Orientador: Clice de Toledo Sanjar Mazzilli / Resumo: O presente trabalho concentra-se no estudo de um conjunto específico de obras da artista Niki de Saint Phalle, analisados sob o viés da arquitetura espontânea. Esse termo, bastante, desconhecido, é empregado para definir obras quer, pela sua escala e forma podem ser compreendidas como construções arquitetônicas diferenciadas, produzidas por "não-arquitetos". Essa produção é geralmente associada à produção de artistas outsiders , aproximando-se mais da arte e da fantasia. Essas construções vão surgindo gradualmente na obra do artista Niki de Saint Phalle, que são destacadas uma a uma nesta investigação. Para maior embasamento foi feito o levantamento de de outras manifestações da arquitetura espontânea, compreendendo o trabalho construtivo de artistas e arquitetos espontâneos. Esses esforços criativos podem ser encontrados em várias partes do mundo, principalmente na Europa e América. A segunda parte da dissertação é dedicada inteiramente ao Jardim de Tarô, parque de esculturas projetado e construído por Niki, na Toscana, Itália. O jardim recebeu a influência do Park Guell do arquiteto Gaudi e é construido por esculturas monumentais que representam as cartas do tarô. A escolha do foco da segunda parte da dissertação neste jardim justifica-se por ele concentrar a maior quantidade de exemplos da arquitetura e espontânea na obra da artista. / Abstract: The present work is concentrated on the study of a set specify of works of the artist Niki de Saint Phalle, analised under the slant of the spontaneous architecture. This term quite unknown, is employed in order that define works that , by the scale and form there can be understood how differential architectural constructions produced by "non-architets" This producation is generally associate to the outsider's artist production bringing near more near more than the art and the fantasy. These constructions are appearing gradually in the work of the artist Niki de Saint Phalle, that I detach one to one in this investigation. For bigger foundation, I do the lifting of other demonstrations of the spontaneous architecture, understanding the constructive work of these artists and spontaneous architects. These creative efforts can be found in several parts of the world, mainly in Europe and America. The second part of the work is dedicated completely to the Tarot Garden, park of sculptures projected and built bu Niki, in Tuscay, Italy. The garden received great influence of the Park Guell of the architect Gaudi, and it is constituted by monumental sculputures represented by letters of the tarot. I chose to focus the second part of the dissertation on this garden because it concentrats the biggest quantity of examples of the spontaneous architecture in the work of the artist. / Mestre

Les travaux de Marcel Mauss connaissent au tournant des années 1980 un renouveau d’intérêt, notamment avec la revue du MAUSS. Cet intérêt serait attribuable à la conception originale du social comme symbolisme qui s’esquisse chez ce durkheimien hétérodoxe. Cette thèse compare les perspectives de quatre lecteurs contemporains du symbolisme maussien issus de la socio-anthropologie française, soit Camille Tarot, Bruno Karsenti, Alain Caillé et Jacques T. Godbout. Si ces derniers s’entendent sur l’importance des travaux de Mauss, le sens à donner aux concepts de fait social total et de don diffère sensiblement selon les auteurs : Tarot et Karsenti, en accordant plus d’importance à la découverte du fait social total, décèlent chez Mauss une conception sociale accordant une place à la totalité symbolique, alors que Caillé et Godbout, en insistant davantage sur la découverte maussienne du don, y trouvent les prolégomènes d’un tiers paradigme se situant entre l’holisme et l’individualisme.

Divination is a trope Cormac McCarthy employs time and again in his work. Augury, haruspicy, cartomancy, voodoo, sortition and oneiromancy all take their places in the texts, overtly or otherwise, as well as divination by bloodshed (a practice so ubiquitous as to have no formal name). But mantic practices which aim at an understanding of the divine mind prove problematic in a universe that often appears godless—or worse. My thesis uses divination as the starting point for a close reading of each of McCarthy’s novels. Research into Babylonian, Greek, Roman and African soothsaying practices is included, as well as the insights of a number of McCarthy scholars. But the work of extra-­‐literary scholars—philologists, Jungian psychologists, cultural anthropologists and religious historians whose works explore the origins of human violence and the spiritual impulse—is also invoked to shed light on McCarthy’s evolving perspective.

The work focuses on qualitative research of possibilities and limits of the use of picture cards symbols (including Tarot) that would serve the clients in coaching and therapy as a projective technique leading to their deeper self-knowledge and personal development. Respondents told their life story based on picture cards. We show here under what conditions this projective technique brought them new information and inspiration for their self- development, in what forms the method can be applied and what methodical procedures are most effective. The simple clients' description of the selected images did not bring them much substantially new. It began to be more inspirational for them when a consultant added targeted questions, his reflections and hypothetical interpretations, or even explained standard meanings of symbols. Then this technique started to speak to clients more and brought them new impulses. Even more inspiring for them it became, once an element of chance was incorporated - when they pulled out some cards at random. The thesis finally formulates detailed recommended general methodology for projective technique application for personal growth and discusses possibilities and limits of the use of projective methods in coaching, therapy and personal development seminars.

This research has been a study in amazement. Initially an agnostic physics graduate, the researcher undertook training in the person-centred approach (pca) to self-development and counselling, during which she came to experience strange personal experiences which she could neither gainsay nor fit into her then worldview. Sketching these briefly, exceptional human experiences (EHEs) and synchronicities increasingly happened until (shockingly) they declared a seeming spirit guide (Mungo) to her, also juxtaposed in time with her first-ever chance encounter with dowsing. Thereafter these phenomena, combined with randomisable image-cards, tutored her into a physically observable method of 'discussion' with them (alone or with another) conducted with pca values. This PhD involved researching that phenomenon-complex through 'discussions' with 35 participants. The methodology used was heuristics and its heuristic self-search inquiry specialism (HSSI) whose attention to personal experiencing, indwelling to contact tacit knowledge, and incubatory rest phases to foster illuminatory new 'ahaa!' apprehensions suited this nascent mysterious subject. Both participants and researcher experienced coincidences weaving the 'discussions' and their wider lives together. Thus synchronicity became equal-partner research-topic, being studied as it occurred and, through affecting certain choices, becoming part of the methodology itself. The phenomenon-complex was experienced as fostering ethical living, creativity, personal development and science-spirituality interconnection in ways wellpitched and paced for each experiencer. The phenomena were also experienced as synergizing with each other, and as fostering integration within and between persons. After work on the participant sessions was completed, the writings of further thesis chapters were 'butted into' by in-the-moment relevant synchronicities, not just singly but in flows and patterns in which the researcher found herself discerning overarching meanings. Given this exceptional opportunity the researcher (in effect doing a bonus research-section) tracked her experiencing of these synchronistic flows and her responses thereto wherever they led, using Sela-Smith's first-person heuristic self-search inquiry (HSSI) methodology. Each synchronistically-influenced chapter was experienced as exploring certain themes, with themes building as the thesis progressed. Heuristics and HSSI are usually transformative. This researcher was transformed from the ground up from agnosticism to credence in 'something more' through her experiencings (both alone and inter-relationally with participants). Their 'package deal' presented personal shadow-work alongside help in life difficulties, and great fascination but darker times too. In total she came to feel part of an interconnected, spiritually-intelligent and compassionate cosmic domain, and existentially happier.

This dissertation explores the presence and meaning of astronomical elements in the creative work of Surrealist artists and writers who were involved with the movement from the 1920s to the 1940s. Set against a backdrop of widespread popular interest in astronomy in France during these decades and those directly preceding them, Surrealists such as André Breton, Joan Miró, Max Ernst, Wolfgang Paalen, Oscar Domínguez, Matta, Remedios Varo, Leonora Carrington, and Kurt Seligmann all addressed cosmic themes in their artistic production. This dissertation identifies and analyzes their varied engagement with such themes, including their presence in the related areas of astrology and the Tarot. The heavens offered the Surrealists a rich terrain for invention—one that could be seen as scientific or occult, fanciful or factual, as well as ancient or up-to-date. In their quest to access previously unknown realms of reality, the Surrealists found in the little-explored and often strange territory of outer space a new realm for creative invention. As such, these artists and writers projected their surreal visions onto the universe in their continued search for the marvelous. / text

Made available in DSpace on 2014-12-17T15:04:48Z (GMT). No. of bitstreams: 1 ReginaLTA.pdf: 1575029 bytes, checksum: b18b341ec6d8bcdd9d246dedf3404e75 (MD5) Previous issue date: 2004-04-15 / La recherche de la formation des citoyens critiques et participatifs, dans le travail p?dagogique avec les jeunes et les adultes, a besoin d un entra?nement p?dagogique qui va au del? de l attitude traditionnelle d'apprendre avec des m?thodes m?caniques et arbitraires qui, en insistant excessivement sur l image du professeur, donnent priorit? ? l'enseignement, au d?triment de l apprentissage. Dans ce sens, la pr?sente ?tude, cherchant la possibilit? de r?alisation d'un travail alternatif pour l'enseignement des Math?matiques, dans une perspective transdisciplinaire, dans le sens de d?velopper l apprentissage significatif des ?tudiants jeunes et adultes du Projet Croire, pr?sente les r?sultats d'une recherche-intervention qui a utilis? les lettres du tarot comme ressource didactique en salle de classe. On pr?tend, avec cela, montrer cet instrument comme facilit? d apprentissage de contenus des Math?matiques comme syst?mes de num?ration, nombres entiers et g?om?trie, en amenant les Math?matiques dans une perspective historique et culturelle et donnant un traitement global ? l'acte complexe d'apprendre. Dans ce travail, le jeune ?tudiant et l ?tudiant adulte est pris comme individu concret, prenant en consid?ration les aspects cognitifs et les aspects d attitude de son apprentissage, ce qui est favoris? par la nature des lettres du tarot et par la compr?hension adopt?e, des math?matiques comme syst?me symbolique / A busca da forma??o de cidad?os cr?ticos e participativos, no trabalho educativo com jovens e adultos, enseja uma pr?tica docente que v? al?m da postura tradicional de ensinar com m?todos mec?nicos e arbitr?rios, que, ao focarem excessivamente a figura do professor, priorizam o ensino, em detrimento da aprendizagem. Nessa dire??o, o presente estudo, ao procurar a possibilidade de realiza??o de um trabalho alternativo para o ensino de Matem?tica, numa perspectiva transdisciplinar, no sentido de desenvolver aprendizagem significativa de alunos jovens e adultos do Projeto Acreditar, apresenta os resultados de uma pesquisa-interven??o que utilizou as cartas de tar? como recurso did?tico em sala de aula. Pretende-se, com isso, mostrar tal instrumento como facilitador da aprendizagem de conte?dos da Matem?tica como sistemas de numera??o, n?meros inteiros e geometria, tomando a Matem?tica numa perspectiva hist?rico-cultural e dando um tratamento hol?stico ao complexo ato de aprender. Nesse trabalho, o aluno jovem e adulto ? tomado como indiv?duo concreto, levando-se em considera??o os aspectos cognitivos e atitudinais de seu aprender, o que ? favorecido pela natureza das cartas do tar? e pela compreens?o adotada, de matem?tica como sistema simb?lico

Conceived in the wake of a global pandemic and the unanticipated need to create digital theatre, COVEN-19, or Magicks for Unprecdented Times as a devising project consisted of two witchcraft-inspired performances: a fall 2020 Samhain ritual and a spring 2021 Beltane ritual. The company of undergraduate and graduate theatre witches explored decentralized, iterative, slow, caretaking, queer forms of devising over digital platforms. The written portion of this thesis takes the form of a digital tarot blog: 22 (plus a bonus) interconnected essays and spells that interrogate feminist and queer theories as they pertain to the Coven’s devising process. This digital format not only reflects the malleable nature of the creative process, but it is also a kind of praxis that invites the reader to take an active role in meaning-making and resists an objective, singular narrative. Woven through these tarot cards are threads of utopian futurity, situated subjectivities, and anticapitalist temporalities. The essays and spells are primarily in conversation with adrienne maree brown, Judith Butler, Audre Lorde, Jose Estaban Munoz, and Starhawk – engaging with these theorists as thought-ancestors in order to activate rather than regurgitate their knowledges of radical hope and nonlinear process. The tarot deck takes a situated, backwards glance toward these ancestors as it grasps at seemingly impossible utopian horizons of collaboration and creation.

Le duché de Milan durant le Quattrocento est marqué par le règne des deux familles dominantes de la Lombardie, les Visconti et les Sforza. Pendant une période marquée par les conflits territoriaux et les disputes pour le titre ducal, l’art du gothique international se fait essentiel dans la propagande politique. Parmi les diverses œuvres de cette période qui soulignent le pouvoir et la position hiérarchique de la noblesse, les paquets de tarot le plus anciens qui nous sont parvenus sont les jeux Visconti-Sforza, datés de la première moitié du 15e siècle. Nommés ainsi selon leurs commanditaires présumés, la nomenclature est utilisée pour désigner quinze jeux, dont trois sont analysés dans ce mémoire : le jeu Pierpont Morgan-Bergame (réparti entre l’Accademia Carrara, à Bergame; le Pierpont Morgan Library, à New York; et la collection privée Casa Colleoni, à Bergame), le Brera-Brambilla (Pinacoteca di Brera, à Milan) et le Cary-Yale (Beinecke Library, à New Haven). L’étude de ce corpus nous permet de comprendre l’histoire de pouvoir des Visconti et des Sforza, ainsi que les traditions de la littérature poétique et des processions triomphales de l’époque. Par une analyse iconographique de ces jeux, notre objectif a été de cerner et de comprendre le contexte socioculturel dans lequel ils ont été créés. Cette analyse met également en lumière les importantes questions concernant les attributions aux artistes, les dates de réalisation et l’identification du mécénat de ces jeux de luxe. / The Duchy of Milan in the Quattrocento is marked by the reign of two powerful families in Lombardy, the Visconti and the Sforza. During a time full of territorial conflicts and disputes for the ducal title, art in the International Gothic style became essential to political propaganda. Among the various works of this period that emphasize the power and the hierarchical position of the nobility are the oldest sets of tarot that have survived to the present day: the Visconti-Sforza tarot decks, dating from the first half of the 15th century. Named according to their supposed patrons, the nomenclature is actually used to designate fifteen separate decks, three of which are analyzed in this master’s thesis: the Pierpont Morgan-Bergamo deck (divided between the Accademia Carrara in Bergamo, the Pierpont Morgan Library in New York, and the private collection Casa Colleoni, in Bergamo), the Brera-Brambilla (Pinacoteca di Brera, in Milan) and the Cary-Yale (Beinecke Library, in New Haven). The study of this corpus enables us to unravel the struggle for power between the Visconti and the Sforza, as well as the traditions of the literature and the triumphal processions of the time. Using an iconographic analysis, our goal is to identify the sociocultural context in which these decks were produced. This work's analysis also highlights questions about the attributions, the dating and the patronage of these luxury playing cards.

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