Submitted by Caroline Falcao (caroline.rfalcao@ufpe.br) on 2017-06-19T16:00:04Z No. of bitstreams: 2 license_rdf: 811 bytes, checksum: e39d27027a6cc9cb039ad269a5db8e34 (MD5) 2012-dissertacao-VirginiaPereira.pdf: 1650942 bytes, checksum: c5f6db4982d141a18463723d62769ab3 (MD5) / Made available in DSpace on 2017-06-19T16:00:04Z (GMT). No. of bitstreams: 2 license_rdf: 811 bytes, checksum: e39d27027a6cc9cb039ad269a5db8e34 (MD5) 2012-dissertacao-VirginiaPereira.pdf: 1650942 bytes, checksum: c5f6db4982d141a18463723d62769ab3 (MD5) Previous issue date: 2012-02-28 / Nesta dissertação reunimos contribuições sócio-antropológicas para refletir sobre o serviço doméstico remunerado a partir de uma perspectiva histórico-cultural. O conceito de emprego doméstico e as noções de servilismo indecentee de autoridade, defendidas por Sennett, são tomadas como referências para a análise dos dados empíricos. Além da revisão bibliográfica sobre o tema, abordamos o imaginário social -alimentado por longos anos de escravidão -, para pensar sobre as sutilezas ideológicas que dão sentido e “forma” à atividade hoje. O trabalho de campo foi realizado na cidade do Recife no ano de 2011, quando foram ouvidas quinze empregadas domésticas. Os achados empíricos revelaram diferenças de percepções e vivências particularmente assinaladas pelas representações geracionais. Grosso modo, o emprego doméstico adquiriu significações de fatalidade (consequências “naturais” das relações de gênero e de classe) para as mulheres mais velhas enquanto as mais jovens perceberam a ocupação como secundária e transitória. A atividade é fortemente marcada por ambivalências evidenciadas no dia-a-dia, mas as afetividades desenvolvidas não dissolvemas “distâncias sociais” entre os sujeitos da relação. Os depoimentos colhidos revelaram que a regulamentação plena da profissão no Brasil tem efeito positivo na autoestimadas trabalhadoras, por outro lado, vantagens típicas do “mundo informal”, como as trocas de “agrados”, são apontadas pelas profissionais como aspectos positivos relevantes no serviço doméstico remunerado. O sentimento de exploração demasiada e do servilismo indecentefoi manifestado em diferentes níveis por quase todas as entrevistadas, mas sofreu variações de acordo o vínculo contratual: mensalista ou diarista. / In this dissertation we put together socio anthropological contributions to think about the gainful domestic service from a historical cultural perspective. The concept of domestic job and the notions of indecentsycophancyand authority, defended by Sennett, are taken as references for the empiric data analysis. Besides the bibliography review on the theme, we will approach the social imaginary –fed by long years of slavery -, to think about the ideological subtleties which give meaning and “shape” to the activity nowadays. The fieldwork was done inthe city of Recife, in the year of 2011, when fifteen maids were heard. The empiric data revealed differences on the perception and existence, particularly pointed by the generational representations. Roughly, the domestic job has acquired meanings of fatality (“natural” consequences of gender and class relations) to the older women while the younger ones noticed the occupation as secondary and temporary. The activityis strongly marked by ambivalences which are substantiated from day to day, but the affectivities developed do not sweeten the “social distances”between the subjects in the relationship. The obtained testimonies revealed that the full regulation of the profession in Brazil has a positive effect in the self-esteem of the maids. On the other hand, typical advantages from the “informal world”, like the “gift” exchange, are pointed by the professionals as relevant and positive aspects from what is worth at the domestic service. The feeling of excessive exploitation and the indecent sycophancywas revealed in different levels by almost all the interviewed, but it suffered variations according to the employment link: monthly or daily workers.

Le grand projet à l’origine de la réalisation de cette thèse est de proposer une nouvelle manière de comprendre la nature instable et décloisonnée du pop art, ce courant pictural presque sorti de l’histoire de l’art pour s’ériger en signe diffus de la culture populaire.Les enjeux plus conceptuels, qu’il dissimule derrière une imagerie devenue familière, sont pourtant d’une importance capitale pour la reconfiguration de la définition contemporaine de l’œuvre d’art. Toujours entre surface et profondeur, l’image pop se développe insidieusement.Le concept de « coïncidence des opposés », hérité d’une tradition théologico-philosophique dont Nicolas De Cues est le dépositaire le plus illustre, nous servira d’outil opératoire pour tenter de comprendre les implications sémantiques liées à la nature glissante de cet espace artistique aux contours flous. L’instabilité de ses frontières s’exprime d’abord par la proximité entre « art » et « non-art ». Elle s’illustre ensuite et surtout par le développement d’une multitude de microstructures internes reproduisant le même schéma conceptuel de « coïncidence des opposés ». Nous utiliserons alors, pour faciliter notre approche philosophique le concept d’ « ambivalences instables ».Trois grands moments jalonneront notre enquête. Ils seront synthétisés par les trois notions suivantes : « le paradoxe de la destruction créatrice », « la littéralité anti-littérale », et « la désacralisation hyper-sacralisée ». / The aim of this PhD project is to propose a new way of understanding the profoundly unstable and essentially decompartmentalized nature of pop art, this pictorial stream which is almost going beyond the scope of art history to elevate itself to be a vague symbol of popular culture.However, its familiar image hides more conceptual matters of dispute which are of crucial importance when it comes to reconfiguring the contemporary definition of a work of art. Always between surface and depth, pop imagery is developing insidiously.The “coincidence of opposites” concept, inherited from a theological-philosophical tradition, with Nicolas De Cues as its most famous depositary, will be used as an operating tool in our attempt to understand the semantic implications bound to the changing nature of this artistic space, the limits of which are still clearly blurry. This fuzziness of its frontiers appears first and foremost through the proximity between “art” and “non-art”, and then, most of all, through the development of a multitude of internal microstructures mimicking the pattern of the “coincidence of opposites” concept. In order to facilitate the philosophical flexibility of our approach, we will therefore use the concept of “unstable ambivalences”. Three milestones mark our investigation. They are summarized by the three following notions: “the creative destruction paradox”,”anti-literal literalism” and ”hyper-sacralized desecration”.