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Exploro a biografia cultural de um vestido criado pelo estilista Rui Spohr e comprado por Heloisa Brenner, senhora da aristocracia rural do Rio Grande do Sul. O objeto foi apresentado num desfile de moda realizado em Porto Alegre, em 1971, e acompanhou a proprietária por quatro décadas, sendo escolhido por ela para vesti-la no seu aniversário de 80 anos, em 2011. No ano seguinte, sintetizou quase 60 anos de carreira profissional de Rui numa exposição sobre moda num museu de arte, em São Paulo, tornando-se “obra de arte” aos olhos do criador. A proprietária, por sua vez, exalta seu status longevo para atribuir importância à peça. Trançando as trajetórias dos personagens, percorro tensões e transformações simbólicas. Ao falar sobre o vestido aqui entendido como objeto biográfico, Heloisa e Rui falam sobre si. E a roupa fala sobre o criador e a proprietária. Nesse processo, demonstro como a roupa exerce agência sobre os sujeitos com quem interage, sendo ela própria resultante de intencionalidades. / I explore the cultural biography of a dress created by designer Rui Spohr and purchased by Heloisa Brenner, member of the rural aristocracy of Rio Grande do Sul. The object was presented during a fashion show held in Porto Alegre, in 1971, and lived along with its owner for four decades, being chosen to dress her up at her 80th Birthday party, in 2011. One year later, it synthesized almost 60 years of Rui’s professional career in a fashion exhibition at an art museum, in São Paulo, becoming a work of art in the face of the creator. The owner, in turn, exalts her long-lived status atributing importance to the item. Brading the characters’ trajectories, I cover tensions and symbolic transformations. In speaking about the dress understood here as a biographical object, Heloisa and Rui speak about themselves. And the garment speaks about its creator and owner. In this process, I demonstrate how the object exercises agency upon subjects with whom it interacts, being itself a result of intentionality.

Magister Artium - MA / We Dare Not Say is an anthology of seven interlinked short stories with the general theme of intergenerational trauma among coloured families in Cape Town. The stories are arranged in a montage of internally, variably and externally focalised narratives that span over a century, from 1900 through to 2015, and are fictionalised accounts of real events, categorising them as biographical fiction. Some of the specific topics covered in the stories include incest, molestation, substance abuse, mental illness and humour as a coping mechanism. The body of work is conceived in the context of the twentieth century trauma narrative, the complexities of which run as undercurrents through most of the important English literary works created in South Africa since the 1800s up until John M. Coetzee, but which has often lacked a female perspective, especially women of colour. The stories in this volume aim to depict a group of people, who, through centuries of oppression in the form of serfdom, servitude and segregation, have developed various coping mechanisms to make sense of their own identity in an absurdly cruel social landscape. The stories focus on the inward turning of violence, substance abuse, silence and humour as survival mechanisms after generations of trauma that have been, in a sense, the hallmarks of coloured South Africa. The stories are told using a split narrative method, showing multiple viewpoints of the same story with perspectives ranging from young to old, crossing the gender divide in both time and space. Ultimately, We Dare Not Say, is a depiction of the complexities of lives lived under oppression, and the triumphs and challenges faced in trying to resolve, live through or deny the effects of such oppression on a group and the individuals that make up that group.

Psychobiography can be viewed as the re-writing of an individual‟s life story previously undetected. In general, it consists of a combination of two central elements: biography and psychological theory, which aim to explain the particular individual‟s psychological development. This particular study serves to explore the extraordinary life of renowned singer and songwriter, Ian Kevin Curtis (1956-1980), who died by suicide at the early age of 23. The basis for this investigation will take the form of notable biographical accounts of the subject‟s life, together with the application of Thomas Joiner‟s (2005) interpersonal-psychological theory of suicide which identifies factors that lead to suicidal ideation - in an attempt to understand the psychological circumstances that contributed to Curtis‟s suicide. In doing so, Adler‟s (1929) theory of Individual Psychology was applied to the life of Curtis in an attempt to build on Joiner‟s theory. This led to the concept of control being introduced and contributed to the development of an intake form to identify those at risk for suicide. It is hoped that exploring the psychological circumstances that contributed to Curtis‟s suicide and their interpretation by the subject will bring about an understanding of the risk factors that may induce suicide and, by extension, will highlight the relevance of this psychobiographical study as a tool for investigating and promoting preventative measures concerning suicide. The psychobiographical data collection and analysis for this research thesis will be guided by Yin‟s (2003) theory of „analytic generalisation‟ which uses a theoretical framework in selecting relevant data which develops a matrix as a descriptive framework for organising and integrating that data, and Alexander‟s (1988) analytical model which focuses on lifting out themes through principal identifiers of salience.

Exploro a biografia cultural de um vestido criado pelo estilista Rui Spohr e comprado por Heloisa Brenner, senhora da aristocracia rural do Rio Grande do Sul. O objeto foi apresentado num desfile de moda realizado em Porto Alegre, em 1971, e acompanhou a proprietária por quatro décadas, sendo escolhido por ela para vesti-la no seu aniversário de 80 anos, em 2011. No ano seguinte, sintetizou quase 60 anos de carreira profissional de Rui numa exposição sobre moda num museu de arte, em São Paulo, tornando-se “obra de arte” aos olhos do criador. A proprietária, por sua vez, exalta seu status longevo para atribuir importância à peça. Trançando as trajetórias dos personagens, percorro tensões e transformações simbólicas. Ao falar sobre o vestido aqui entendido como objeto biográfico, Heloisa e Rui falam sobre si. E a roupa fala sobre o criador e a proprietária. Nesse processo, demonstro como a roupa exerce agência sobre os sujeitos com quem interage, sendo ela própria resultante de intencionalidades. / I explore the cultural biography of a dress created by designer Rui Spohr and purchased by Heloisa Brenner, member of the rural aristocracy of Rio Grande do Sul. The object was presented during a fashion show held in Porto Alegre, in 1971, and lived along with its owner for four decades, being chosen to dress her up at her 80th Birthday party, in 2011. One year later, it synthesized almost 60 years of Rui’s professional career in a fashion exhibition at an art museum, in São Paulo, becoming a work of art in the face of the creator. The owner, in turn, exalts her long-lived status atributing importance to the item. Brading the characters’ trajectories, I cover tensions and symbolic transformations. In speaking about the dress understood here as a biographical object, Heloisa and Rui speak about themselves. And the garment speaks about its creator and owner. In this process, I demonstrate how the object exercises agency upon subjects with whom it interacts, being itself a result of intentionality.

Exploro a biografia cultural de um vestido criado pelo estilista Rui Spohr e comprado por Heloisa Brenner, senhora da aristocracia rural do Rio Grande do Sul. O objeto foi apresentado num desfile de moda realizado em Porto Alegre, em 1971, e acompanhou a proprietária por quatro décadas, sendo escolhido por ela para vesti-la no seu aniversário de 80 anos, em 2011. No ano seguinte, sintetizou quase 60 anos de carreira profissional de Rui numa exposição sobre moda num museu de arte, em São Paulo, tornando-se “obra de arte” aos olhos do criador. A proprietária, por sua vez, exalta seu status longevo para atribuir importância à peça. Trançando as trajetórias dos personagens, percorro tensões e transformações simbólicas. Ao falar sobre o vestido aqui entendido como objeto biográfico, Heloisa e Rui falam sobre si. E a roupa fala sobre o criador e a proprietária. Nesse processo, demonstro como a roupa exerce agência sobre os sujeitos com quem interage, sendo ela própria resultante de intencionalidades. / I explore the cultural biography of a dress created by designer Rui Spohr and purchased by Heloisa Brenner, member of the rural aristocracy of Rio Grande do Sul. The object was presented during a fashion show held in Porto Alegre, in 1971, and lived along with its owner for four decades, being chosen to dress her up at her 80th Birthday party, in 2011. One year later, it synthesized almost 60 years of Rui’s professional career in a fashion exhibition at an art museum, in São Paulo, becoming a work of art in the face of the creator. The owner, in turn, exalts her long-lived status atributing importance to the item. Brading the characters’ trajectories, I cover tensions and symbolic transformations. In speaking about the dress understood here as a biographical object, Heloisa and Rui speak about themselves. And the garment speaks about its creator and owner. In this process, I demonstrate how the object exercises agency upon subjects with whom it interacts, being itself a result of intentionality.

Submitted by Leonardo Lima (leonardoperlim@gmail.com) on 2016-04-11T14:11:43Z No. of bitstreams: 2 license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) Imaginário, memória e histórias de vida.pdf: 1554294 bytes, checksum: 71f6d9d92dfa86693f2c0e449982316f (MD5) / Approved for entry into archive by Aline Batista (alinehb.ufpel@gmail.com) on 2016-04-11T14:14:21Z (GMT) No. of bitstreams: 2 license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) Imaginário, memória e histórias de vida.pdf: 1554294 bytes, checksum: 71f6d9d92dfa86693f2c0e449982316f (MD5) / Approved for entry into archive by Aline Batista (alinehb.ufpel@gmail.com) on 2016-04-11T14:17:52Z (GMT) No. of bitstreams: 2 license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) Imaginário, memória e histórias de vida.pdf: 1554294 bytes, checksum: 71f6d9d92dfa86693f2c0e449982316f (MD5) / Made available in DSpace on 2016-04-11T14:53:11Z (GMT). No. of bitstreams: 2 license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) Imaginário, memória e histórias de vida.pdf: 1554294 bytes, checksum: 71f6d9d92dfa86693f2c0e449982316f (MD5) Previous issue date: 2014-02-27 / Sem bolsa / Esta dissertação foi desenvolvida no âmbito do Grupo de Estudos e Pesquisa sobre Imaginário, Educação e Memória (GEPIEM), situado na Linha de Pesquisa Cultura Escrita, Linguagens e Aprendizagem do Programa de Pós- Graduação em Educação da Universidade Federal de Pelotas, e aborda a temática da institucionalização de crianças no Brasil, sob a ótica de mulheres egressas do Asilo de Órfãs Felisbina Leivas, localizado em Jaguarão/RS. O trabalho aborda a História de Vida a partir dos estudos de JOSSO, o Imaginário, na perspectiva de MACHADO DA SILVA, PERES e BACHELARD, e tem como ferramentas metodológicas a Narrativa Biográfica, abordada por FERRAROTTI, e a Transcriação, abordada por CALDAS. A finalidade deste estudo ampara a apreensão das marcas vinculadas a estadia das egressas no Asilo, tomando como corpus de análise suas narrativas biográficas, a fim de compreender como as imagens fundadoras reverberam em suas histórias de vida, além de evidenciar os processos educativos vivenciados na instituição asilar presentes na memória das mesmas. O percurso metodológico deu-se em três instâncias: a primeira operacionalizou-se através de uma visita ao Asilo com a egressa, em que foram registradas imagens, fotográficas ou não, a partir de uma questão detonadora: ‘Registra imagens que te marcaram positiva ou negativamente’. Na segunda etapa realizei a transcriação da narrativa, tornei a narrativa biográfica em uma história narrada, com a qual procurei trazer ao leitor o mundo de sensações provocadas pelo contato com as protagonistas da pesquisa. A terceira, e última, deu-se de forma a verificar e destacar dois focos de análise: imagens fundantes e processos educativos. O empírico deste trabalho apontou que a aprendizagem e incorporação das regras eram feitas pela interação; o trabalho para subsistência e higienização do Asilo era presente na rotina das meninas; a escola se fazia presente no cotidiano das meninas e é fortemente valorizada; lidar com a ausência também se fazia necessário. As imagens fundantes identificadas nas três narrativas estão fortemente associadas ao papel e a imagem de mãe, seja pela supervalorização da presença desta figura; pela percepção do abandono ou pelo reconhecimento do amor dedicado. O fundamental apontado pelo empírico da pesquisa foi que, mesmo com as dores das experiências negativas vividas no Asilo, este configurou-se, para as protagonistas desta pesquisa, como um lugar de proteção e amparo, que proporcionava segurança à quem lá tinha sua vida resguardada. / The present work has been developed within the group of studies and research about Imaginary, Education and Memory (GEPIEM). It is situated in the Research Line Written Culture, Languages and Learning of Post-Graduate Program of the Federal University of Pelotas, and approaches the issue of institutionalization of children in Brazil, under the perspective of women who were in “Felisbina Leivas’ Asylum”, located in Jaguarão/RS. The research discusses the life history of the children’s egresses of institution, based on studies by JOSSO and the ‘Imaginary’, from the perspective of MACHADO DA SILVA. The objective of this work is to reconstruct, by imagination, narratives of women that spend parts of their childhood or youth in that religion asylum institution. The research seeks analyze and understand linked marks from the time that they have been stayed in the Home, taking as corpus analysis of their life histories. The biographical narratives were used as the main methodological tool to understand how the founding images, from the imagination, drive/influence living thing (a person who lives at the present time) of these women, besides to show the educational processes. The route methodological occurred in three instances: the first was operationalized by visits in the orphanage, with egresses, where have been recorded, photographic or not, images from a trigger question: 'Register images that marked you positively or negatively'. In the second, I change their biographical narratives in stories, what I call 'make history' (textualization). After transcription and textualization of narratives, I began a process of transcreation, with which I tried to bring the reader to the world of sensations caused by contact with the protagonists of the research. The third, and last, occurred so that verifies and checks two focuses: foundational images and educational practices. The empirical study showed that learning and incorporation of the rules was done by the interaction; work for maintenance and cleaning of the Home was part of the routine of girls; the school was present in their daily lives and is strongly valued; cope deal with the family’s absence is also need. The founding pictures identified in the three narratives are strongly associated with the role and image of mother, and the overvaluation of the presence of this figure, the perception of abandonment or the recognition of the importance to devote love to their sons and daughters. The fundamental appointed the empirical research, was that even with all the reverses of negative experiences at Home, this was established as a place of protection, which provided security for whom there had guarded his life.