Submitted by Cláudia Bueno (claudiamoura18@gmail.com) on 2016-08-17T19:15:20Z No. of bitstreams: 2 Dissertação - Edlúcia Robélia Oliveira de Barros - 2016.pdf: 4103005 bytes, checksum: 2af3328007974598a93b1627ae8a18ab (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Approved for entry into archive by Cláudia Bueno (claudiamoura18@gmail.com) on 2016-08-17T19:17:41Z (GMT) No. of bitstreams: 2 Dissertação - Edlúcia Robélia Oliveira de Barros - 2016.pdf: 4103005 bytes, checksum: 2af3328007974598a93b1627ae8a18ab (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Made available in DSpace on 2016-08-17T19:17:41Z (GMT). No. of bitstreams: 2 Dissertação - Edlúcia Robélia Oliveira de Barros - 2016.pdf: 4103005 bytes, checksum: 2af3328007974598a93b1627ae8a18ab (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Previous issue date: 2015-12-03 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / This dissertation is the result of a diverse literature and aims to analyze multiple aspects in the tragedy Hamlet, Prince of Denmark (1600-1601), the Englishman William Shakespeare (1564-1616), as a performative text. To do so, it establishes relationships between this tragedy and some issues discussed on performance studies, specifically theatricality, liminality and textuality. Hamlet’s story is first related to the concept of theatricality as state from the Russian playwright and theater director Nicolas Evreinov (1879-1953), as well as establishes dialogues with the notion of liminality discussed by folklorist and ethnographer Arnold van Gennep German (1873-1957), also with ideas of the Russian thinker Mikhail Bakhtin (1895-1975) about the performance of language, among other notions about performing and human performance practices. Hamlet, the text, appears on the threshold between completeness and movement, between textuality and theatricality, between readings and cultures. It is described and further analyzed Hamlet assembly in Moscow Art Theatre (MAT), one of the famous readings and rewrites the Shakespearean tragedy. A scenic production, which features dialogues and confrontations between text and scene, between Aesthetics, between readings of the tragedy, which express themselves through the collisions between the directors of this performances, the actors and the spectators. Finally comes to aspects of reception of Hamlet. / Essa dissertação é resultante de uma pesquisa bibliográfica diversa e tem por objetivo analisar em múltiplos aspectos a tragédia Hamlet, Príncipe da Dinamarca (1600-1601), do inglês William Shakespeare (1564-1616), como um texto performativo. Para tanto, estabelece relações entre essa tragédia e algumas questões discutidas pelos estudos da performance, especificamente a teatralidade, a liminaridade e a textualidade. A história de Hamlet é relacionada principalmente ao conceito de teatralidade do dramaturgo e diretor teatral russo Nicolas Evreinov (1879-1953), bem como dialoga com a noção de liminaridade discutida pelo folclorista e etnógrafo germânico Arnold van Gennep (1873-1957), e com as ideias do pensador russo Mikhail Bakhtin (1895-1975) acerca da performance da linguagem, dentre outras noções acerca das práticas performáticas e performativas humanas. Hamlet, o texto, é apresentado no limiar, entre a completude e o movimento, entre a textualidade e a teatralidade, entre leituras e culturas. É descrita e analisada ainda a montagem de Hamlet no Teatro de Arte de Moscou (TAM), uma das famosas leituras e reescritas da tragédia shakespeariana. Uma produção cênica que apresenta o diálogo e o embate entre texto e cena, entre estéticas, entre leituras da tragédia que se expressam através das performances do encenador, do ator e do espectador. Finalmente, trata de aspectos da recepção de Hamlet.

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / A presente investigação tem a finalidade de refletir sobre o processo de reconhecimento das textualidades indígenas no contexto das culturas latino-americana, amazônica e da região circum-Roraima. / The present investigation aims to reflect about the process of recognition of the indigenous textualities in the context of Latin-American, Amazon and circum-Roraima.

Submitted by Renata Lopes (renatasil82@gmail.com) on 2016-04-28T13:33:30Z No. of bitstreams: 1 aliriawiuirabeniciosdecarvalho.pdf: 5098604 bytes, checksum: 810a2219c602804fa0eb65f851e8be45 (MD5) / Approved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2016-05-02T01:08:25Z (GMT) No. of bitstreams: 1 aliriawiuirabeniciosdecarvalho.pdf: 5098604 bytes, checksum: 810a2219c602804fa0eb65f851e8be45 (MD5) / Approved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2016-05-02T01:08:40Z (GMT) No. of bitstreams: 1 aliriawiuirabeniciosdecarvalho.pdf: 5098604 bytes, checksum: 810a2219c602804fa0eb65f851e8be45 (MD5) / Made available in DSpace on 2016-05-02T01:08:40Z (GMT). No. of bitstreams: 1 aliriawiuirabeniciosdecarvalho.pdf: 5098604 bytes, checksum: 810a2219c602804fa0eb65f851e8be45 (MD5) Previous issue date: 2016-02-01 / Os povos Guajajara, como outras etnias do Brasil, lutam para manter vivas suas tradições desde os primeiros contatados com os brancos. As narrativas orais desses povos são os conhecimentos preservados na memória dos mais velhos e transmitidos por gerações. A Lei 11.645/ 2008 torna obrigatório o ensino da cultura indígena no Brasil, bem como a afro-brasileira e africana nas escolas de nível fundamental e médio. Esse fato impulsiona o aprofundamento dos estudos dessas culturas. O trabalho aqui desenvolvido amplia as discussões sobre a cultura indígena, mais especificamente as narrativas orais da etnia Guajajara. Esta pesquisa apresenta um levantamento das textualidades Guajajara e registros das narrativas orais nas aldeias da região Arariboia, dispostas entre os municípios de Grajaú e Arame no Maranhão. No percurso da escrita deste trabalho serão apresentados os aspectos históricos, culturais e sociais dos Tentehar e, ainda,questões relativas à educação escolar indígena no Maranhão. Este estudo visa a inserção dessas textualidades nas instituições de ensino por meio da escrita, de forma que essas histórias sejam utilizadas nas aldeias e fora delas sob uma perspectiva literária. Por tanto, esta dissertação tem como foco uma narrativa Guajajara: A história do bacurau, onde será descrito o processo de contato com essa história e o procedimento de construção do texto escrito, baseado nas experiências de audição e análises de escritos antigos em livros encontrados nas aldeias. Este estudo é também uma forma de preservação e divulgação de um legado cultural. Sendo assim, neste trabalho estão presentes as vozes de uma ancestralidade que se mantêm vivas na atualidade. / The Guajajara people, like other ethnic groups in Brazil, struggle to keep alive their traditions since the first contacts with the white people. The oral narratives of these people are the knowledge preserved in the memory of the oldest and passed down for generations. Law 11,645 / 2008 mandating the teaching of indigenous culture in Brazil, and the african-Brazilian and African in elementary and high schools. This fact drives the deepening of the studies of these cultures. The work developed here increases the discussions on indigenous culture, specifically the oral narratives of Guajajara ethnicity. This research presents a survey of Guajajara textualities and records of oral narratives in the villages of Araribóia ,region disposed between the municipalities of Grajaú and Arame in Maranhão. In the course of this writing this work will be presented the historical, cultural and social aspects of Tentehar and also issues relating to indigenous education in Maranhao. This study aims to insert these textualities in educational institutions through writing, so that these stories are used in villages and outside under a literary perspective. Therefore, this dissertation focuses on one Guajajara narrative: The story of the Bacurau, which will be described the process of the contacting with this story and the procedure of construction of the written text, based on listening experiences and analyse ancient writings in books found in villages. This study is also a way of preserving and disseminating cultural legacy. Thus, in this work are present the voices of an ancestry that remain alive today.

Les travaux présentés dans cette thèse réinterrogent le concept de composition. Longtemps considérée comme résultant de l'action de deux intervenants, le compositeur et l'interprète, cette approche s'apparentait à une relecture par l'exécutant de la production du compositeur afin d'en retrouver la « vérité ». Il nous a paru évident que cette vision du processus compositionnel semblait dépassée. En effet le travail de production d'un projet dépasse largement le cadre des deux acteurs que sont l'interprète et le compositeur, et embrasse un large champ d'intervenants aux compétences multiples, du producteur à l'arrangeur, en passant par l'ingénieur du son, l'éclairagiste ou encore au chorégraphe. Après avoir fait un point sur l'ensemble des acteurs participant à la réalisation du projet artistique, notre travail s'est porté sur l'étude de ce concept au travers du prisme de différentes disciplines rattachées à la musicologie. Dans un premier temps nous avons cherché à appréhender la création au travers de son inscription dans sa société d'origine. A cet égard, l'application de l'Anthropologie Musicale Historique trouve une application tout à fait pertinente. Dans un second temps, nous nous sommes intéressés aux dynamiques relationnelles et au phénomène de communication et de réception au sein du complexe auctorial. Quels en sont les caractéristiques ? Afin d'approfondir cette relation entre les intervenants du complexe auctorial nous avons interrogé ce concept par le biais de la philosophie herméneutique, nous menant à questionner les notions de vérité d'œuvre, de performance et de création collective dans le champ des musiques actuelles. / The research in this dissertation tries to renew composition's definition. Considered for many years as the result of the composer and performer's encounter, this approach shows musical's performance as a search of composer's truth. In view of our investigation around pop music practices, it seems obvious that this vision of the compositional process is outdated. Indeed, production mechanism overtakes this two-individual model (i.e. composer and performer) and embrace a wide range of contributors of various skills, such as producer, arranger, sound engineer, light engineer or choreographer. From this observation rises our research about musical creation, of what we call the auctorial complex. After listing the different actors who support the creation's process, our work focus on the study of this phenomenon throughout numerous research fields related to musicology.First we have tried to apprehend creation through its rooting in its original society. Therefore, the Historical Musical Anthropological appeared to be totally relevant. Secondly, we have looked upon the relational dynamics and the communication and reception phenomenon in the auctorial complex. What are its characteristics? Which psychological mechanism are involved during the production's phase? We have answered this inquiring by confronting it to hermeneutical philosophy, questioning consequently different notions such as artistic truth (artistic work truth, performance and collective creation) in popular music research's field.