[pt] O presente trabalho tomou como texto norteador o ensaio de Sigmund Freud, escrito em 1919, intitulado O Estranho. A pesquisa analisou o mesmo, investigando acerca da viabilidade do estranhar neste período contemporâneo. Para tanto, foi feita uma abordagem de acordo com a sugerida por Freud e ainda uma outra, condizendo com o ponto de vista de Jentsch, mencionado pelo autor, o qual aproxima o fenômeno da estranheza à incerteza intelectual. A partir do viés interpretativo referido à incerteza, o direcionamento da sensação de estranheza se voltou à estética, tomando-a como a qualidade de sentir. Esta direção facilitou a proximidade com as clínicas de Sándor Ferenczi e de Donald Winnicott. A contribuição destes analistas, explicitando como o estranho pode ser acolhido, se contrapõe à usual tentativa de eliminação da alteridade, do que vem a ser o outro. Além da clínica, no debate em torno de como este fenômeno é sentido na atualidade, e da possibilidade de sua ocorrência, causando movimento, pesquisamos a partir de algumas cartografias do que venha a ser o período contemporâneo, feitas por estudiosos da psicanálise, como de outras áreas também, como a sociologia e a filosofia. / [en] The present study has taken as leading text the Sigmund Freud s essay, written in 1919, titled The stranger. The research analyzed it, investigating about the viability of coming strange in this contemporary period. For doing so, it was used an approach according to what was suggested by Freud, and another one more in line with the point of view of Jentsch, mentioned by the author, who approximates the strangeness phenomenon to the intellectual uncertainly. From the stand point of the interpretation bias refered to the uncertainly, the sensation of strangeness was directed to applied to the esthetics, taken as the quality of feeling. This direction has facilitated the proximity of the analysis to the clinics of Sándor Ferenczi and Donald Winnicott. The contribution of these analysts, showing us how the stranger can be received, is opposite to the usual attempt of elimination of the otherness, of what can be seen as the other. Beyond the clinic, in the debate about how this phenomenon is perceived nowadays, and about the possibility of its occurrence, causing movement, we have also researched, based on some contemporary cartography s, made by researches of Psychoanalysis, as other areas too, like Sociology and Philosophy.

abstract: ABSTRACT This dissertation examines contemporary U.S. women writing about war, with primarily women subjects and protagonists, from 1991-2013, in fiction, memoir, and media. The writers situate women at the center of war texts and privilege their voices as authoritative speakers in war, whether as civilians and soldiers trying to survive or indigenous women preparing for the possibility of war. I argue that these authors are rewriting scripts of war to reflect gendered experiences and opening new ways of thinking about war. Women Rewriting Scripts of War argues that Leslie Marmon Silko’s novel Almanac of the Dead juxtaposes an indigenous Story concept against a white industrialized national “Truth,” and indigenous women characters will resort to war if needed to oppose it. Silko’s and the other texts here challenge readers to unseat assumptions about the sovereignty of the U.S. and other countries, about the fixedness of gender, of capitalism, and of how humans relate to each other‒and how we should. I argue in Essay 3 that the script of “the body” or “the soldier” in military service can be expanded by moving toward language and concepts from feminist and queer theory and spectrums of gender and sexuality. This can contribute to positive change for all military members. In each of the texts, there are some similarities in connections with others. Connections enable solidarity for change, possibilities for healing, and survival; indeed, without connections with others to work together, survival is not possible. Changes to established economic structures become necessary for women in Barbara Kingsolver’s novel The Poisonwood Bible; I argue that women engaging in alternative modes of economy subvert the dominant economic constraints, gender hierarchies, and social isolation during and after war in the Congo. In Essay 5, I explore two fictional texts about the U.S. wars in Iraq and Afghanistan, Helen Benedict's novel Sand Queen and Katey Schultz’s short story collection Flashes of War. The connections in these women’s texts about war are not idealized, and they function as the antithesis to the fragmentation and isolation of postmodern texts. / Dissertation/Thesis / Doctoral Dissertation English 2015

abstract: This document examines select percussion works of Toshi Ichiyanagi (b. 1933), in order to create a resource that brings exposure and sparks interest in his percussion music. Ichiyanagi has long been one of Japan’s leading composers. However, despite having a successful career since the 1960s, he is not well-known in the United States. Furthermore, his close associations with celebrated American avant-garde composers and performers like John Cage, David Tudor, and La Monte Young, make Ichiyanagi’s virtual obscurity in the United States even more striking. Particularly, for a field birthed in the avant-garde, it is surprising that many of his percussion compositions avoid mainstream recognition. For the study, the author prepared and performed a recital of the five works that are discussed: Wind Trace (1984), Trio Interlink (1990), Rhythm Gradation (1993), Perspectives II (1996), and Ballade (2002). The document is a performance guide that also provides background information on each piece. The guide discusses technical and interpretative issues uncovered through firsthand preparation and performance, and provides suggestions to solve them. At the conclusion, the author draws connections between these pieces, to highlight similarities that will be helpful to consider when preparing performances of any of his works involving percussion. Finally, an exhaustive catalog of known Ichiyanagi percussion works is provided as a resource for further performance and research. Ichiyanagi has been writing for percussion since the 1970s. His catalog includes solos, chamber pieces, ensemble pieces, mixed-chamber pieces, and concerti. With recent compositions like Marimba Scenery (2011), Concerto for marimba and orchestra (2012), and the duo Two Dimensions (2012), Ichiyanagi continues to write for percussion. Virtuosi such as Sumire Yoshihara, Atsushi Sugahara, Momoko Kamiya, and Mutsuko Taneya have commissioned and premiered works by the composer. These pieces are on par with the challenging repertoire that has dominated percussion literature since the mid-twentieth century. Nonetheless, the author has found no existing document that is fully devoted to Ichiyanagi’s percussion work. / Dissertation/Thesis / Doctoral Dissertation Music 2017

abstract: Electro-acoustic compositions throughout the twentieth-century have flourished due to the modern advancements and improvements in technology, including image based interactive software. This project aims to reveal how three composers of different backgrounds utilize the use of euphonium in combination with live interactive electronics. To this date no known works have been composed for this instrumentation. Advancements in the development of audio software and hardware have helped to improve and rapidly evolve the inclusion of live electronics including the use of performer-triggered events, audio processing, and live electronic decision-making. These technologies can be utilized and explored in various ways. Three composers have been commissioned to each compose a new work focusing on using the timbre of the euphonium in combination with explored electronic sounds, unplanned sounds of nature and the use of the human voice. Each work is performed and examined by the author in order to further explore the electro-acoustic properties of this genre, how they communicate and interact with one another, and how the electronics interact and meld with the sound of the euphonium. Compositional elements in this project include but are not limited to the use of pre-recorded natural and “un-natural” sounds, and the manipulations of both pre-recorded and live sounds through the use of performer triggered events using visual programming languages such as Max/MSP and looping pedals. / Dissertation/Thesis / Zero Circle-Justin Rito (Live Recording) / Warrior-Brett Copeland (Live Recording) / Petrichor-Grant Jahn (Live Recording) / Doctoral Dissertation Music 2017

This thesis analyses representations of madness and mental illness in Scottish fiction from 1979. I begin by exploring the development of the relationship between Scottish identity on one hand, and madness and unreason on the other, arguing that in criticism of Scottish fiction, representations of schizoid experience are often understood as contributing to discourses centring on Scottish identity and the construction of a Scottish literary tradition. The contention of this thesis is that reading madness in this way often simplifies the complex relationship between representations of psychosis and other forms of unreason on the one hand, and political, philosophical and theoretical structures on the other. Its purpose is to proffer a corrective to this simplification and to develop a thematic mode of approaching Scottish writing. This thesis analyses representations of madness in the work of Alasdair Gray, Janice Galloway, Alan Warner, Elspeth Barker, Bella Bathurst, and Alice Thompson. In Chapter One, I discuss the relationship between madness, creativity and autonomy in Gray's Lanark, 1982, Janine and Poor Things; Chapter Two deals with the significance of traumatic experience to Janice Galloway's The Trick Is to Keep Breathing and Foreign Parts, and the environmental concerns of Alan Warner's Morvern novels form the basis of Chapter Three. The second section of the thesis deals with representations of madness in the work of three women authors. In my fourth chapter, I attempt to formulate an approach to Gothic stylistics by comparing the function of madness and other Gothic traits in Barker's O Caledonia and Bathurst's Special. The final chapter approaches Alice Thompson's enigmatic work by theorising how she aestheticises her concern with the limits of rational knowledge in The Existential Detective, The Falconer, and Pandora's Box. The purpose of this thesis is to place the writing of madness in Scotland within the context of broad literary and philosophical traditions. This contributes to the field of Scottish literary studies by widening its scope to think through questions raised by the representation of madness. In particular, it allows for the analysis of the ways these writers distinguish between madness and sanity, the nature of the distinction between reason and unreason, and the implications these questions have for wider epistemological inquiries into the nature of knowledge and narration. In doing so, it allows for engagement with current debates in literary theory, particularly feminist and ecologically-orientated criticism, affect theory and trauma, as well as asking how a concern with literary style and genre can contribute to readings of unreason.

This doctoral study examines the evolving role of the dramaturg in the British contemporary performance scene from 2000-2015. In 1999, the role was seen in the UK as a luxury, not an essential; now the same companies are working with dramaturgs, often within an academic context, as the funding culture has shifted from Arts Council England to the Academy. This study proceeds through a combination of practice as research and a contextual survey of the role s recent history taken from readings, interviews and a narrative of personal experience. As John Freeman writes, Research is also always re-search: a drawing on one s previous experience and developing this into knowledge . I arrive at new knowledge about the dramaturg s current position in a shifting landscape by inhabiting both the role and the landscape. John Berger suggests that to understand a landscape we have to situate ourselves in it. The doctoral study seeks to do this through practice, research and practice as research. I devised three performances - The Trilogy (2014). Their non-linearity is relevant to the line of investigation I took into the role of the dramaturg today, both inviting and playing the role. The practice as research applies different theoretical models of how a dramaturg operates to a body of theatre work that interrogates the role from different perspectives. The practice asks how dramaturgy might function with or without a dramaturg as an agent for critical feedback or meaning-making by exploring other models such as embedded criticism, work-in-progresses and post-show discussions. The performance work attempts to put the dramaturg onstage and in so doing explores what he / she does as part of the theatre event to make it happen. The project is concerned with making visible the textual trace of dramaturgy within the work. As such, I have written a thesis on the dramaturgy of my practice that questions notions of proximity and distance, objectivity and subjectivity, self and other. The thesis documents how the role has evolved over the last 15 years and argues that it has had a significant, tangible impact on the British contemporary performance scene. Through an understanding of the role, the dramaturg, outside of a traditional writer-director paradigm, becomes an application with which to deconstruct and decode the tropes and contradictions of contemporary performance. I posit that dramaturgs and outside eyes operate in fluid and often undefined spatial territory between writer, deviser, director and dramatist as well as any hyphenated combination thereof - and the doctoral study reflects this fluidity in its style.

Master of Music / School of Music, Theatre and Dance / Augustin Muriago / This lecture-recital presents five pieces from the first two books of Elisenda Fabregas’ Album for the Young. These intermediate-level pieces are written in styles ranging from Renaissance to Modern periods. The goal in presenting these works is to analyze what technical and musical skills they develop, suggest ways to teach these pieces, and to explore their interaction with more traditional teaching repertoire. The lecture-recital presents—pedagogical exercises developed to target specific skills needed to play these pieces; performance practice for each genre represented; and finally, pairs each piece with pieces by Bartok, Bach, Czerny, Kahlua, Clementi, Tchaikovsky, Chopin, and Debussy. The works of Fabregas were chosen to promote the work of women composers and to expand the teaching repertoire that students and teachers are exposed to.

Orientador: José Manuel Lázaro de Ortecho Ramírez / Banca: Alexandre Mate / Banca: Meran Muniz da Costa Vargens / Resumo: O estudo aborda características do teatro narrativo desenvolvido a partir de meados do século XX, no que se convencionou denominar pós-modernidade. Considerado o contexto do capitalismo multinacional, são apresentados possíveis motivadores sociais, políticos e econômicos, que influenciaram na dificuldade de comunicação, na fragilização da organização de coletivos e na redução da importância dada à memória. Demonstrou-se a intensa ligação entre arte e mercado, especialmente por meio da publicidade e de importações culturais, em uma era marcada pela globalização das redes de informação. Entretanto, percebeu-se que, da mesma maneira como na sociedade, paulatinamente, estruturam-se grupos de reivindicação face às exigências do sistema, na arte se desenvolvem manifestações de oposição às produções vinculada ao consumo de produtos ou ideologias. O teatro narrativo é discutido neste contexto; considerado como uma das possibilidades de restabelecer a comunicação, de propor a discussão e de promover o compartilhamento de experiências entre atores e público. Tais potenciais residem no fato de que ele, embora se configure por aspectos da arte pós-moderna, pressupõe simultaneamente a revalorização da fábula. A estes elementos soma-se o predomínio de aspectos provenientes do gênero épico, bem como a possibilidade de interlocução com o lírico e o dramático. O teatro narrativo é uma das formas de hibridização de linguagens que se desenvolveu no período; lida com elementos de outros momentos históricos e vertentes artísticas e se diferencia pela maneira de organizá-los. Além disso, mesmo diante de pausada caracterização da vertente teatral narrativa, a fim de que a discussão dos expedientes fosse suficientemente clara, optou-se pela exemplificação de duas possibilidade de articulação dos elementos cênicos por meio de espetáculos ... (Resumo completo, clicar acesso eletrônico abaixo) / Abstract: The study deals with narrative theatre characteristics, developed after the middle of XX century, during what is a convention to call post-modernity. Considered the context of the multinational capitalism, there are presented possible social, political and economic reasons that influenced in the difficulty of communication, in the weakness of collective organization and in the reduction of the importance given to memory. It was demonstrated the intense connection between arts and market, especially by publicity and cultural importation, in a time when prevails globalization and information nets. Nevertheless, it was noticed that, in the same way in society there are vindication groups before system requirements, in arts they were developed oppositional manifestations to the production related to products and ideology consumption. Narrative theatre is analyzed in this context; considered as one of the possibilities to re-establish communication, to propose discussions and to promote experience sharing between actors and audience. These potential exist because, even if narrative theatre has aspects of post-modern arts, it also presupposes fable valorization. To this element, they are added up the predominance of epic aspects, as well as the possibility of dialogue also with dramatic and lyric genders. Contemporary narrative theatre is one of the hybrid language forms appeared in XX century; it deals with elements from other historical moments and different artistic slops, and what makes it particular is its way of organizing the procedures. Moreover, in order to let concept considerations comprehensible enough, it was chosen to utilize two procedure articulation examples found in São Paulo's plays, Mire Veja, by Companhia do Feijão, and Hysteria, by Grupo XIX de Teatro / Mestre

Submitted by DIONE CABRAL null (dione_cabral@yahoo.com.br) on 2018-03-26T21:24:42Z No. of bitstreams: 1 dissertacaodione.pdf: 772925 bytes, checksum: 762410d83c51ce7073d5ff6c25176965 (MD5) / Approved for entry into archive by Milena Maria Rodrigues null (milena@fclar.unesp.br) on 2018-03-27T23:18:46Z (GMT) No. of bitstreams: 1 cabral_d_me_arafcl.pdf: 772925 bytes, checksum: 762410d83c51ce7073d5ff6c25176965 (MD5) / Made available in DSpace on 2018-03-27T23:18:46Z (GMT). No. of bitstreams: 1 cabral_d_me_arafcl.pdf: 772925 bytes, checksum: 762410d83c51ce7073d5ff6c25176965 (MD5) Previous issue date: 2018-01-25 / O presente trabalho tem o objetivo de buscar subsídios teóricos capazes de identificar a relevância da Cultura como categoria emancipatória, de fortalecimento da identidade e de transformação social. Para tanto, realiza uma pesquisa exploratória sobre os conceitos formulados a partir do surgimento da Cultura como uma disciplina das ciências humanas e qual a relevância dos estudos culturais para a ruptura com os paradigmas teóricos que cercaram a modernidade. Buscamos o entendimento sobre como se constrói a identidade no cenário contemporâneo, onde as fronteiras já não são mais barreiras para as interações culturais e as diferenças entram em evidência fazendo surgir a necessidade de reafirmação da identidade, sendo que a Cultura passa a ter um caráter político de reivindicação da visibilidade no espaço social. Neste contexto, procuramos entender como a escola pode ser um agente de transformação social, compreendendo que a perspectiva multiculturalista nos trará meios de convivência com a diversidade, fazendo com que ela seja um fator de potencialização do conhecimento, afastando-se da ideia de se considerar diferenças como um fator de risco, de adversidade ou conflito. A partir de programas, projetos e serviços oferecidos dentro da instituição escolar, buscamos identificar os mecanismos possíveis de intervenção na dinâmica das comunidades que ela abrange e refletir sobre a importância do desenvolvimento de programas que valorizem as manifestações de cultura e expressões artísticas sob a ótica de serem potentes ferramentas para a visibilidade de comunidades locais, entendendo ser mais uma função da escola, como elaboradora de propostas que colaborem com a emancipação do sujeito coletivo. / The present work has the objective of seeking theoretical subsidies capable of identifying the relevance of Culture as an emancipatory category, of strengthening of identity and of social transformation. In order to do so, it carries out an exploratory research on the concepts formulated from the emergence of Culture as a discipline of the human sciences and the relevance of cultural studies to the rupture with the theoretical paradigms that surrounded modernity. We seek to understand how identity is built in the contemporary scenario, where borders are no longer barriers to cultural interactions and differences are evidenced by the need to reaffirm identity, and Culture becomes political of claiming visibility in the social space. In this context, we try to understand how the school can be an agent of social transformation, understanding that the multiculturalist perspective will bring us means of coexistence with diversity, making it a factor of potentialization of knowledge, moving away from the idea of considering differences as a risk factor, adversity or conflict. From the programs, projects and services offered within the school, we seek to identify the possible mechanisms of intervention in the dynamics of the communities it covers and to reflect on the importance of developing programs that value cultural manifestations and artistic expressions from the perspective of are powerful tools for the visibility of local communities, understanding it to be a function of the school, as well as to elaborate proposals that collaborate with the emancipation of the collective subject.

Submitted by THIAGO GARCIA RIVITI null (riviti@gmail.com) on 2016-07-12T09:21:39Z No. of bitstreams: 1 FUTEBOL BRASILEIRO NA ATUALIDADE historia cultura e profissionalizacao.pdf: 761774 bytes, checksum: 203d825b74915e80c8dfb7cb7310b92a (MD5) / Rejected by Ana Paula Grisoto (grisotoana@reitoria.unesp.br), reason: Solicitamos que realize uma nova submissão seguindo a orientação abaixo: O arquivo submetido não contém a folha de aprovação. A versão submetida por você é considerada a versão final da dissertação/tese, portanto não poderá ocorrer qualquer alteração em seu conteúdo após a aprovação. Corrija esta informação e realize uma nova submissão contendo o arquivo correto. Agradecemos a compreensão. on 2016-07-12T19:19:11Z (GMT) / Submitted by THIAGO GARCIA RIVITI null (riviti@gmail.com) on 2016-07-13T19:14:39Z No. of bitstreams: 1 FUTEBOL BRASILEIRO NA ATUALIDADE: história, cultura e profissionalização.pdf: 1801625 bytes, checksum: e1d4f5a8d6d644e60f7bdc0eb9cd3801 (MD5) / Approved for entry into archive by Ana Paula Grisoto (grisotoana@reitoria.unesp.br) on 2016-07-14T17:07:49Z (GMT) No. of bitstreams: 1 riviti_tg_me_assis.pdf: 1801625 bytes, checksum: e1d4f5a8d6d644e60f7bdc0eb9cd3801 (MD5) / Made available in DSpace on 2016-07-14T17:07:49Z (GMT). No. of bitstreams: 1 riviti_tg_me_assis.pdf: 1801625 bytes, checksum: e1d4f5a8d6d644e60f7bdc0eb9cd3801 (MD5) Previous issue date: 2016-05-20 / O objetivo principal deste trabalho foi levantar questões sobre o futebol profissional brasileiro e a sociedade contemporânea, com base na análise dos processos de profissionalização do esporte no Brasil e da sociedade sob seus diversos prismas, como a Indústria Cultural, a Sociedade de Consumo e a Sociedade do Trabalho; de modo a compreender melhor o futebol brasileiro e suas relações com a sociedade e seus praticantes. Assim, primeiramente, foi realizada uma revisão bibliográfica e levantamento de dados publicados nos portais especializados em conteúdo esportivo, bem como material jornalístico; em seguida, procedeu-se à análise dos dados à luz da Sociologia do Esporte e da Psicossociologia. Valendo-se da história da profissionalização do esporte na Inglaterra (onde o futebol moderno se constituiu) e no Brasil, foram apresentadas as semelhanças e diferenças dos fundamentos da organização e regulamentação do futebol nos dois países, por parte das Federações. Esta análise comparativa permitiu perceber que estes fatores influenciam diretamente nos resultados obtidos pelos clubes, comercial e esportivamente. Compreender a gênese profissional do futebol brasileiro também permitiu analisar a sua organização de modo a elaborar definições sobre como o futebol brasileiro se apresenta em relação ao mundial e, assim, compreender a sua importância comercial, em especial para a mídia esportiva. Esta relação mídia-esporte é a principal responsável pela manutenção do futebol como aspiração profissional para milhares de brasileiros e pela mitificação dos jogadores profissionais, transformados em verdadeiros heróis modernos, a partir dos anos 1960. Como resultado, o marketing esportivo é o principal motor da monetarização do futebol. Assim como no mundo corporativo, no esporte, as instituições buscam impor aos seus trabalhadores a ilusão do possível, da ausência de limites. O ideal esportivo surge nas organizações estabelecendo competições entre seus colaboradores, bem como no marketing, nas estratégias para capturar consumidores e vender produtos ligados ao esporte. As transformações ocorridas na Sociedade a partir dos anos 1980, que trouxeram o trabalho para o centro das relações sociais no final do século XX e início do XXI estão se alterando rapidamente. Cabe às instituições esportivas se adaptar. Nessa perspectiva, se faz necessário um novo modo de pensar o futebol, partindo de sua organização. Este estudo apresentou, também, as relações entre sociedade contemporânea, cultura e profissionalização no futebol, de modo que se espera contribuir para o levantamento de possibilidades de gestão profissional no futebol, buscando, assim, caminhos para a profissionalização de fato, única solução possível para a evolução do esporte no Brasil. / The main objective of the research was to raise questions about the brazilian professional football and contemporary society, from the analysis of the sport’s professionalization process in Brazil and the company under its various prisms, as the culture industry, the Society of Consumption and Labour Society, in order to better understand the brazilian football and its relations with society and its practitioners. Therefore, first we conducted a literature review and survey data published in specialized portals in sports content, as well as journalistic material in order to proceed our analysis into the light of sociology of sport and psychosociology. From the history of sport´s professionalization in England (where the modern game was formed) and in Brazil, similarities and differences of the organization’s foundations and regulation of football in both countries by the federations were presented. That analisys of both organizations, allowed to realize that these factors directly influence the results by the clubs, commercial and sportily. Understanding the genesis of professional brazilian football has allowed us to analyze its organization in order to prepare definitions of how the brazilian football is presented in relation to the world and thus understand its commercial importance, especially for the sports media. This sports-media relationship is the main responsible for the maintenance of football as a professional aspiration for thousands of brazilians and the mystification of the professional players, transformed into true modern heroes from the 1960s. As a result, sports marketing is the main engine of monetization of football. As in the corporate world, in sports institutions seek to impose on their workers the illusion of the possible, the absence of limits. The sporting ideal arises in organizations establishing competition among its employees, as well as in marketing, strategies to capture customers and sell products related to sports. The transformations in the society from the 1980s, which brought the work to the center of social relations in the late twentieth century and early twenty-first are changing quickly. It is for the sports institutions to adapt. So new way of thinking is necessary in football from your organization. The analysis also showed the relationship between contemporary society, culture and professionalism in football, in order to contribute to the raising of professional management opportunities in football, and seeking ways to professionalize in fact, only possible solution to the evolution of the sport in Brazil.