Submitted by Maria Suzana Diniz (msuzanad@hotmail.com) on 2015-05-26T12:54:37Z No. of bitstreams: 1 arquivototal.pdf: 4711185 bytes, checksum: 2d4a53be2cd3bc31370292923f9b076d (MD5) / Made available in DSpace on 2015-05-26T12:54:37Z (GMT). No. of bitstreams: 1 arquivototal.pdf: 4711185 bytes, checksum: 2d4a53be2cd3bc31370292923f9b076d (MD5) Previous issue date: 2011-10-31 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / Religious intolerance is a topic that has attracted the attention of researchers especially in relation to african-brazilian religions. In Paraiba, these studies are still incipient and thus this study aimed to identify manifestations of intolerance and reactions that have been engendered in the cities of Joao Pessoa, Sape, Guarabira and Alagoa Grande. To account for the theoretical support of the research came from the symbolic interactionism of weberian concepts and bourdianos, and authors who study the field of african-brazilian religions. The qualitative research made use of the techniques of field observation and interviews in order to favor their own data in the search field and by the agents themselves religious. In this theoretical part were visited twenty-three yards, and selected and contacted twenty-three religious leaders. After interviewing the twenty-three leaders, nine were chosen to interact in the interview technique with depth, resulting sometimes in more than two interviews with the same person. From the thematic readings and field work defined the field of religious african-brazilian religions in Paraiba. Religious intolerance was approached conceptually and empirically allowing the understanding that legitimacy in its social sense is a condition not yet achieved by these religions in spite of legal legitimacy. In search of social acceptance of the construction of legitimacy is a process that is being developed through the development of mechanisms called, from the contribution of concepts berger: cognitive, normative and cognitive-normative. / A intolerância religiosa é uma temática que vem atraindo a atenção de pesquisadores sobretudo, com relação às religiões afro-brasileiras. Na Paraíba, esses estudos ainda são incipientes e assim este trabalho objetivou identificar as manifestações de intolerância e as reações que vêm sendo engendradas nas cidades de João Pessoa, Sapé, Guarabira e Alagoa Grande. Para dar conta da pesquisa os apoios teóricos vieram do interacionismo simbólico, de conceitos weberianos e bourdianos, além de autores que estudam o campo das religiões afro-brasileiras. A pesquisa de natureza qualitativa se valeu das técnicas de observação em campo e entrevista a fim de privilegiar dados no próprio campo de pesquisa e pelos próprios agentes religiosos. Nessa parte metodológica foram visitados vinte e três terreiros e, selecionadas e contatadas vinte e três lideranças religiosas. Após entrevistar as vinte e três lideranças, nove foram escolhidas para interagirem sob a técnica da entrevista com profundidade, o que resultou, algumas vezes, em mais de duas entrevistas com a mesma pessoa. A partir das leituras temáticas e do trabalho de campo foi definido o campo religioso das religiões afro-brasileiras na Paraíba. A intolerância religiosa foi abordada conceitualmente e empiricamente possibilitando a compreensão de que a legitimidade na sua acepção social é uma condição ainda não atingida por parte dessas religiões apesar de haver a legitimidade jurídica. Em busca da aceitação social a construção da legitimação é um processo que vem sendo desenvolvido mediante o empreendimento de mecanismos denominados, a partir da contribuição bergeriana: cognitivo, normativo e cognitivo-normativo.

A pesquisa parte da investigação poética sobre a relação entre memória e ficção presentes no projeto Made-up Memories Corp.©, uma empresa fictícia que tem por objetivo produzir registros e documentos que atestam a validade de lembranças inventadas. O projeto adota o formato de site (www.madeupmemoriescorp.com. br) por meio do qual recebe os pedidos de fabricação de lembranças inventadas e envolve a criação de obras em variadas linguagens (instalação, fotografia, objeto etc), além de diversas instâncias de autolegitimação presentes no aparato burocrático da empresa, como carimbos, certificados de autenticidade e relatórios de produção de obra. Desta forma, as questões se ampliam também para uma reflexão teórica sobre circuitos e sistemas da Arte e propõem a noção de artista como estrategista, se inserindo no mundo do comércio e no cotidiano. Esta investigação traça um importante mapeamento de artistas contemporâneos que adotam em suas obras o formato de empresa fictícia, analisando suas estratégias de manutenção, circulação e atuação. No que tange à produção plástica, a pesquisa também apresenta uma relação estreita com a literatura e a narrativa, problematizando noções de verdade e ficção e se colocando em uma imbricada cadeia de agenciamentos de discursos dos diversos participantes do projeto. Made-up Memories Corp.© propõe, assim, não apenas uma reflexão sobre narrativa, discurso, verdade, ficção e circuitos de legitimação da arte, mas também e sobretudo propõe novas formas de vida, a ressignificação das memórias pelos caminhos bifurcados do afeto e a possibilidade de novas aberturas de futuro a partir destes passados inventados. / This research is based upon the poetic investigation on the relationship between memory and fiction present in the project Made-Up Memories Corp. ©, a fictitious company that aims to produce records and documents that attest to the validity of invented memories. The project adopts the format of a website (www.madeupmemoriescorp. com.br) through which collects applications for manufacturing invented memories involving creating artworks in various languages (installation, photography, object etc.), and several instances of self-legitimation of the bureaucratic apparatus of the company, as stamps, certificates of authenticity and production reports. Thusly, the questions also extend to a theoretical reflection on the art circuits and systems and propose the notion of the artist as a strategist, infiltrating oneself in the business world and daily life. This research outlines an important mapping of contemporary artists who adopt the form of a fictitious company in their work, analyzing their strategies of maintenance, circulation and performance. Regarding artistic production, the research also shows a close relationship with literature and narrative, questioning notions of truth and fiction, and putting itself in an imbricated connection chain of the various project participants’ discourses. Therefore, Made up Memories Corp. © proposes not only a reflection on narrative, discourse, truth, fiction and legitimation circuits of Art, but also and foremost proposes new forms of life, the signification of memories through forked paths of affection and the possibility of future overtures hailing from these invented pasts.

This paper tries to contribute to the collective knowledge on Bonoli’s (2010) concept “The Activation Turn “, both as a phenomenon and a turning point for ALMP in Sweden. It is argued that the Activation Turn has been legitimized in four phases in Sweden (Identification, First organisation, Second organisation and Stabilisation phase, between years of 1991-2017). This thesis argues that the blueprint for understanding and exploring the Activation Turn as a phenomonenon is to capture and compare the discourse and how it has developed within the state during these four phases. Using two guiding research questions: How can we describe the characteristics of ALMP during each phase? And how have ALMP have changed in Sweden since the beginning of the 90’s? This paper has tried to answer these two questions by doing a content analysis that captures the dominating characteristics of ALMP during each phase and how they have changed. The analysis has been done with a help of a coding scheme, which is derived from a theoretical framework on the three elements of institutional legitimacy: regulative, normative, and cognitive element. After counting the number of coded references from 38 state documents, and then analysing and discussing the results, we came to two overall conclusions. First, there has not been an Activation Turn, shift or transformation of ALMP, since the beginning of the 90’s within the state discourse. Second, the development of ALMP in Sweden can be characterized as fairly stable and resilient against changes.

A pesquisa parte da investigação poética sobre a relação entre memória e ficção presentes no projeto Made-up Memories Corp.©, uma empresa fictícia que tem por objetivo produzir registros e documentos que atestam a validade de lembranças inventadas. O projeto adota o formato de site (www.madeupmemoriescorp.com. br) por meio do qual recebe os pedidos de fabricação de lembranças inventadas e envolve a criação de obras em variadas linguagens (instalação, fotografia, objeto etc), além de diversas instâncias de autolegitimação presentes no aparato burocrático da empresa, como carimbos, certificados de autenticidade e relatórios de produção de obra. Desta forma, as questões se ampliam também para uma reflexão teórica sobre circuitos e sistemas da Arte e propõem a noção de artista como estrategista, se inserindo no mundo do comércio e no cotidiano. Esta investigação traça um importante mapeamento de artistas contemporâneos que adotam em suas obras o formato de empresa fictícia, analisando suas estratégias de manutenção, circulação e atuação. No que tange à produção plástica, a pesquisa também apresenta uma relação estreita com a literatura e a narrativa, problematizando noções de verdade e ficção e se colocando em uma imbricada cadeia de agenciamentos de discursos dos diversos participantes do projeto. Made-up Memories Corp.© propõe, assim, não apenas uma reflexão sobre narrativa, discurso, verdade, ficção e circuitos de legitimação da arte, mas também e sobretudo propõe novas formas de vida, a ressignificação das memórias pelos caminhos bifurcados do afeto e a possibilidade de novas aberturas de futuro a partir destes passados inventados. / This research is based upon the poetic investigation on the relationship between memory and fiction present in the project Made-Up Memories Corp. ©, a fictitious company that aims to produce records and documents that attest to the validity of invented memories. The project adopts the format of a website (www.madeupmemoriescorp. com.br) through which collects applications for manufacturing invented memories involving creating artworks in various languages (installation, photography, object etc.), and several instances of self-legitimation of the bureaucratic apparatus of the company, as stamps, certificates of authenticity and production reports. Thusly, the questions also extend to a theoretical reflection on the art circuits and systems and propose the notion of the artist as a strategist, infiltrating oneself in the business world and daily life. This research outlines an important mapping of contemporary artists who adopt the form of a fictitious company in their work, analyzing their strategies of maintenance, circulation and performance. Regarding artistic production, the research also shows a close relationship with literature and narrative, questioning notions of truth and fiction, and putting itself in an imbricated connection chain of the various project participants’ discourses. Therefore, Made up Memories Corp. © proposes not only a reflection on narrative, discourse, truth, fiction and legitimation circuits of Art, but also and foremost proposes new forms of life, the signification of memories through forked paths of affection and the possibility of future overtures hailing from these invented pasts.

A presente dissertação tem como o objetivo discutir as dificuldades adicionais de legitimação do Estado Democrático de Direito na Modernidade Periférica, a partir da observação do caso brasileiro. O marco teórico adotado será a teoria dos sistemas de Niklas Luhmann. Para Luhmann, o Estado Democrático de Direito deve ser compreendido como resultado da diferenciação entre o sistema político e o sistema jurídico. Os traços característicos da realidade brasileira (como a exclusão, o personalismo e a corrupção) prejudicam o cumprimento das funções desses dois sistemas funcionais. A falta de confiabilidade, equidade e acessibilidade dos procedimentos estatais, por sua vez, compromete a sua capacidade de absorver e intermediar a conflituosidade social, prejudicando a aceitação das decisões estatais. / This work has as objective to discuss the additional difficulties of legitimation of the democratic state of law in Peripheral modernity, from the observation of the Brazilian case. The theoretical framework adopted is the systems theory of Niklas Luhmann. For Luhmann, the democratic state must be understood as the result of differentiation between the political system and legal system. The characteristics of the Brazilian reality (such as exclusion, personalism and corruption) affect the functions of these two functional systems. The lack of reliability, equity and accessibility of state procedures, in turn, compromises their ability to absorb and mediate the social conflicts, undermining the acceptance of government decisions

A presente investigação versa sobre as controvérsias acerca da institucionalização da história da arte no Brasil, tendo como objeto central os debates sobre a criação de cursos de graduação na área, por meio do qual objetiva-se refletir sobre a formação e a presença do historiador da arte no Brasil e questionar a relevância da autonomia institucional e epistemológica da história da arte. Pretende-se, a partir de uma história das instituições, empreender uma reflexão epistemológica sobre a presença da história da arte e a formação do historiador da arte no Brasil. Procura-se demonstrar a tese de que a preocupação em constituir um espaço de formação específica em história da arte em nível de graduação e a problematização das histórias da arte produzidas nas universidades brasileiras (evidente, por exemplo, na forma como são propostos os currículos destes cursos) são fundamentais ao debate acerca do que se compreende por história da arte no Brasil hoje e estão diretamente relacionadas ao amadurecimento e à consolidação da autonomia da história da arte enquanto campo científico no país. Para isso, avaliou-se que as particularidades que envolvem a constituição e a configuração atual da história da arte no Brasil poderiam ser mais bem compreendidas retomando o que outrora se projetou, revendo os percursos e avaliando os percalços, de forma a revelar o lugar que a história da arte ocupa hoje no âmbito científico brasileiro. O período histórico que o projeto de pesquisa abrange tem como marco inicial a década de 1950, quando teve início uma série de manifestações favoráveis à criação de um curso superior de história da arte, com destaque para a atuação do historiador da arte Mario Barata. Em 1963, foi criado o primeiro curso específico na área, alocado na estrutura do extinto Instituto de Belas Artes do Rio de Janeiro (IBA-RJ), que originou o bacharelado hoje oferecido pelo Instituto de Artes da Universidade do Estado do Rio de Janeiro (ART/UERJ). O recorte estende-se até as duas primeiras décadas do século XXI, quando ocorreram importantes reformulações naquele curso e foram criados quatro outros, vinculados à Escola de Filosofia, Letras e Ciências Humanas da Universidade Federal de São Paulo (EFLCH/UNIFESP); à Escola de Belas Artes da Universidade Federal do Rio de Janeiro (EBA/UFRJ); ao Instituto de Artes da Universidade Federal do Rio Grande do Sul (IA/UFRGS); e ao Instituto de Artes da Universidade de Brasília (IdA/UnB). Por fim, propõe-se que o reconhecimento das especificidades e limitações da história da disciplina no Brasil possa ajudar a compreender o que significa hoje produzir história da arte entre nós, bem como criar condições fecundas para que se possa prosseguir a partir de tais questionamentos. / The present research deals with the controversies about the institutionalization of art history in Brazil. Its main object is the debates about the creation of undergraduate courses in the area, through which the objective is to reflect on the formation and the presence of the art historian in Brazil and to question the relevance of the institutional and epistemological autonomy of art history. The intention is to, through the study of the history of the institutions, undertake an epistemological reflection on the presence of art history and the formation of the art historian in Brazil. It is sought to demonstrate the thesis that the concern to constitute a space of specific formation in art history at graduation level and the problematization of the histories of art produced in the Brazilian universities (evident, for example, in the forms that the curriculum to those courses are proposed) are fundamental to the debate about what is understood by art history in Brazil today and are directly related to the maturation and consolidation of the autonomy of art history as a scientific field in the country. For this purpose, it was evaluated that the particularities that involve the constitution and the current configuration of art history in Brazil could be better understood by taking back what was once projected, reviewing the routes and evaluating the mishaps, in order to reveal the place that art history occupies today in the Brazilian scientific scope. The historical period that the research project covers has as its initial mark in the 1950s, when a series of demonstrations favoring the creation of an advanced course in art history began, highlighting here the performance of art historian Mario Barata. The creation of the first specific course in the area was in 1963, in the former Instituto de Belas Artes do Rio de Janeiro (IBA-RJ), which originated the bachelors degree, offered today by the Instituto de Artes da Universidade do Estado do Rio de Janeiro (ART/UERJ). The time range extends to the first two decades of the twenty-first century, when major reformulations occurred in that course and four others were created, linked to the Escola de Filosofia, Letras e Ciências Humanas da Universidade Federal de São Paulo (EFLCH/UNIFESP); the Escola de Belas Artes da Universidade Federal do Rio de Janeiro (EBA/UFRJ); the Instituto de Artes da Universidade Federal do Rio Grande do Sul (IA/UFRGS); and the Instituto de Artes da Universidade de Brasília (IdA/UnB). Lastly, it is proposed that the recognition of the specificities and limitations of the history of the discipline in Brazil can help to understand what today means to produce art history among us, as well as to create fertile conditions to continue through such questions.

Cette thèse identifie et analyse les revendications de légitimité des organisations régionales de sécurité par rapport à leurs actions et leur existence en tant que sites d’autorité relativement nouveaux. En effet, la recherche explore le contexte normatif qui sert de base au régionalisme sécuritaire entre le niveau global et le niveau national. A cet égard, la thèse propose un cadre conceptuel et théorique pour l’étude de l’autolégitimation qui est ici conçue comme un processus social dynamique et intersubjectif de justification du droit de gouverner. Ce cadre théorique combine les littératures sur la sécurité, le régionalisme, et la légitimité politique. Son objectif principal est l'identification des arguments de légitimation qui peuvent justifier des relations de pouvoir inégales entre gouvernants et gouvernés. Les études de cas de cette thèse sont les missions de sécurité et les politiques de gestion de crise de l'Union Africaine et de l'Union Européenne en réponse à la crise au Darfour (2003-) et les zones adjacentes, telles que le Tchad et la République Centrafricaine. A partir du concept d’autolégitimation et de l'analyse des documents produits par les deux organisations régionales, la partie empirique identifie quatre modes principaux de légitimation qui sont appelés « images du régionalisme sécuritaire ». Ces images sont le régionalisme bénéfique, le régionalisme nécessaire, le régionalisme inévitable, et le régionalisme multilatéral. Les images du régionalisme sécuritaire montrent que la légitimation des politiques et des actions, d'une part, et la légitimation des organisations régionales et de leur position au sein de la gouvernance de la sécurité, d’autre part, sont indissociables. En outre, elles révèlent également que, plus que la légitimation des actions, c’est souvent la légitimation de l'inaction qui est cruciale pour le rôle de ces organisations en tant qu’acteurs de sécurité. Enfin, les arguments de légitimation faisant référence au caractère multilatéral et collectif des actions entreprises par ces organisations régionales démontrent une tendance vers leur reconnaissance mutuelle et, par conséquent, contribuent à leur légitimation. / This thesis identifies and analyses the legitimacy claims of regional security organizations in relation to their policies and their existence as relatively new sites of authority. Hence, it explores the normative context underpinning security regionalism between global and national levels. In this regard, it proposes a conceptual and theoretical framework for the study of self- legitimation, which is understood as a dynamic and intersubjective social process of justification of the right to rule. This framework is based on the intersection between the literatures on security, regionalism, and political legitimacy. Its main focus is the identification of the arguments of legitimation that can justify the unequal power relations between rulers and ruled. This thesis’ case studies are the security missions and policies of crisis management of the African Union and the European Union in response to the crisis in Darfur (2003-) and adjacent areas such as Chad and Central African Republic. Building on the framework of self-legitimation and on the analysis of documents produced by both regional organizations, the empirical part identifies fours large patterns of arguments, which are called ‘images of security regionalism’. These images are the beneficial regionalism, the necessary regionalism, the inevitable regionalism, and the multilateral regionalism. The images of security regionalism show that the legitimation of policies and actions, on the one hand, and the legitimation of regional organizations and their positions within security governance, on the other, are indissociable. Moreover, they also reveal that, more than the legitimation of actions, it is often the legitimation of the perceived inaction that is crucial to the organizations’ role as a security actors. Finally, the patterns of arguments referring to the inter-organizational relations and to the multilateral and collective character of the organizations’ policies point to a trend of mutual recognition and, by consequence, mutual legitimation among regional organizations. / Doctorat en Sciences politiques et sociales / info:eu-repo/semantics/nonPublished

本論文將研究在2013年習近平主席上任不到幾個月以來，並在中國共產黨不斷承諾要改善國家法治的情況下，中國為何在國家電視台上開始播出犯罪嫌疑人的電視認罪。這些電視認罪的播出引起了來自海外的廣泛譴責，從某種程度上在國內也受到了批評，因為電視認罪的播出被視為國家非法壓迫人的手段，並被認為是在重演當年毛澤東時代不公正的批判鬥爭行為。本論文是第一項對這種新侵權行為的系統研究，並試圖填補該研究領域的空白。本作者通過採訪在電視上曾經認罪過的人發現許多電視認罪是有“表演”色彩，往往犯罪嫌疑人被迫“背台詞”、穿著特定的服裝、在攝像頭面前“演戲”等。這表明國家在利用電視認罪來達到某種特定的目的。作者對90個2013年至2016年之間播出的電視認罪進行了分析並發現認罪者當局故意讓嫌疑人感到恥辱來強調他們有罪，使用嫌疑人認罪時所使用的話來牽連他人或貶低他人，以支持中共的這種行為並對於來自國外批評的聲音做出回應。本論文借用François Bourricaud （1987年）對合法性的概念作為一種活躍的合法化進程以表明中國新的電視認罪行為不只是簡單的進行壓迫的工具，而更多是一種強制性推動共產黨合法性的戲劇表演。 / This study asks why China started broadcasting confessions of suspects on national television in 2013, just months after the accession of President Xi Jinping, and despite the Chinese Communist Party’s (CCP’s) repeated promises to improve the country’s rule of law. The broadcasts have triggered widespread condemnation overseas, and to a lesser extent at home, for being illegal, another example of state repression, and resembling the unjust public struggle sessions of the Mao era. This thesis attempts to fill a gap in scholarship and provide the first systematic study of this new and understudied human rights violation. Interviews conducted with those who had confessed on television revealed that many are “show” confessions, where the suspect is made to memorise “lines,” get in “costume,” and “act” in front of the camera, indicating that they are “produced” for a specific purpose. In addition, an analysis of 90 confessions aired between 2013 and 2016 revealed that deliberate efforts were made to shame the confessor, emphasize their guilt, and use the words of their confession to incriminate and denigrate others, promote support for the CCP and its actions and respond to outside criticism. Borrowing François Bourricaud’s (1987) concept of legitimacy as a dynamic process of legitimation, China’s new televised confessions can be seen as much more than simply another tool of repression, rather they are acts of forced theatre aimed at furthering CCP legitimacy.

Please read the abstract in the front of this document. / Thesis (LLD)--University of Pretoria, 2013. / Centre for Human Rights / unrestricted

At the 2007 General Synod of the Dutch Reformed Church a compromise resolution was accepted regarding homosexual members. This resolution, inter alia, requires of gay ministers to remain celibate as a prerequisite to be legitimated. This research is a qualitative inquiry to evaluate the impact which this resolution has on the lives of gay ministers and gay candidate ministers. Narrative and postfoundational perspectives were obtained by interviewing six gay ministers and/or candidate ministers as coresearchers, and also by engaging in dialogue with inter-disciplinary experts from Sociology, Psychology and Law. This research traced the history of the Resolution, while the patriarchal and heteronormative discourses underlying the formulation were discussed. These discourses still sustain the Resolution. Interwoven in the Resolution are contradictions and double standards based on prejudice, leading to discrimination against gay ministers and gay candidate ministers. A literature study on prejudice and discrimination revealed many of the negative impacts these have on people on the margins of society. A literature review on gay marriages suggested that gay unions and gay marriages were known from pre-modern times. With the changing of the socio-political climates since pre-modern times till today, attitudes towards gay unions/marriages seemed to havethat the Bible does not categorically say anything about committed, monogamous gay unions or gay marriages. The focus of this research was to determine the impacts of the Resolution on gay ministers and gay candidate ministers. From their stories certain themes revealing the impacts were co-constructed by the co-researchers and the researcher. According to a negotiated meaning-making process a fragile and incomplete understanding of the gay ministers’ and gay candidate ministers’ immense suffering due to their experience of rejection and humiliation by the DRC was formulated. This reiterated the Shame of being gay. In terms of the discrimination levelled against gay ministers, it could, according to the Constitution of South Africa, be regarded as fair. This research suggested that the fairness of the discrimination should be revisited. changed. A study of the biblical texts led to the tentative and incomplete understanding / Thesis (PhD)--University of Pretoria, 2015. / gm2015 / Practical Theology / PhD / Unrestricted