Three, ‘Life into Text – Renaissance Men', concerns itself with du Maurier's biographies of two Renaissance brothers, Anthony and Francis Bacon, and how their lives have been read, gnostically, by herself and others, notably The Francis Bacon Society and Nietzsche. Section Four, ‘Spectralised Lives in Text - Rebirthing', examines how the foregoing discussion plays itself out in two of du Maurier's novels, Jamaica Inn (1936) and The Flight of the Falcon (1965). The chapter on Jamaica Inn looks at Celtic Revivalism and how the Celtic gods spectralise the characters of the novel leading to a rebirthing experience for the protagonist Mary Yellan – implicit in this is the concept of the Renaissance-as-idea. The chapter on The Flight of the Falcon shows how the Renaissance-as-age daimonises characters of the twentieth-century. The palimpsest as either a document or a theoretical perspective weaves itself in and out of all my chapters. Section Five, ‘Concluding Remarks', leads to two related conclusions, firstly that du Maurier has been spectralised by the Renaissance, and secondly that du Maurier's life and works, taken together, can be read as an involuted palimpsest.

Le fondement historique de cette étude est la disparition du roi dom Sebastiao du Portugal, le 4 août 1578, et par conséquent, la naissance du sentiment sébastianiste et de la croyance dans le retour du « roi caché ».Le cadre de cette étude est l’Etat du Maranhao, au Brésil, avec ses manifestations socioculturelles. L’objectif est de relever au cours du XXème siècle et le début du XXIème siècle la présence du roi dom Sebastiao tantôt en tant que dieu afro-brésilien dans le Tambor-de-Mina et la Pajelança, tantôt en tant que taureau noir dans l’Encantaria, les chants hiératiques, les récits et les fêtes populaires.Enfin, cette étude porte aussi su l’ethos de l’homme brésilien qui se forge encore tandis que se propage l’influence du « roi enchanté » dans les couches culturelles et cultuelles de la société locale. / The historical basis of this study is the disappearance of King Dom Sebastiao of Portugal, on August 4, 1578, ad thus the birth of Sebastianist feeling and belief in the return of the « hidden king ». As part of this study is the state of Maranhao, Brazil, with its socio-cultural events.The aim is to meet during the twentieth century and early twenty-first century the presence of King Dom Sebastiao sometimes as a god in the Afro-Brazilian “Tambor de Mina” and “Pajelança” sometimes as a black bull in “Encantaria”, hieratic chants, stories and folk festivals.Finally, this study also examines the ethos of the Brazilian man which is still forming while the influence of the “king enchanted” is spreading through the cultural and religious strata of local society.

Mulheres Apaixonadas: a imagem da mulher contemporânea na telenovela analisa o primeiro capítulo da novela Mulheres Apaixonadas, escrito por Manuel Carlos e exibido pela Rede Globo de televisão no dia dezessete de fevereiro de 2003. A linha teórica que baliza a pesquisa é a teoria semiótica de linha francesa, desenvolvida por A. J. Greimas e seus discípulos. A dissertação se divide em duas partes. A primeira parte é composta por sete capítulos resultantes das análises dos principais núcleos temáticofigurativos do texto. Nela se observa como as histórias das personagens se articulam e produzem certos efeitos de sentido que as posicionam como existentes em um mundo parecido com a realidade de quem assiste. As escolhas narrativas e discursivas mostram-se como delimitadoras dos papéis que cada mulher dessa trama assume, desencadeando, portanto, o fio condutor dos seus percursos. A segunda parte do trabalho é dedicada ao sincretismo de linguagens, já que esta é a base de um texto televisivo. Trataremos dos efeitos de sentido criados pelas imagens e também das relações semi-simbólicas estabelecidas entre os elementos do plano da expressão e do plano de conteúdo. No conjunto, a dissertação mostra como a telenovela representa as mulheres no início do século XXI e quais mecanismos discursivos manipulam o telespectador a querer acompanhar a novela. / Women in love: the contemporary woman image in the soap opera comes to analyse the first chapter of Women in love (Mulheres Apaixonadas) written by Manuel Carlos and Tv-broadcasted by Rede Globo, on February seventeenth of 2003. The theoretical line that edges the research is the semiotic French line theory developed by A. J. Greimas and his disciples. The dissertation is divided in two parts. The first one is compounded by seven chapters resulted of analysises from the main figurative thematic nucleus of the text. You can observe in it how the stories of the characters are articulated and produce certain effects of sense that are arranged in a world like the viewers own reality. The chosen narratives and discursive talks reveal in what way they delimit the roles that each woman is assuming in the plot, threading their way through their journeys. The second part of this work is dedicated to the syncretism of languages since it is the basis of a broadcasting tv-text. We will work on the effects of sense produced by images and also from semi-symbolic relations established among the elements of the expression plan and the contents plan. In all, the dissertation shows in what manner the tvsoap opera represents women in the beginning of XXI century and which discursive mechanisms manipulate the desire of the viewer to watch the show.

Mulheres Apaixonadas: a imagem da mulher contemporânea na telenovela analisa o primeiro capítulo da novela Mulheres Apaixonadas, escrito por Manuel Carlos e exibido pela Rede Globo de televisão no dia dezessete de fevereiro de 2003. A linha teórica que baliza a pesquisa é a teoria semiótica de linha francesa, desenvolvida por A. J. Greimas e seus discípulos. A dissertação se divide em duas partes. A primeira parte é composta por sete capítulos resultantes das análises dos principais núcleos temáticofigurativos do texto. Nela se observa como as histórias das personagens se articulam e produzem certos efeitos de sentido que as posicionam como existentes em um mundo parecido com a realidade de quem assiste. As escolhas narrativas e discursivas mostram-se como delimitadoras dos papéis que cada mulher dessa trama assume, desencadeando, portanto, o fio condutor dos seus percursos. A segunda parte do trabalho é dedicada ao sincretismo de linguagens, já que esta é a base de um texto televisivo. Trataremos dos efeitos de sentido criados pelas imagens e também das relações semi-simbólicas estabelecidas entre os elementos do plano da expressão e do plano de conteúdo. No conjunto, a dissertação mostra como a telenovela representa as mulheres no início do século XXI e quais mecanismos discursivos manipulam o telespectador a querer acompanhar a novela. / Women in love: the contemporary woman image in the soap opera comes to analyse the first chapter of Women in love (Mulheres Apaixonadas) written by Manuel Carlos and Tv-broadcasted by Rede Globo, on February seventeenth of 2003. The theoretical line that edges the research is the semiotic French line theory developed by A. J. Greimas and his disciples. The dissertation is divided in two parts. The first one is compounded by seven chapters resulted of analysises from the main figurative thematic nucleus of the text. You can observe in it how the stories of the characters are articulated and produce certain effects of sense that are arranged in a world like the viewers own reality. The chosen narratives and discursive talks reveal in what way they delimit the roles that each woman is assuming in the plot, threading their way through their journeys. The second part of this work is dedicated to the syncretism of languages since it is the basis of a broadcasting tv-text. We will work on the effects of sense produced by images and also from semi-symbolic relations established among the elements of the expression plan and the contents plan. In all, the dissertation shows in what manner the tvsoap opera represents women in the beginning of XXI century and which discursive mechanisms manipulate the desire of the viewer to watch the show.

Made available in DSpace on 2016-08-10T11:21:51Z (GMT). No. of bitstreams: 1 CAMILA DE MELO SANTOS.pdf: 5530254 bytes, checksum: 29b3b7123700409d638cb8946347927b (MD5) Previous issue date: 2013-02-28 / The children of Xangô: memories of FatherJoaquim of Xangô terreiro is a study on the memories of the terreiro Abassá of Xangô and Yansã, founded by Father Joaquim de Xangô in the 1980s, in the Fame neighborhood in Goiânia. A story that began in the 1970s in Serrinha neighborhood also headquartered in the city of Goiânia, at the Terreiro cabocla Juremeira led by the iolarixá Mother Joaninha deOxum, where Father Joaquim was initiated in Candomblé in 1974 by the babalaô Elicio Borges (who was born in Bahia). Father Joaquim de Xangô, as a large portion of babalaôs and ialorixás of Goiás, who had contact with religion in the capital, migrated to the rites of Umbanda to Yoruba, but even so, he kept a syncretic rite which worshiped orixás and entities of the earth, the Candomblé of Caboclo. The rite of candomblé of caboclo is a religious practice that emerged in the 1930s in Bahia, when mestizo sought to identify amid the sovereign ioruba and black, which prevailed at the time in the candomblé of Bahia of the time. Decades later, the rite would suit the religious landscape of south-central region of the country, where the rites of Candomblé were taken by migrants from the Northeast, as is the case of Goiânia. We believe in the relevance of our studies on the memories of the Terreiro Abassá of Xango and Yansã, led by Pai Joaquim de Xangô is important for understanding the practice of the religion of Candomblé in Goiânia, where the rite of Candomblé of caboclo became characteristic of Pais-de-santo who migrated of umbanda to religion ioruba. / Os Filhos de Xangô: memórias do terreiro de Pai Joaquim de Xangô é um estudo sobre as memórias do terreiro Abassá de Xangô e Yansã, fundado por Pai Joaquim de Xangô na década de 1980, no setor Fama, em Goiânia. Uma história que se iniciou na década de 1970, no setor Serrinha, também sediado na cidade de Goiânia, no Terreiro cabocla Juremeira liderado pela iolarixá Mãe Joaninha de Oxum. Nele, Pai Joaquim foi iniciado no candomblé, no ano de 1974,pelo babalaô baiano Elício Borges. Pai Joaquim de Xangô, assim como grande parcela dos babalaôs e ialorixás goianos que tiveram contato com religião na capital, migrou da umbanda para os ritos iorubas, mas, ainda assim, manteve um rito sincrético, no qual se cultuavam orixás e entidades da terra: o candomblé de caboclo. O rito de candomblé de caboclo é uma prática religiosa que surgiu na Bahia da década de 1930, quando mestiços buscaram se identificar em meio à soberania ioruba e negra que predominava no candomblé baiano da época. Décadas mais tarde, o rito iria se adequar ao cenário religioso das regiões centro-sul do país, para onde os ritos de candomblés foram levados pelos migrantes nordestinos, como é o caso de Goiânia. Acreditamos na relevância de nossos estudos sobre as memórias do Terreiro Abassá de Xangô e Yansã, liderado por Pai Joaquim de Xangô, para compreendermos a prática da religião do candomblé em Goiânia, onde o rito de candomblé de caboclo se tornou característico dos Pais-de-Santo que migraram da umbanda para religião ioruba.

Made available in DSpace on 2016-07-27T13:46:27Z (GMT). No. of bitstreams: 1 HULDA SILVA CEDRO DA COSTA.pdf: 2734160 bytes, checksum: a0146805d81523745399983125973f20 (MD5) Previous issue date: 2013-12-19 / This thesis analyzes the Umbanda religion and its consolidated training process through a continuous syncretism that began in the late 17th Century, with the first black religious communities, mostly Bantu s origin. This formation process of Umbanda presented four phases. The first one began with the Calundu, in the 17th Century, advancing to Cabula, in the early 19th Century, the Macumba, in the middle of this same century, resulting in Umbanda, which emerged in the early 20th century, and has become the fourth phase of this syncretic religious and continuous process. The research is intended to open a discussion about the formation process of the structural basis of The Umbanda Religion, which origin comes from the fusion of several elements of African origin, the Spiritualism of Kardecista, the elements of indigenous origin and even the elements of Catholicism. This way, it characterizes a highly syncretic process, and because of its approach to Christianity, a significant separation from its African headquarters occurred. Nowadays, some theorists do not want to use the term syncretism, relating it to situations of domination, as something impure, and therefore, relegated as a negative term, considered a pejorative concept, such as bringing in its essence, a conception of the mixture, thus denying the originality and identity of the African s descent people. Thus, some researchers prefer to use the terms hybridity and bricolage(DIY), stating that these terms are different from the term syncretism. As a result of this debate, we can clearly identify in which parts of the discussion these authors either match or differ in their points of view, and how different and distant they are in their theories about these terms, in order to verify the applicability of the Umbanda Religion. We approach the search process of its legitimation as a Brazilian Umbanda religion, and to be accepted by the ruling class. Accordingly, we analyze its passage by the Vargas era, its relationship with the Catholic Church and the military dictatorship, when it reached its zenith. We analyzed its precipitous decline, from the 1980s on, with the growth of neo- Pentecostal movements. Since then, the Umbanda has been in decline, but revived in the 21st. century, represented by three major religious segments namely: Initiative Umbanda, Holy Umbanda and Cross Line Umbanda. / A presente tese analisa a religião Umbanda e seu processo de formação consolidado por meio de um sincretismo contínuo que teve início no final do século XVII, com as primeiras comunidades religiosas negras, em sua grande maioria de origem banto. Esse processo formador da Umbanda apresentou quatro fases. A primeira, se iniciou com o Calundu, no século XVII, perpassando pela Cabula, no início do século XIX, pela Macumba, em meados deste mesmo século, resultando na Umbanda, que surgiu no início do século XX, e se constituiu a quarta fase deste processo religioso sincrético e contínuo. A pesquisa tem a finalidade de abrir uma discussão acerca do processo formador da base estrutural da religião Umbanda, que nasceu da fusão de vários elementos de origem africana, do Espiritismo Kardecista, de elementos de origem indígena e ainda de elementos advindos do catolicismo, caracterizando dessa forma, um processo altamente sincrético, e por causa da sua aproximação com o cristianismo, ocorreu um afastamento significativo de suas matrizes africanas. Atualmente, alguns teóricos não querem utilizar o termo sincretismo, relacionando-o às situações de dominação, como se fosse algo impuro, sendo, portanto, relegado como um termo negativo, considerado um conceito pejorativo, no sentido de que ele poderia trazer em seu bojo uma concepção de mistura, negando assim a originalidade e a identidade dos povos afro descendentes. Assim, alguns pesquisadores preferem utilizar os termos hibridismo e bricolagem, afirmando que esses termos são diferentes do termo sincretismo. Diante desse debate, verificamos onde esses diferentes autores se encontram e onde se distanciam em suas teorizações acerca desses termos, para verificar a aplicabilidade na religião Umbanda. Abordamos o processo de busca de legitimação da Umbanda como uma religião brasileira, e para ser aceita pela classe dominante. Nesse sentido, analisamos a sua passagem pela era Vargas, sua relação com a igreja católica e com o regime militar, momento este último, que lhe proporcionou vivenciar o seu apogeu. E analisamos a sua queda vertiginosa, a partir dos anos de 1980, com o crescimento dos movimentos neopentecostais. A partir daí, a Umbanda entrou em declínio, mas ressurgiu no século XXI, representada por três grandes segmentos religiosos a saber: a Umbanda Iniciática, a Umbanda Sagrada e a Linha Cruzada.

Made available in DSpace on 2016-07-27T13:48:38Z (GMT). No. of bitstreams: 1 Welthon Rodrigues Cunha.pdf: 430007 bytes, checksum: e56cf752247d8b4775fbad98c01446af (MD5) Previous issue date: 2004-03-31 / The aim of this work is to analyse the existence of eastern simbolic elements in the Umbanda religiosity in general and in a particular manner, in the city of Goiânia. Also, its objetive is to define how these simbolic elements become manifest and how they are characterized within the Umbanda context, as well as what functions they perform and how they are articulated with the national Umbanda ideology. This research points out that these elements end up structuring a whole ritualistic field in itself, known as "eastern line". In some cases, it determines the formation of differenciated Umbanda groups, which pass to denominate themserves as "esoteric Umbanda". In the second part of this work we offer a demonstration of how the presence of the "eastern line" in Umbanda, indicates the articulation of that religion with the challenges that modernity/globalization brings to the market of simbolic-religious goods. Based on that assumption, one can conclude that Umbanda is an extremely dynamic form of religion, which in its process of dialoging with modernity, makes use of syncretism in a differenciated and up-to-date way, which was conceptualized as sincretic-ecletism . This research was based on the analysis of an extensive Umbanda bibliografy as well as on the study of the form in which the "eastern line" presents/articulates itself in three centers (religious places) where Umbanda is practiced in Goiânia. / O presente trabalho visa analisar a presença de elementos simbólicos orientais presentes na religiosidade umbandista como um todo e em Goiânia, em particular. A proposta é definir como estes elementos simbólicos se apresentam e como se caracterizam dentro do contexto umbandista, que funções desempenham e como se articulam com a ideologia nacionalista umbandista. A pesquisa aponta que estes elementos acabam por estruturar todo um campo ritualístico próprio, designado como linha do oriente , em alguns casos esta acaba por influenciar a formação de grupos umbandistas diferenciados, que passam a se designar de umbanda esotérica .Na segunda parte do trabalho, procura-se demonstrar como a presença da linha do oriente na umbanda indica a articulação desta com os desafios que a modernidade/globalização traz para o mercado de bens simbólicos-religiosos. Se verifica assim que a Umbanda é uma forma de religiosidade extremamente dinâmica e que utiliza no seu processo de diálogo com a modernidade o sincretismo de uma forma atual e diferenciada, o que foi conceituado como ecletismo-sincrético. A pesquisa foi realizada à partir da análise de farta bibliografia umbandista e do estudo da forma como se apresenta/articula a linha do oriente em três centros umbandistas de Goiânia.

Made available in DSpace on 2016-07-27T13:48:42Z (GMT). No. of bitstreams: 1 Celio de Padua Garcia.pdf: 441425 bytes, checksum: b0327831a3515ec19f7a9eea6a55c5c0 (MD5) Previous issue date: 2001-06-01 / In this production, it will be to investigated the religious syncretism as a factor to recover the afro-descendant ethnic and religious identity. It will be started from the hypothesis that Pai João de Abuque s courtyard is a space in which afro-descendant identity can be recovered and that the syncretism is a contributor factor to this. The place where fetichism is practised ( courtyard ) is a construction and reconstruction space of this way. Syncretism, as it will be seen, is a characteristic of every any religion. / Nesse trabalho, procurou-se investigar o sincretismo religioso como fator de resgate da identidade etno-religiosa dos afro-descendentes. Partiu-se da hipótese de que o terreiro de Pai João de Abuque é um espaço de resgate da identidade afro-descendente e que o sincretismo é fator de contribuição para tanto. O terreiro é espaço de construção e reconstrução deste caminho. O sincretrismo, como se verá, é característica de toda e qualquer religião.

A literatura infantil desperta um duplo interesse: a história narrada pelo texto verbal e a depreendida das imagens que ilustram as capas e as páginas. Enquanto o texto verbal pode levar o leitor a uma compreensão do mundo e de valores culturais e morais, o texto visual pode despertar os sentidos pela experiência estésica. Do escrito ao tocado, do lido ao experimentado, o aprendizado é feito sob diferentes materialidades e discursos. Este trabalho delimita-se a analisar cinco livros destinados ao público infanto-juvenil com ilustrações feitas pelo grupo mineiro de bordadeiros Matizes-Dumont: Exercícios de ser criança, de Manoel de Barros; A moça tecelã, de Marina Colasanti; Menino do rio doce, de Ziraldo; A bola e o goleiro, de Jorge Amado; A menina, a gaiola e a bicicleta/Céu de passarinho, de Rubem Alves e Carlos Brandão. A fundamentação teórica adotada para a análise desse corpus é a semiótica francesa, abarcando seus desdobramentos recentes, como a semiótica das paixões, a semiótica plástica, a enunciação e a tensividade. Os desdobramentos tensivos, por sinal, caminham livremente em todas as análises como efeito de sentido. A possibilidade de trabalhar com diferentes linhas de análise, demonstra a riqueza desse corpus que ora mostra sua força no texto verbal, ora ganha status de arte ao oferecer ao enunciatário/leitor uma gama de imagens que despertam o estético e o estésico. Temos, portanto, ao longo dos enunciados infanto-juvenis, a presença de diálogos plurilinguísticos e polissensoriais. A figuratividade, tão presente e marcante neste trabalho, segue as propostas de Denis Bertrand. Outro teórico relevante a esta pesquisa é Jean-Marie Floch, com suas linhas de pesquisa a respeito do visual/pictórico, ao inserir novas categorias (constitucionais e relacionais) de análise para o plano da expressão. Pela própria natureza dos objetos analisados, percorre-se o caminho do estético, já que este se manifesta mediante práticas cotidianas. Esse percurso apresenta um marco importante no livro Da Imperfeição, de Algirdas Julien Greimas, que analisa textos-objeto de valor estético, depreendendo seu sentido e seu caráter sensível, em que o plano da expressão passa a ser a força motriz da obra. As descrições do autor sobre alguns textos literários mostram a elasticidade do discurso, que vai além da superfície do texto. Ainda a respeito da questão plástica, outras fontes teóricas estão presentes com o intuito de enriquecer e expandir as análises, procurando sempre manter o intercâmbio entre a semiótica e outras propostas de análise do pictórico. Diante dessas informações técnicas das artes plásticas, que possuem sua linguagem própria, torna-se possível montar uma grade de leitura dos textos-objeto. Embora este trabalho trilhe pelo caminho da semiótica, tratar de textos infantis nos obriga a ter informações consistentes sobre o universo teórico da literatura. Daí o acréscimo de livros sobre este universo, incluindo obras específicas sobre literatura infantil, ilustração e diagramação. Dessa forma, dentro dos objetivos de examinar os mecanismos de construção do sentido em textos de literatura infanto-juvenis, cada livro é analisado de acordo com a teoria da semiótica discursiva ou a da semiótica plástica. Em A moça tecelã trabalha-se com as paixões no texto verbal com o intuito de apreender os efeitos de sentido de qualificações modais, aspectuais e estruturais que modificam o sujeito patemizado. Pela obra sincrética de Manoel de Barros são descritas as estratégias de enunciação, apontando os recursos utilizados para a construção de sentido nos textos verbais e visuais. A intertextualidade pontua o trabalho de Ziraldo ao dialogar com as obras infanto-juvenis do escritor norteamericano Mark Twain, acrescentando-se, na análise, as experiências estéticas relacionadas com as paixões. O último capítulo trata do imagético, fazendo um contraponto entre as capas dos livros A bola e o goleiro e A menina, a gaiola e a bicicleta/Céu de passarinhos, fundamentando-se em Floch e seus sucessores teóricos. Por meio dessas análises busca-se acrescentar aos estudos dos textos literários e plásticos infanto-juvenis possíveis mecanismos de leitura, tendo como ferramenta teórica a semiótica francesa. / Childrens literature brings two different concerns: the story told by the verbal text, and the one brought by the images of the book cover and of the book. The visual text can awake the senses by an aesthetic experience while what is written on the book can take the reader to a comprehension of the world and of the cultural and moral values. The learning is made possible by different matters and discourses; from whats written to whats touched, from whats read to whats experienced. This essay was delimited to the analyses of five books made specific to children, with illustrations made by a group of embroideress from Minas Gerais called Matizes-Dumont: Exercícios de ser criança, by Manoel de Barros; A moça tecelã, by Marina Colasanti; Menino do rio doce, by Ziraldo; A bola e o goleiro, by Jorge Amado; A menina, a gaiola e a bicicleta/Céu de passarinho, by Rubem Alves and Carlos Brandão. The theoretical basis used for the analyses of this subject is the French Semiotics, also with its deployments such as the Semiotics of Passion, Semiotics of Arts, the Enunciation, and the Tensile Semiotics. In reality, the Tensile Semiotics one goes freely through all the analyses as a sense, or meaning, effect. The possibility of working with different forms of analyses brought up the importance of the material. It shows the strength of the verbal text, and, also, the importance of the material as a work of art since it offers to the readers a number of images that awakes the esthetic and aesthetic. The dialogues are plurilinguistic and polisensorial. The figuratively, well noticed on this essay, follows the developments made by Denis Bertrand. Other important scholar for this research is Jean-Marie Floch, and its ways of working over the visual/pictorial, adding new categories (constitutionals and relational) of analyses for the expression plane. We follow the trails of the esthetic based on the nature of the analyzed objects, since its expressed over ordinary way of working. This course presents an important door on Algidas Julien Greimas book, De l\'imperfection (Of the Imperfection), wich analyses texts-objects of esthetic value, gathering its meaning from the sense, and the expression plane became the main force on the work piece. His descriptions about some literary texts shows us the elasticity of a discourse, going beyond the surface of the text. Yet on the plastic art field, other theoretical sources are present, so it would enrich and enlarge the analyses, always trying to keep the interchange between semiotics, and other forms of analyses of the pictorial. From all these technical information about the plastic art, that contains its own language, its possible for us to show the screen of reading of the text-object. Working with childrens texts forces us to have consistent information about the theoretical universe of this literature, even though the essay goes through the semiotics field. We understand from that the choice of using a book of this field, including specific works about childrens literature, illustration and sketch. This way, each book was analyzed according to a theory of the discursive semiotics or of the plastic art semiotics. On the book A Moça Tecelã, we work with the passions on the verbal text, trying to pay attention to the effects of the sense by the modal, the aspectual, and the structural qualifiers that change the pathetic reaction of the subject. By Manoel de Barros syncretic work we describe the strategies of the enunciation, showing the resources used for the construction of the verbal and visual texts. The intertextuality on Ziraldos work is noticed by his dialog with childrens works made by the north-American author Mark Twain, adding, on the analyses, the esthetic experiences related to the passions. The last chapter talks about the images, creating a counterpoint between the covers of the books A bola e o goleiro, and A menina, a gaiola e a bicicleta/Céu de passarinhos, based on Floch and his theoretical successors. With this essay, weve tried to add possible ways of reading the childrens literature and plastic art using the French Semiotics theoretical tools.