The thesis adapts Bourdieu’s theory of hexis as a method for approaching the Baillie (Hegel/Baillie, 1910/1931) and Pinkard (Hegel/Pinkard, 2008) translations of Hegel’s Die Phänomenologie des Geistes (Hegel, 1807/1970) as embodiments of a translatorial practice informed by social and philosophical contextual factors. The theoretical concept of a translatorial hexis is analogous to Bourdieu’s habitus but differs in that the translatorial hexis embodies a specifically dominant, honour-seeking stance of the translator with regard to the micro-dynamics of the surrounding sub-fields; the translatorial hexis is also embodied primarily in the detail of the text and in the peritexts to the translations. Chapters 3 and 4, which focus on the Baillie and Pinkard translations, are each divided into three sections: an analysis of the historical background to the translation in terms of interrelated Bourdieusian fields defined by rival positions vying for academic reputation; an analysis of lexical patterning identified in TT corpora with reference to the translations of two ‘dialectically ambiguous’ terms Geist [mind/spirit] and aufheben [cancel/preserve/sublate]; an analysis of peritexts to the two translations. Starting with a discussion of Hegel’s ‘dialectical ambiguity’ in chapter 1 and an elaboration of the Bourdieusian theoretical framework in chapter 2, the thesis attempts to explain the lexical findings with reference to the concept of translatorial hexis in a manner which takes philosophical and sociological factors into consideration as determinants of the translators’ strategies. The analysis focuses on the positioning of Sir James Black Baillie with regard to Absolutist and Personalist versions of British Idealism and Terry Pinkard with regard to the non-metaphysical readings of Hegel and the development of communitarian ideologies. The publication of new translations of Hegel’s works and new critical works on German Idealism suggest that a Hegel revival is in full progress. Given the centrality of translation to this phenomenon, it is appropriate that translation studies should contribute to the discussion, especially to demonstrate the value of a self-reflexive, multi-disciplinary approach which brings linguistic analysis and sociological contextualisation to bear on some of the philosophical issues at stake.

Orientador: Veronica Fabrini Machado de Almeida / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-16T09:47:05Z (GMT). No. of bitstreams: 1 Souza_VirginiaSpositode_M.pdf: 4351319 bytes, checksum: 379f4dda3509b8561e07f24422b4e41f (MD5) Previous issue date: 2009 / Resumo: O texto analisa o processo de construção histórico social do corpo bailarino clássico contemporâneo. A reflexão aponta para sua construção corporal tanto quanto para o uso simbólico dessa construção, que reflete uma hexis corporal distinta. O texto também considera como as atitudes e percepções são manifestadas através do habitus do bailarino. A trajetória social do bailarino também é analisada quando ele produz escolhas para sua sobrevivência social dentro das condições estratificantes de seu campo de atuação. As relações estratificantes entre os bailarinos, principalmente os clássicos, dentro do campo da dança apresentam uma lógica distinta que é estudada quando do exame da gênese de seu caráter / Abstract: This text analyses the social-history construction process of the classic ballet dancer's body in our contemporany time. Following this reflexion, the research point to its simbolic use, as well as the dancer's body construction, which reflects a singular corporal hexis. The text also consider how the dancer's perceptions and his attitudes manifestate through the ballet dancer habitus The dancer social trajectory is also thought when he must produce choices to his social survive inside the stratifying conditions of his acting field. The stratifying relations between dancers, mostly the classic ones, inside the dance field, present a distinct logical that is studied when is used a genesis examination of its character / Mestrado / Mestre em Artes

Made available in DSpace on 2016-04-27T16:32:58Z (GMT). No. of bitstreams: 1 Luizana Rocha Migueis Ferreira da Silva.pdf: 1905954 bytes, checksum: 0caecc1a8eb2e4d571d426d85eb1023c (MD5) Previous issue date: 2015-01-26 / Conselho Nacional de Desenvolvimento Científico e Tecnológico / This research has its origin on reflections based on my Masters degree results and on some observations made during my teaching practice in a Pedagogy course. These reflections led to a hypothesis of a symbolic elaboration of teaching, and they have, little by little, been outlined until we reached the idea of the teacher s body as the main mean of this symbolic elaboration. We highlight the relevance of this research due to the limited amount of national studies related to the teacher s body, and specially the existing gap in the field of dissertations and theses, regarding the sociological yardsticks, of the teacher s body in class. As a consequence of this and of the analysis developed during the literature review, we propose this main problem statement: In which way do the bodies of teachers (from the first years of Primary School*) externalize practical pedagogical plans of action, typical of the teaching process? The datagathering of this study based on a qualitative perspective of analysis was developed in a Primary public city school in Guarujá (São Paulo State Brazil) occurred in 2013, and used as tools the systematic observation, questionnaires, and interviews. The leading theoretical frame of reference adopted was Pierre Bourdieu and the concepts of habitus, hexis, symbol, and body, as he conceived them. Other authors brought significant contribution for this research, as David Le Breton and his sociological studies about the body, amongst other authors in the educational field. The main results obtained from this study point to: the erasure of the body as means of performing in classes, in the teacher s perception; the body as a tool for coercion and prejudice; the embodiment of dispositions for teaching since the initial socialization of the teacher, which has a great power of orienting the teaching practice in the school routine, and the reinforcement of the dispositions derived from the initial socialization during school time and during the teaching practice. These dispositions are displayed by an hexis filled with symbolisms, based on an ethos that permeates all the way of life and the profession of teaching. * Education levels in Brazil differ from the North American and the English. We refer here to the first nine years of basic education / A presente pesquisa tem como origem algumas reflexões realizadas a partir da minha pesquisa de mestrado e de algumas observações feitas no decorrer de minha prática docente em um curso de Pedagogia. Essas reflexões induziram a uma hipótese de elaboração simbólica da docência e aos poucos foram sendo delimitadas até se chegar à ideia do corpo como principal via dessa elaboração simbólica. Destaca-se a relevância desta pesquisa diante da pequena quantidade de estudos nacionais realizados a respeito do corpo do professor, principalmente diante da lacuna existente no campo de produção de dissertações e teses de estudos sociológicos sobre o corpo do professor. Em decorrência disso e das análises produzidas durante o levantamento bibliográfico, propõe-se como problema de pesquisa: De que forma o corpo dos professores (das séries iniciais do Ensino Fundamental) externaliza esquemas práticos de ação característicos da função docente? O estudo qualitativo, realizado em uma escola municipal de ensino fundamental da cidade de Guarujá, teve sua coleta de dados realizada em 2013 e utilizou como instrumentos de coleta de dados a observação sistemática, questionários e entrevistas. O referencial teórico adotado foi Pierre Bourdieu e seus conceitos de habitus, hexis, símbolo e corpo. Outros autores trouxeram colaborações fundamentais para o estudo como David Le Breton e seus estudos sociológicos sobre o corpo, entre outros autores da área educacional. Os principais resultados obtidos neste estudo apontam para: o apagamento do corpo como meio de atuação em sala de aula na percepção do professor; o corpo como instrumental para o exercício da coerção e do preconceito; a incorporação de disposições para a ação docente já na socialização primária do professor, tendo grande força para orientar a prática docente e o reforço das disposições obtidas na socialização primária no decorrer do período escolar e no cotidiano da prática docente

身體是一個媒介，使整個社會文化藉由身體的接觸刻印到身體裡，並透過身 體再體現文化。幼兒亦同，但相較於其他年齡層的個體，幼兒的身體更容易受成人期待或學校規範形塑。例如幼兒的扮家家酒遊戲、排隊、睡覺、吃飯等，藉由與自身以外的人、事、物接觸，有意或無意地學習社會文化。本研究旨趣於幼兒的身體如何被學校裡各種規訓機制所改造，進而看見幼兒在儀態化身體所體現的文化意識形態。因此將研究焦點關注在三個焦點，分別為（一）幼兒園課程的身體規訓；與（二）儀態化身體所體現的文化意識形態；（三）幼兒的身體如何抵抗與挑戰大人的規則。藉由一個幼兒園班級的民族誌研究，記錄幼兒園的生活的四面向：靜態教學（團討、角落、課程）、動態教學（排隊、運動）、用餐、睡覺。 本研究以Foucault 的觀點，從上述四個面向整理幼兒園課程對幼兒身體的 規訓手段，並配合Bourdieu 的分析歸納幼兒的身上所體現的四種儀態化身體（團結、受命、被管控、僵固），以瞭解規訓的策略在幼兒身上所體現的樣貌。此外，本研究也發現幼兒身體所出現四種型態身體的抵抗（挑釁、隱蔽、愉悅、溢出框架）。藉著被策略控制與抵抗之間來呈現幼兒園中教師與幼兒互動的立體樣貌。 / This is a research about early childhood education, culture and everyday lives in the kindergarten. The main points in this study is the body plays as a mediation with social culture and ideology. Social culture manifested through the body. The children’s bodies learn social culture by imitating what their observation, complying with rules in the kindergarten, etc. Researcher gets in one kindergarten in Taiwan with an ethnographic method, and pays attention to how children’s bodies were disciplined and shaped. Thus, this research focuses on three questions: 1. What are disciplinary strategies in the kindergarten? 2. What kinds of cultural values reveal through the children’s hexis bodies? 3. How children's bodies challenge and resist adult`s rules? According to these three questions, this study recorded four aspects of everyday life in kindergarten from curriculum, sleeping, table manners and queuing. The role of researcher is to fieldnotes and to analyze these data, In order to know how school disciplines children’s body. The research field is one kindergarten in Yonghe District, New Taipei,City,Taiwan. There are thirty children in this kindergarten (twenty-nine children are five years old and just one child is three years old) and two teachers, Ms. Ann and Mrs. De. This is a typical public kindergarten in Taiwan, and the curriculum model adopts Project Approach. The researcher analyzes observations with the theoretical framework about the body and society. To examine discipline curriculum in kindergarten from Foucauldian perspective and to see cultural values reflected in the children`s bodies in Bourdieuan perspective. The findings of research are as follows: 1. Teachers use four oriented (dynamic teaching, static teaching,eating and sleeping) strategies to discipline children in kindergarden. 2. Children's bodies was molded into four kinds of hexis bodies(mutually beneficial, inflexible, ordered and managed). 3. Children also resist the rules of adults by four kinds of resistance of the body (pleasure, hidden, provocation and overflow). The everyday lives in kindergarten is multiple meanings constructed by teachers and students. Thus, bodies carry with multiple meanings with discipline, hexis and resistance.

Στην παρούσα εργασία επιχειρείται η μελέτη της πρακτικής των εκπαιδευτικών πρωτοβάθμιας εκπαίδευσης που υπηρετούν στο Ν. Αχαΐας και που ασχολούνται συστηματικά με τη θεατρική τους εκπαίδευση, καθώς και η διερεύνηση των μεταβολών που υφίσταται το πολιτισμικό τους κεφάλαιο, μετά την εισαγωγή τους στο καλλιτεχνικό πεδίο. Συγκεκριμένα, η έρευνα επικεντρώνεται στη θεατρική ομάδα «ΡΩΓΜΗ», στην Πάτρα, και εξετάζονται οι απόψεις και οι εμπειρίες των εκπαιδευτικών που συμμετέχουν σε αυτή. Η έρευνα, βασισμένη στο θεωρητικό πλαίσιο του Pierre Bourdieu, υλοποιείται μέσα από ημιδομημένες συνεντεύξεις και συμμετοχική παρατήρηση στο καλλιτεχνικό πεδίο δράσεων της συγκεκριμένης θεατρικής ομάδας. Οι παράμετροι που διερευνώνται είναι το πολιτισμικό κεφάλαιο των εκπαιδευτικών πριν μπουν στη συγκεκριμένη διαδικασία της θεατρικής εκπαίδευσης - και αν αυτό επηρεάζεται μέσα από αυτή τη διαδικασία- καθώς η πρακτική τους μέσα στο πεδίο του σχολείου. Έννοιες όπως το πολιτισμικό κεφάλαιο, το habitus, η hexis corporelle, το πεδίο και η πρακτική χρησιμοποιούνται για την ανάλυση των δεδομένων. Βασικά ευρήματα αποτελούν τα εξής: α) το πολιτισμικό κεφάλαιο ενισχύεται μέσω της θεατρικής εκπαίδευσης και στις τρεις μορφές του και β) οι αλλαγές ως προς την πρακτική των εκπαιδευτικών εστιάζονται στη διδασκαλία του μαθήματος της Γλώσσας, της Αισθητικής Αγωγής, στην προετοιμασία και την παρουσίαση των σχολικών γιορτών και στη σωματική τους πρακτική στο εκπαιδευτικό πεδίο. Τέλος, η καλλιτεχνική εκπαίδευση των εκπαιδευτικών αναδεικνύεται ως ζήτημα που μπορεί να συμβάλλει θετικά στην ανανέωση της πρακτικής των εκπαιδευτικών στο σχολικό πεδίο. / This study attempts to examine the practice of the teachers who work in the Primary Education of the Achaia Perfecture and are trained to drama education-and the investigation of the changes of their cultural capital, after their entrance to the art field. Specifically, this study focuses on the theatrical team «ROGMI», in Patras, and it examines the views and experiences of the teachers that participate in it. The research has the form of qualitative case study in which the research subjects are fifteen teachers of the Primary Education. The research –based on the theoritical framework of Pierre Bourdieu, uses as methods of collecting data the semi structured interview, the participant observation in the art field of the theatrical team, and as the method of analysis the qualitative content analysis. The examined parameters are the cultural capital of the teachers before they enter the drama education field –and if it was influenced- and their practice in the educational field of their school. The selection of Bourdieu's theoretical concepts underlying this study are those of cultural capital, habitus, hexis corporelle, field, art field, practice. Main findings are a) the way the cultural capital is enhanced due to the art (drama) education in its three forms and b) the changes, as far as the teachers’ practice is concerned, located to the teaching of the linguistic lesson, the aesthetic aducation, the preparing and the presentation of the school drama performances and the corpus practice in the educational field. Finally, the teachers’ art education is emerged as an issue that can contribute to an innovative and refreshed practice of the teachers within the field of the school.

Min studie behandlar och diskuterar begreppet modeaktivism, hur mode kan fungera som ett kommunikativt medium i en aktivistisk eller politisk handling. Mitt syfte är att undersöka hur det kan se ut när mode används som uttryck för aktivism eller politisk kommunikation med fokus på Sverige, och kan mode betraktas som ett medium för att kommunicera aktivism? Eftersom modeaktivism är kommunikativt är det också intressant att se vad medialiseringen har haft för inverkan på modeaktivisters beslut. Jag har genomfört kvalitativa forskningsintervjuer med tre modeaktivister som är verksamma inom olika områden i modefältet. Jag har också gjort en semiotisk bildanalys av sex olika bilder, för att få fram tecken på modeaktivism. Jag har i min analys utgått från både min forskningsöversikt och mina valda teorier där jag undersökt medialiseringsteorins inverkan, Bourdieus teori om fält och habitus, Simmels tankar om mode som medium och Barthes semiotiska teori och metod om hur myter och tecken kan påverka representationen. Den huvudsakliga slutsatsen är att mode kan fungera som ett medium för politiska budskap och att svensk modeaktivism främst handlar om att bryta strukturer och förändra normer. / My study deals with, defines and discusses the concept of fashion activism, how fashion can serve as a communicative medium in an activist or political act. My purpose is toinvestigate what it looks like when fashion is used as an activist expression or as politicalcommunication with focus on Sweden. Furthermore, can fashion be considered as amedium to communicate activism? Since fashion activism is communicative is it alsointeresting to examine how the medialization has influenced the decisions of fashionactivists. I have conducted qualitative research interviews with three fashion activists whoare active in various areas of the fashion field. Additionally, I have performed a semioticanalysis of six different images, to obtain signs of fashion activism. My analysis is based oninformation from my literature review as well as my chosen theories where i analyzed theimpact of the medialization theory, Bourdieu's theory regarding field and habitus, Simmel'sthoughts on fashion as a medium and Barthes semiotic theory and method regarding howmyths and signs can affect the representation.The main conclusion is that fashion can act as a medium for political messages and swedish fashion activism deals mainly with breaking structures and changing of norms.

Text in English / Accompanied DVD with printed record / In this dissertation, I explore music styles from Tshianzwane village in HaMakuya, in the Limpopo Province of South Africa, particularly malende, tshigombela, and children‘s songs. I consider the music styles as embedded in their extra-musical physical structure and abstractions; social rituals; frame of reference; forms of habitus; social order; cultural capital; social meanings, behaviour, power hierarchy, status, space, agency, institutions; formal-informal education and means; symbols; musical instruments; dance; religion; ancestor worship; traditional health practice; norms and values; mentorship and rites of passage. I further explore how and why music performers and other cultural patterns at Tshianzwane interpenetrate with each other and their living space through social roles; demonstration-imitation learning method; enculturation; dialectics of normative-interpretive, embodiment-hexis or cues, internalizationexternalization, surface-deep structure, conscious-unconscious level, qualitativequantitative understanding of music styles and genres and local-foreign context; means of communication; reinterpretation and redefinition of concepts. In conclusion, I consider how people and cultural patterns at Tshianzwane, through interpenetration, form progressing and changing social web; social connections; attachments; trance; state of flux in cultural patterns; synthesis of cultural patterns; embedded contexts; shared culture and resultant cultural patterns. Since cultural patterns, as a result of interpenetration, reflect each other, I point out the challenges in socio-spatial mapping of forms of habitus and cultural patterns. In my dissertation, I use John Blacking‘s work as my primary theoretical framework. Furthermore, I use Pierre Bourdieu‘s theoretical framework, and Hugh Tracey‘s and David Dargie‘s audio CDs on African tribal music to enrich my theoretical ground. I collected my field data at Tshianzwane in collaboration with Joseph Morake and Ignatia Madalane (students), Dr Susan Harrop-Allin (supervisor), Samson Netshifhefhe, Obert Ramashia, Paul Munyai and Musiwalo (informants). / M. Mus. / Art History, Visual Arts & Musicology

Accompanied DVD with printed record / In this dissertation, I explore music styles from Tshianzwane village in HaMakuya, in the Limpopo Province of South Africa, particularly malende, tshigombela, and children‘s songs. I consider the music styles as embedded in their extra-musical physical structure and abstractions; social rituals; frame of reference; forms of habitus; social order; cultural capital; social meanings, behaviour, power hierarchy, status, space, agency, institutions; formal-informal education and means; symbols; musical instruments; dance; religion; ancestor worship; traditional health practice; norms and values; mentorship and rites of passage. I further explore how and why music performers and other cultural patterns at Tshianzwane interpenetrate with each other and their living space through social roles; demonstration-imitation learning method; enculturation; dialectics of normative-interpretive, embodiment-hexis or cues, internalizationexternalization, surface-deep structure, conscious-unconscious level, qualitativequantitative understanding of music styles and genres and local-foreign context; means of communication; reinterpretation and redefinition of concepts. In conclusion, I consider how people and cultural patterns at Tshianzwane, through interpenetration, form progressing and changing social web; social connections; attachments; trance; state of flux in cultural patterns; synthesis of cultural patterns; embedded contexts; shared culture and resultant cultural patterns. Since cultural patterns, as a result of interpenetration, reflect each other, I point out the challenges in socio-spatial mapping of forms of habitus and cultural patterns. In my dissertation, I use John Blacking‘s work as my primary theoretical framework. Furthermore, I use Pierre Bourdieu‘s theoretical framework, and Hugh Tracey‘s and David Dargie‘s audio CDs on African tribal music to enrich my theoretical ground. I collected my field data at Tshianzwane in collaboration with Joseph Morake and Ignatia Madalane (students), Dr Susan Harrop-Allin (supervisor), Samson Netshifhefhe, Obert Ramashia, Paul Munyai and Musiwalo (informants). / M. Mus. / Art History, Visual Arts and Musicology

This case study based on a fieldwork carried out in a Day-Care Center tries to describe the process of the transition from mothering to wider society which is represented by a classroom of preschool children. Within this process we can note and describe specific ways of parent's, teacher's and especially children's actions. These activities are repeatedly produced. The point of departure is the Hirschfeld's article "Why Don't Anthropologists like Children?" (Hirschfeld, 2002) and his affirmation that children are active participants within process of accepting of social regulations and values and that they create their own culture, "children culture". This study ilustrates that the process of the transition from mothering to wider society is in the first place the process of the separation of child and mother. Within this process we note the function of the "object transitional" that compensate the absence of mother. And we can also observe how the group of pupils is formed and how their group identity is created. This group is situated in a specific place and time. And we observe that all individual actions concerning child are "embodied"- it's because we talk about an "experience that involve the whole person, including the body" (Abu-Lughold, Lutz, 1990 cit. in Ben-Ari, 1998: 138).