Esta é uma pesquisa de natureza qualitativa elaborada através da metodologia de grupo focal em sua coleta de dados e da estratégia de análise textual para o corpus resultante da transcrição dos dados. Procurou-se neste trabalho indagar e escutar qual era a compreensão de monitores de espaços científicos de educação não formal sobre sua atuação junto ao ambiente e ao público. Além disso, buscou-se analisar as experiências narradas pelos monitores à luz da biologia cultural e identificar no discurso destes elementos relacionados ao seu \"encantamento\" pelas atividades desenvolvidas nos museus e centros de ciências. Percebe-se neste trabalho que a mediação humana é essencial no processo de transformação do indivíduo. Considerando o indivíduo não apenas o monitor ou o público, mas ambos. A mediação humana proporciona experiências de encantamento, mas o monitor pode também representar um papel de morte. O fenômeno social humano permeia todas as relações que se estabelecem entre os sujeitos, e estas podem caracterizar-se pela aceitação ou negação do outro. Na aceitação do outro, e de nós mesmos, podemos ter experiências de encantamento que de forma direta ou indireta atuam na tranformação pessoal e coletiva dos indivíduos sociais. Nesse contexto, a ação do monitor dentro de um espaço de educação não formal como museus ou centros de ciência pode ter resultados positivos ou negativos sobre o público atendido, além de gerar experiências de encantamento quando essas ações são positivas, as ações do monitor podem representar um papel de morte na vida de cada indivíduo que passa pelo museu. Diante dessa perspectiva inicial, surgiu neste trabalho o processo de conquista de território de um grupo de estudantes do curso de Licenciatura em Ciências da Natureza, da Escola de Artes, Ciências e Humanidades da Universidade de São Paulo, que participaram desta pesquisa. Esse processo envolveu a linguagem como parte de um fenômeno social, a ruptura de certos padrões de negação impostos por determinados grupos sociais ou instituições, experiências de encantamento que surgiram a partir dessas rupturas e de um ambiente de aceitação mútua que possibilita transformação pessoal e coletiva. / This is a qualitative research using focus group as methodology in its data collection and textual analysis as strategy for the corpus resulting from the transcription of the data. In this work we investigate the monitor\'s understanding about their activities in museums and science centers of non-formal education. The question was based on their perception about the space and the visitors. In addition, to analyze the experiences narrated by monitors in the light of cultural biology and to identify in the speech of these, some elements related to their \"enchantment\" by activities carried out in museums and science centers. We realize in this work that the human mediation is essential in the process of transformation of the individual. Considering the individual not just the monitor or the public, but both. The human mediation provides experiences of enchantment, but the monitor can also represent a part of death experiences. The social phenomenon permeates all human relationships that are established between the subjects, and these can be characterized by the acceptance or denial of the other. On acceptance of the other and of ourselves, we can have experiences of enchantment that directly or indirectly act on personal and collective transformation of social subjects. In this context, the action of the monitor within an area of non-formal education such as museums or science centers can have positive or negative results about the public answered, besides generating enchantment experiences when these actions are positive. On the other hand, the actions of the monitor can represent a part of death in the life of every individual that passes by the museum. On this initial perspective, in this work emerged the process of conquest of territory of a group of students of the course of degree in natural sciences, from the school of Arts, Sciences and Humanities of the University of São Paulo, who participated in this survey. This process involved the language as part of a social phenomenon, the rupture of patterns of denial imposed by certain social groups or institutions, experiences of enchantment that emerged from these ruptures and of an environment of mutual acceptance which results in a continuous process of personal and collective transformation.

Cette recherche porte sur les textes théoriques qui accompagnent la révolution du jardin moderne dans l’Angleterre et la France des Lumières, et se propose d’étudier sous l’angle de la mimèsis ce corpus aujourd’hui bien connu des spécialistes. Il s’agit de retracer, suivant une progression chronologique, les étapes d’un cheminement intellectuel qui conduit, dans le dernier tiers du 18e siècle, à la reconnaissance du statut libéral de l’art des jardins, désormais compté au nombre des arts de représentation. L’affirmation du caractère mimétique de la composition non narrative qu’est l’œuvre paysagère, a été préparée par l’inflexion sensualiste et hédoniste donnée à la théorie de l’imitation dès le tournant du 17e et du 18e siècle, et le déplacement qui s’opère alors dans le discours sur l’art, d’une poétique vers une esthétique. Deux termes se trouvent au cœur de ce rapprochement de la discipline horticole avec la doctrine de la mimèsis. Tout d’abord, celui de "scène" naturelle, qui permet de saisir, dans l’objet esthétique qu’est le "paysage", une catégorie d’image nouvelle, à la fois liée aux représentations poétique ou picturale, et distincte de celles-ci. Ensuite, celui d’"enchantement", dont l’évolution sémantique révèle les mutations et les tensions qui affectent la pensée du paysage au cours du 18e siècle. / This study is focused on the theoretical writings that are contemporary with the invention and spreading of landscape gardening in 18th-century England and France, and aims to throw new light on a corpus that is now well known to specialists. It maps out the intellectual developments which laid the ground for an integration of garden theory into the system of fine arts based on the concept of mimesis. The assumption that a non-narrative artistic medium such as garden is a representation was anticipated by new developments in aesthetics at the turn of the 17th and 18th centuries, whereby the theory of imitation was reinterpreted on the basis of sensualist and hedonist assumptions. Two notions are instrumental in assimilating the practice of gardening with the making of visual replicas. First, the concept of "natural scene", which identifies landscape as a new category of picture, both distinct from - and linked with - pictorial and poetic images. Secondly, a specific sort of aesthetic illusion that involves a dynamic process, usually referred to by contemporaries as "enchantment". The semantic evolution of the latter term during the 18th century, and its various meanings in the context of landscape and garden design, enables us to better apprehend the antagonisms that shape this field of thought.

Relevance to the California science, history, and social-science frameworks.

Thesis (MPhil (Sustainable Development Planning and Management))--University of Stellenbosch, 2009. / This research explores spaces for enchantment and the unknown, exploring our relationship to fairy-tales and alternative ways of dreaming that break from a modern worldview, using complexity thinking as lens. I conducted extra-mural group work with two groups of adolescents from disadvantaged backgrounds. I considered the world young people receive at a metaphysical level; the world they dream of, connect to and enact. My thesis is based on the premise that we must act towards a ‘sustainable unknown development’ that goes beyond modern deadly homogenisation. The research objectives were as follows: Firstly, to explore the relationship between dreams (about the future) and a sustainable future. Secondly, to reflect, based on the group’s holding-space, on our relationship to dreams. Thirdly, to reflect on possible alternative ways of approaching the unknown and enacting enchantment to create change. Fourthly, to explore the importance of imagination and creativity with regards to the above. I review literature pertaining to the affects of the modern paradigm, specifically in its fairy tale blueprinting form, on our world. I argue that this paradigm is currently dangerous to the earth as a living system; causing the oppression and abandonment of nature, the feminine, children and our imagination. Alternative ways such as states of ‘interbeing’, polycentric thinking, and the experience of thresholds and heterotopian spaces where differences meet, are considered. The importance of personal experience and imagination in building resilience and meaning in the unknown are emphasised. My research uses a practical design of ‘enchantment methodology’. Methodologically it tries to tackle some ontological questions, considering different approaches in which negotiation is possible at a metaphysical level. My findings were that although alternative approaches do exist they cannot be generalised in a modern thinking way. Beyond the modern numbness and the tantrums of breaking away from its devastating divides, is the potential of inner wisdom found in our own hearts. Recommendations are that more holding spaces are created to promote an alternative relationship to the unknown to nurture a sense of enchantment.

Fairy tales are enchanting geographical stories, which affectively organize space-time in socially, politically, and ethically significant ways. Despite this, fairy tales have been neglected in the discipline of geography, and the inter-discipline of fairy tale studies has rarely interrogated the spatialities of tales, or of storytelling more widely. This thesis addresses this lacuna by theorizing the relationship between fairy tales, storytelling, and geography through the subversive folkloric figures of the trickster and crone. It posits, first, that we understand fairy tales as iterative stories that constitute mythic communities; and second, that trickster and crone figures are enchanting territorializing and deterritorializing refrains that subvert this mythic community. These two concerns are explored through Nolan’s (2008) Batman film The Dark Knight, and Maitland’s (2009) short story Moss Witch. An experimental research approach provides insight into these ‘worldly,’ enchanting, and symbolically rich stories, without sacrificing their liveliness or ‘systematizing’ them for ideological gain. The research begins with an interpretive textual analysis to address the symbolic traditions of the fairy tale refrains. Collage enables a ‘retelling’ of the stories as materially and visually expressive media. Genealogical analysis traces the material-discursive matterings of the geographical refrains within academic ‘storytelling.’ These combined approaches ‘story’ the trickster and crone as spatial patterns with affective force. Trickster refrains are animating forces of destruction and chaos. They shift between the centre and periphery of mythic community, violently overturn its seemingly ordered realities, and unfold insecure and profane in-between places, where (human) community can no longer be sustained. The crone refrain enacts a ‘wilding’ in fairy tales, entangling the civilized, storied human polis (or culture more generally) with the nonhuman ‘environment,’ and undermining both relational accounts of being and more romantic discourses of dwelling. Going forward, continued engagement with this nexus of geography, storytelling, and fairy tales promises to enrich our multidisciplinary endeavours, highlight our theoretical ‘matterings’ of fairy tales, and enable more responsible engagement with these endlessly enchanting stories.

This study aims to investigate how individuals that have been playing pen and paper role-playing games since the 1990s to 2016 view their own experiences and the development of role-playing games. Six informants were interviewed in-depth about their experiences and how they view the change of roleplaying games and how society sees it. All the informants had been playing roleplaying games since the 1990s and are still playing. In the thematic analysis, five themes were identified: negative experiences, relationships, fantasy, development and normative change. This study exemplifies the complexity of belonging to a stigmatized group and also how a cultural phenomenon can grow, change and become accepted. It also highlights the role the informants themselves played in that change. Interestingly, it was found that the informants kept playing, despite the stigma around their hobby, because they found role-playing to be meaningful and stimulating and not for the reason that they identified themselves as role-players. Furthermore, all informants mention that thanks to role-playing they have developed a skill-set (e.g. creativity, problem-solving, understanding of group dynamics), which has become valuable to them later in life. The informants always believed that role-playing was something positive and meaningful, which also was confirmed once enough research had been done.

This dissertation explores entanglements of body, national identity and nature in contemporary Mongolia. The project is situated within the rising popularity of natural remedies and alternative medicine during a time described as disorganized (zambaraagui) and disorderly. Data was collected from 33 months of fieldwork in Ulaanbaatar and elsewhere, focused on non-biomedical practices and therapeutic landscapes, especially medicinal springs (arshaan) and their sanatoria. This work contributes to studies of post-socialist Mongolia in a few ways. The methodological decision to engage in interview and participant observation of fortunetellers (üzmerch), practitioners of Buddhist and traditional medicine (otoch, ardiin emch), astrologists (zurhaich), energy healers (bio energich), shamans (böö, zairan, udgan), enlightened lamas (huvilgaan) and massage therapists (bariach) was driven by the fluid approach with which patients approach fulfilling the needs of their health and wellbeing. Such fluidity was also echoed in healing practice; as opposed to bounded by strict conceptual distinctions, healers re-purposed personally and culturally-familiar techniques, ranging from biomedical to those of Buddhist medicine (sowa rigpa) to occult practices. Many of the same techniques were practiced by a range of practitioners. The term orthopraxy, commonality of practice across conceptual difference, is used to address this phenomena. Such pairing together of different kinds of therapies – biomedical or otherwise – calls into question a “traditional” vs. modern or neo-spiritual framework within which such practices are often cast. I employ Robbin’s anthropology of discontinuity (2003), suggesting that Soviet influences represented “hard” cultural forms that provided a partial rupture in cultural knowledge between pre-revolutionary society and 1990. Nature (baigal) and natural surroundings (baigal orchin) were concepts often raised when discussing health and wellbeing. “Spiritual” earth and mountain masters (gazariin/uuliin ezed) of estranged homelands (nutag) that cause illness in families relocated to Ulaanbaatar; the water, flora, and mutton from one’s homeland as especially medicinally-suited to the body; shamans empowered to heal by appropriating into their practices the worship of nationally-significant mountains: territorialized national identity represented a prominent trend in healing practices. The revering of a nation through natural landmarks I call national nature, and suggest it be seen both with respect to romantic and utilitarian conceptions of a therapeutic nature that underpinned Soviet medicine, and Soviet indigenization campaigns and the ethnonationalism that was encouraged to flourish in borderland republics. Affective rooting to natural landmarks to maintain or restore wellbeing was also a way to enact Mongol-ness, rendering healing the body at once a practice of national subject-making.

Submitted by Filipe dos Santos (fsantos@pucsp.br) on 2017-04-27T12:41:32Z No. of bitstreams: 1 Sérgio Simka.pdf: 1492824 bytes, checksum: 982f85b74741a12867ba68ed83de614f (MD5) / Made available in DSpace on 2017-04-27T12:41:32Z (GMT). No. of bitstreams: 1 Sérgio Simka.pdf: 1492824 bytes, checksum: 982f85b74741a12867ba68ed83de614f (MD5) Previous issue date: 2017-04-11 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / This work presents the elaboration of a pedagogy of writing called Pedagogy of Enchantment characterized by a theoretical-methodological-procedural structure, wich aims to make the student become a linguistic self, through linguistic self-esteem, becoming a linguistic self-writer, anchored by an architecture of thinking, saying and acting, whose objective is to develop his linguistic-textual-discursive competence. It was thought as an attempt to change the practice that has been developed on the production of the wrtitten text, wich has presented unsatisfactory result, according to the press findings and testimonials of experts brought by the research. By means of activities applied in the classroom in the light of this Pedagogy, it was possible to notice an improvement in the production of texts of the students / Este trabalho apresenta a elaboração de uma pedagogia de escrita denominada Pedagogia do Encantamento caracterizada por uma estrutura teórico-metodológico-procedimental, que visa a que o aluno se transforme em eu-linguístico, por meio da autoestima linguística, constituindo-se em eu-linguístico-escritor, ancorado por uma arquitetura de pensar, dizer e agir, cujo objetivo é desenvolver a sua competência linguístico-textual-discursiva. Foi pensada como tentativa de mudança à prática que vem sendo desenvolvida sobre a produção do texto escrito, que tem apresentado resultado insatisfatório, conforme as constatações da imprensa e depoimentos de especialistas trazidos pela pesquisa. Por meio de atividades aplicadas em sala de aula, à luz dessa Pedagogia, pôde-se notar uma melhora na produção de textos dos alunos

La sustitución del mundo maravilloso encantado por el reencantamiento tecnológico plantea una serie de problemas que atañen al advenimiento de la era digital. Nuestra Tesis intenta aproximarse a una teorización crítica del nuevo entorno virtual. En primer lugar, contextualizando las teorías sobre la técnica y la tecnología con la nueva realidad tecnocientífica, de la que surge una regresión al encantamiento arcaico. En segundo lugar, proponemos relacionar las nuevas tecnologías con el contexto socioeconómico del tardocapitalismo. En tercer lugar, nos ocupamos del reencantamiento en su vertiente digital, a través del condicionamiento estético, la mediación invisible de la experiencia y la afirmación de la unidimensionalidad en la sociedad digital. Como conclusión, la extrañeza con la que afrontamos el estudio de la comunicación digital nos hace vislumbrar en el ciberespacio una segunda realidad maravillosa e inestable, que actúa como fuente de poder al servicio de la economía neoliberal de mercado. / The substitution of the enchanted and wonder world by the technological renchanting offers a sequence of problems concerning the rising of digital era. Our Thesis tries to approach to a critical theorization of the new virtual environment. Firstly, by contextualizing the theories about technique and technology, according with the technoscience and the consecutive return to the enchantment. Secondly, we propose to connect new technologies with the socialeconomic context of late capitalism. Thirdly, we realize the renchanting concerning the digital dimension, through the aesthetic constraints, the invisible mediation of the experience and the affirmation of unidimensionality in digital society. As conclusion, the strangeness in relation to the studies concerning digital communication expect us to treat cyberspace as a wonder and instable second reality, that evolves a power source for neoliberalist and market economy.

Submitted by Karin Ligia Brondino Pompeo (karin.brondino@me.com) on 2017-09-04T19:54:44Z No. of bitstreams: 1 tese versão final pós banca.pdf: 13741424 bytes, checksum: 4a7ca5c5ca0e31a6b5fb244b06b26f49 (MD5) / Rejected by Pamela Beltran Tonsa (pamela.tonsa@fgv.br), reason: Boa tarde Karin, Para que eu possa dar andamento em seu processo é necessário que você inclua o AGRADECIMENTO em português, logo depois do agradecimento em inglês. Apos o ajuste excluir este trabalho e submeter novamente. Qualquer duvida estamos a disposição. Att, Pâmela Tonsa on 2017-09-05T15:03:43Z (GMT) / Submitted by Karin Ligia Brondino Pompeo (karin.brondino@me.com) on 2017-09-06T01:06:48Z No. of bitstreams: 1 tese versão final pós banca.pdf: 13744429 bytes, checksum: 1c88354a133e5fd59c0bece8730ded0d (MD5) / Approved for entry into archive by Pamela Beltran Tonsa (pamela.tonsa@fgv.br) on 2017-09-06T20:07:59Z (GMT) No. of bitstreams: 1 tese versão final pós banca.pdf: 13744429 bytes, checksum: 1c88354a133e5fd59c0bece8730ded0d (MD5) / Made available in DSpace on 2017-09-06T20:43:28Z (GMT). No. of bitstreams: 1 tese versão final pós banca.pdf: 13744429 bytes, checksum: 1c88354a133e5fd59c0bece8730ded0d (MD5) Previous issue date: 2017-08-10 / Dualistic interpretations of Kopytoff’s commoditization process prevail in consumer research literature. In those studies, the object is either a commodity or a singularized possession, ignoring the author’s original approach in which several exchange spheres, with different levels of singularization, can coexist. This research offers a closer account to the original approach by: 1) highlighting the theoretical extensions as well as the misinterpretation so far; 2) investigating some of the spheres that can exist in the ‘gray zone’ between the two ideal polar types of singularization and commoditization, and 3) proposing a new framework of the commoditization-singularization process for consumer studies. To achieve these, I developed a comprehensive analysis of how singularization and commoditization concepts appear in consumer research literature, interviewed consumers in four different countries, immersed myself in several activities to understand their context, and traced the biography of an object: the vintage Selmer Mark VI saxophone. The chosen sphere for a deeper analysis I named the enchantment sphere, since the objects within it radiate a transcendent allure that obliterates objective explanations for its superior qualities. The objects within this sphere are a clear example of the ambiguous state of a commodity as advocated by Kopytoff, because they experience at the same time some level of singularization and some level of commoditization. This is possible because those objects are precluded from extreme commoditization due to their magical allures, while still having an evident exchange value. Considering the findings that result both from the literature analysis and the fieldwork, I propose a cohesive visual concept that explains the commoditization-singularization process as a non-linear structure and that also allows further complements and extensions. / As interpretações dualistas do processo de commoditização de Kopytoff prevalecem na literatura de cultura de consumo. Nesses estudos, o objeto ou é uma commodity ou uma posse singularizada, ignorando a abordagem original desse autor em que várias esferas de troca, com diferentes níveis de singularização, podem coexistir. Esta pesquisa oferece uma perspectiva mais próxima da abordagem original, da seguinte forma: 1) destacando as extensões teóricas, bem como a má interpretação dos conceitos até agora; 2) investigando algumas das esferas que podem existir na "zona cinzenta" entre os dois tipos ideais de singularização e commoditização, e 3) propondo uma nova estrutura do processo de commoditização-singularização para estudos de consumo. Para atingir isso, desenvolvi uma análise abrangente de como os conceitos de singularização e commoditização aparecem na literatura de pesquisa de consumo, entrevistei consumidores em quatro países diferentes, aprofundei-me em várias atividades para entender seu contexto e construí a biografia de um objeto: o saxofone vintage Selmer Mark VI. Eu nomeei de esfera do encantamento a que foi escolhida para uma análise mais profunda, uma vez que os objetos dentro dela irradiam uma fascinação transcendente que oblitera explicações objetivas para suas qualidades superiores. Os objetos dentro desta esfera são um claro exemplo do estado ambíguo de uma commodity, como defendido por Kopytoff, porque eles experimentam ao mesmo tempo algum nível de singularização e algum nível de commoditização. Isso é possível porque esses objetos são excluídos da commoditização extrema devido a suas atrações mágicas, ao mesmo tempo que possuem um valor de troca evidente. Considerando os resultados a partir da análise da literatura e do trabalho de campo, eu proponho um conceito visual coeso que explica o processo de commoditização-singularização como uma estrutura não-linear e que também permite complementos e extensões adicionais.