Made available in DSpace on 2017-07-10T19:07:37Z (GMT). No. of bitstreams: 1 Texto completo Washington Soares.pdf: 1086256 bytes, checksum: 4367d8566be86f0622c227da3d2c1002 (MD5) Previous issue date: 2012-04-03 / The work aims to analyze the civilizing process employed by the Jesuits in the missions of Guairá between the years 1609 and 1632, with reference to the central theoretical concept of cultural negociation, as conceived by Hommi Bhabha. According to our hypothesis, the introduction of the eurochristian culture among the Guarani took place through intense cultural negotiation between the parties involved. This movement inaugurated the construction of intersubjective bridges between the Indians and the religious, which therefore resulted in a hybrid culture, with aspects of both the Guarani and the Christian cultures, redefined in the missionary area, that will be treated as an in-between place. We will discuss the interpretation of the cultural practices of the Guarani, their appropriation and further representation of the Gentile Indian and the Reduced Indian. The sources that feed our approach include, in particular, the writings of Father Antonio Ruiz de Montoya, one of the pioneers of reductional experience in the region. / O trabalho tem por objetivo analisar o processo civilizador empregado pelos jesuítas nas missões do Guairá entre os anos de 1609 e 1632, tendo como referência teórica central o conceito de negociação cultural, assim como concebido por Hommi Bhabha. De acordo com a nossa hipótese, a introdução da cultura eurocristã entre os Guarani se deu mediante intensa negociação cultural entre as partes envolvidas. Esse movimento inaugurou a construção de pontes intersubjetivas entre indígenas e religiosos, o que resultou, por consequência, na origem de uma cultura híbrida, que mesclou aspectos da cultura Guarani e Cristã, ressignificando-os em um espaço missioneiro, que será tratado como um entre-lugar. Analisaremos a interpretação das práticas culturais dos Guarani, a sua apropriação e a posterior representação da identidade do índio gentio e do índio reduzido. As fontes que alimentam a nossa abordagem contemplam, sobretudo, os escritos do Padre Antonio Ruiz de Montoya, um dos pioneiros da experiência reducional na região.

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Submitted by Adriana Alves Rodrigues (aalves@espm.br) on 2017-11-06T15:12:32Z No. of bitstreams: 1 LILIA NOGIEIRA C HORTA.pdf: 6507327 bytes, checksum: bd4b4fbb2222c42c48525e5dadc0ef57 (MD5) / Approved for entry into archive by Adriana Alves Rodrigues (aalves@espm.br) on 2017-11-06T15:13:34Z (GMT) No. of bitstreams: 1 LILIA NOGIEIRA C HORTA.pdf: 6507327 bytes, checksum: bd4b4fbb2222c42c48525e5dadc0ef57 (MD5) / Approved for entry into archive by Ana Cristina Ropero (ana@espm.br) on 2017-11-10T12:12:40Z (GMT) No. of bitstreams: 1 LILIA NOGIEIRA C HORTA.pdf: 6507327 bytes, checksum: bd4b4fbb2222c42c48525e5dadc0ef57 (MD5) / Made available in DSpace on 2017-11-10T12:16:11Z (GMT). No. of bitstreams: 1 LILIA NOGIEIRA C HORTA.pdf: 6507327 bytes, checksum: bd4b4fbb2222c42c48525e5dadc0ef57 (MD5) Previous issue date: 2017-03-31 / The film narratives of Japanese animation director Hayao Miyazaki - theme of this research - expose some issues that involve life in society by questioning situations and stereotypes through their hybrid aesthetics, and mainly through their female characters In this way, we take as theoretical object the consumption of aesthetics hybrid - in which the female characters are found - and the layers of memory there involved. In this sense, this research has as general objective to identify the composition of the female representations and how the transgressive character of them is given. We adopt specific objectives: to understand how the anime genre emerged and to contextualize the course of Hayao Miyazaki as director of animation. Understand how Hayao Miyazaki are embedded in a context of production and media consumption, demonstrating negotiations between the director and the animation industry. Verify that his aesthetic is constructed, from the textual memory and analysis of the composition of the scenarios, characters, plot, costumes and other aspects. Analyze how make up the female representations in the works of Hayao Miyazaki and, finally, to verify how the female characters produce a representation of memory that subverts the memory of what we understand as a Japanese woman. For this, an analysis is made from a corpus of ten works scripted and directed by the director [Ponyo: A Friendship that Came of the Sea (2008), the Service of Deliveries of Kiki (1989), The Castle animated (2004), Princess Mononoke (1997), My Friend Totoro (1988), Porco Rosso: The Last Romantic Hero (1992), Nausicaä of the Valley of the Wind (1984), Lives to the Wind (2013), The Journey of Chihiro (2001), The Castle in the Sky (1986)]. In order to highlight the female characters, formulating a methodological framework dividing them into six phases: children, girls, youth, adults, mothers and the elderly. Using the basilar pillars: consumption and communication; memory; women were bibliographical and documentary research, mobilizing authors such as Lotman, Le Goff, Halbwachs, Pollak, Canclini, Rocha, Martel, Miyazaki, Luyten, Barbosa Junior, Sato, Laurel, Hane, among others, with different theoretical contributions. The results demonstrate that the awakens, through his women and his hybrid aesthetics, a critical thinking in which one makes possible to question about aspects concretized by society and to think about the possibility of change and restart. / As narrativas fílmicas do diretor de animação japonês Hayao Miyazaki – tema da presente pesquisa – expõem algumas questões que envolvem a vida em sociedade ao questionar situações e estereótipos através da sua estética híbrida, e principalmente por meio das suas personagens femininas. Desta forma, tomamos como objeto teórico o consumo da estética híbrida – na qual se encontram as personagens femininas – e das camadas de memória aí implicadas. Nesse sentido, esta investigação tem como objetivo geral identificar a composição das representações femininas e como se dá o caráter transgressor das mesmas. Adotamos como objetivos específicos: compreender como surgiu o gênero animê e contextualizar o percurso de Hayao Miyazaki como diretor de animação. Entender de que forma as obras de Hayao Miyazaki estão inseridas em um contexto de produção e consumo midiático, demonstrando negociações feitas entre o diretor e indústria de animação. Verificar de que maneira é construída sua estética, a partir da memória textual e análise da composição dos cenários, das personagens, do enredo, do figurino e outros aspectos. Analisar como se compõem as representações femininas nas obras de Hayao Miyazaki e, por fim, verificar como as personagens femininas produzem uma representação de memória que subverte a memória do que entendemos como mulher japonesa. Para tal, é feita uma análise a partir de um corpus de dez obras roteirizadas e dirigidas pelo diretor [Ponyo: Uma Amizade que Veio do Mar (2008), O Serviço de Entregas da Kiki (1989), O Castelo Animado (2004), Princesa Mononoke (1997), Meu Amigo Totoro (1988), Porco Rosso: O Último Herói Romântico (1992), Nausicaä do Vale do Vento (1984), Vidas ao Vento (2013), A Viagem de Chihiro (2001), O Castelo no Céu (1986)]. De modo a destacar as personagens mulheres, formulando um quadro metodológico dividindo-as em seis fases: crianças, garotas, jovens, adultas, mães e idosas. Valendo-se dos pilares basilares: consumo e comunicação; memória; mulheres, foram adotadas pesquisas bibliográficas e documentais, mobilizando autores como Lotman, Le Goff, Halbwachs, Pollak, Canclini, Rocha, Martel, Miyazaki, Luyten, Barbosa Júnior, Sato, Louro, Hane, entre outros, com diferentes aportes teóricos. Os resultados demonstram que o diretor desperta, através de suas mulheres e sua estética híbrida, um pensamento crítico no qual se faz possível questionarmos a respeito de aspectos concretizados pela sociedade e pensarmos na possibilidade de mudanças e recomeço.

Made available in DSpace on 2016-03-15T19:42:28Z (GMT). No. of bitstreams: 1 Tania Cristina de Paula.pdf: 7806384 bytes, checksum: 90e6d8ccb0241240865b98264871d22a (MD5) Previous issue date: 2012-08-17 / Fundo Mackenzie de Pesquisa / This research proposes a critic about artifacts that appear from the confluence with design and craftwork thought from the concept of cultural hybridity. Furthermore, this research seeks to understand the socializing in contemporary artifacts of material and symbolic aspects of urban-industrial society and the traditional cultures, as well as modes of craftwork production. Also, this investigation aims to reflect if the concept of cultural hybridity and hybrid adjective, concepts that comes from the cultural studies, are adequate to describe, qualify or even characterize artifacts made under the meeting of the design and the craftwork. This research is under the light of Peter Burke and Néstor García Canclini's hybrid cultural conceptions and seeks to understand the phenomenon in a contemporaneous context. In addition, this research is searching to understand the multiple aspects and scope of design and craftwork activities regarding a material culture, as well as investigate the recognition of hybrid artifacts in Brazil and to verify the possibility of analyzing the artifacts from the processes of cultural hybridization. / A presente pesquisa propõe uma reflexão crítica sobre artefatos que surgem da confluência do design com o artesanato à luz do conceito de hibridismo cultural. Busca compreender o convívio em artefatos contemporâneos de aspectos materiais e simbólicos da sociedade urbano-industrial e de culturas tradicionais, assim como os modos de produção artesanal. Esta investigação busca refletir sobre a adequação do conceito de hibridismo cultural e o adjetivo híbrido, provenientes dos estudos culturais, para descrever, qualificar ou caracterizar artefatos elaborados a partir do encontro do design com o artesanato. Para realizar tal reflexão, esta pesquisa se dá sob a ótica das concepções de hibridismo cultural de Peter Burke e Néstor García Canclini e busca conhecer o fenômeno no contexto da contemporaneidade. Busca também compreender os múltiplos aspectos e a abrangência das atividades design e artesanato no âmbito da cultura material, assim como, investigar o reconhecimento dos artefatos híbridos no Brasil e verificar a possibilidade de analisar os artefatos a partir dos processos de hibridização cultural.

This thesis aims at exploring the consequences of migration in Jhumpa Lahirir¡¦s novel The Namesake. Set in India and America, the story represents such immigrant experiences as the clash of cultures, the conflicts of assimilation, and the tangled ties between generations. In addition to introduction and conclusion, the thesis consists of three chapters, devoted respectively to issues of nostalgia, identity, and cultural hybridity. Chapter One explores the way nostalgia affects the Ganguli family in their daily life, including such aspects as food, clothing, their circle of friends, festivals and celebrations. To analyze Indian immigrants¡¦ longing for home and their attempts to retain homeland culture, I employ Svetlana Boym¡¦s theory on nostalgia, wherein two kinds of nostalgia are distinguished: the restorative and the reflective. Chapter Two focuses on immigrants¡¦ identity formation. The process of identity formation is associated with naming and generational problems. I adopt the Freudian theory of the Oedipus complex to explain the father-son conflicts: how the protagonist defies his father as well as the name given by him. Then, drawing upon Cathy Caruth¡¦s concept of traumatic awakening, I trace how the protagonist reconciles with his father and reaches maturity. Chapter Three examines how immigrants come to invent a hybrid cultural identity. I employ Homi Bhabha¡¦s concepts of in-bewteenness and the Third Space to point out the interplay of the Bengali heritage and the dominant American culture, which results in the phenomenon of a new, dynamic, and mixed culture. With globalization, borders and boundaries are constantly changing so that migration comes to be typical of human condition. In this sense, the immigrant experience stated in The Namesake foregrounds problems which might be encountered by all diasporas.

Submitted by Viviane Lima da Cunha (viviane@biblioteca.ufpb.br) on 2018-02-05T13:41:26Z No. of bitstreams: 1 arquivototal.pdf: 1771570 bytes, checksum: 361225809ac81af634cc692fb737c706 (MD5) / Made available in DSpace on 2018-02-05T13:41:26Z (GMT). No. of bitstreams: 1 arquivototal.pdf: 1771570 bytes, checksum: 361225809ac81af634cc692fb737c706 (MD5) Previous issue date: 2009-02-09 / Conselho Nacional de Pesquisa e Desenvolvimento Científico e Tecnológico - CNPq / This work aims to show the growth strategies of the Universal Church of the Kingdom of God as well as cultural hybridization processes that lead to adapt to different cultures and socioeconomic backgrounds. Also addresses the ritualistic processes that promote the construction of a typical Pentecostal identity and their way of being in the world, specifically their sense of work and vocation, in Weberian terms, which lead them to increase the faithful quota year after year. This said "way of being" brings the peculiarity of inserting the individual as part of the world and, even more, its transformer, contradicting thus the historical perspective of evangelical denominations that precede it. / Esta dissertação tem por objetivo mostrar as estratégias de crescimento da Igreja Universal do Reino de Deus bem como os processos de hibridização cultural que a levam a adaptar-se a diferentes culturas e contextos socioeconômicos. Aborda também os processos ritualísticos que promovem a construção de uma identidade tipicamente pentecostal e seu modo de ser no mundo, mais especificamente seu sentido de trabalho e vocação, nos termos weberianos, os quais os levam a aumentar o contingente de fieis ano após ano. Esse referido “modo de ser” traz a peculiaridade de inserir o indivíduo como parte do mundo e, mais ainda, transformador dele, contrariando, desse modo, a perspectiva histórica das denominações evangélicas que a precedem.

The Unaccustomed Vanishing Point is an exhibition of miniature paintings and installations that explore the irregular and fluid terrains of multicultural exchanges in India. Although drawing heavily from Mughal and Persian painting traditions, the paintings are rife with allegories of the postcolonial history, politics, and visual and material culture of contemporary India in the age of globalization. The installations, on the other hand, navigate the intersection of sensory experience and memory while simultaneously examining the dynamics of transnational experiences. Together they map the overlapping boundaries of the personal and social to probe into the complex interplay of cultural hybridity, class, and identity.

Given the state and social homophobias one can encounter in Cameroon, it can be rightly assumed that MSM (men who have sex with men) constitute an extraordinarily vulnerable group. Such vulnerability, besides its legal nature, encompasses a number of sexual risk behaviours and psychological distress precisely derived from criminal prosecution and social discrimination. For that reason, and following the humanitarian imperative, humanitarian actors might want to launch an operation targeting such populations. Nevertheless, various ethical challenges linked to conflicting humanitarian principles, the post-colonial socio-political positions, and the diversity of queer identities might arise. This thesis will explore such ethical challenges, in an attempt to sensitise foreign humanitarians about the most sensible, yet effective, ways to support MSM in 21st- century Cameroon. The methodology used will include primary data collection through interviews and open- ended questionnaires, secondary data collection through articles and books, and the analysis and discussion of both. The theoretical framework utilised will be a combination of the Post-colonial and Queer theories, complemented with concepts borrowed from the advocacy and humanitarian ethics field.

Thèse numérisée par la Division de la gestion de documents et des archives de l'Université de Montréal.

Ce mémoire est consacré à la construction des personnages féminins juifs dans trois romans modernes et contemporains de la littérature québécoise de langue française. Il se penche sur les romans L’avalée des avalés (1967) de Réjean Ducharme, La Québécoite (1983) de Régine Robin et Hadassa (2006) de Myriam Beaudoin. Les fonctions, les valeurs et les discours entourant la présence des figures féminines juives sont analysés par le biais des dialogues entre les lieux et l’espace de manière à cerner les marqueurs identitaires, culturels, sociaux, linguistiques et religieux. Nous avons cherché à inscrire ce mémoire dans le prolongement du chapitre portant sur la figure féminine juive de l’ouvrage pionnier Mythes et images du Juif au Québec (1977) de Victor Teboul. Teboul considère la figure féminine juive comme un personnage principalement secondaire et sexuel. Cette analyse, très ancrée dans les discours sociaux de la période de publication, mérite d’être revisitée avec un corpus plus élargi et plus contemporain. Pour ce faire, nous avons cerné les principaux vecteurs identitaires féminins juifs en analysant les discours entourant leur présence, les dialogues entre identité, culture, Histoire et société et les dynamiques entre espaces et lieux. Nous avons constaté que, en plus de sortir des stéréotypes, l’identité des figures féminines juives des trois romans est modelée en fonction de son rapport aux lieux et à l’espace. D’une judéité littéraire foncièrement iconoclaste, en passant par une judéité culturelle et mémorielle jusqu’à une judéité qui se veut le plus réaliste, les trois romans du corpus diffèrent largement par leur rapport à la judéité. / This thesis is devoted to the construction of Jewish female characters in three novels of modern and contemporary Quebec french literature. It examines the novels of Réjean Ducharme, L’avalée des avalés (1967), Régine Robin, La Québécoite (1983), Myriam Beaudoin, Hadassa (2006). Functions, values and discourses surrounding the presence of Jewish women figures are analyzed by means of dialogues between places and spaces in order to identify markers of identity, culture, society, linguistic and religion. We sought to update the chapter on the female figure of the Jewish pioneering book Mythes et Images du Juif au Québec (1977) from Victor Teboul. Teboul considers the female Jewish character as a secondary and mainly sexual character. This analysis, deeply entrenched in social discourses of the period of publication, deserves to be revisited with a corpus broader and more contemporary. To do this, we identified the main vectors of female Jewish identity by analyzing the discourses surrounding this presence, dialogue between identity, culture, history and society and the dynamics between spaces and places. We found that, in addition to stereotypes, the Jewish identity of the female figures of the three novels is shaped by its relation with places and spaces. The three novels differ widely in their relationship to Jewishness.