Acredita-se que a mescla entre elementos de procedências distintas, inerente a qualquer processo de hibridização, encontra-se enraizada na matéria ficcional de Wilson Bueno, aí se revelando sob matizes diversificados. Dentre todas as formas de hibridismos operadas pela literarura do autor, é, sem dúvidas, o híbrido linguístico intencional aquele que alicerça a todas. A análise desse discurso literário priorizou duas obras de contextos enunciativos distintos na produção literária de Wilson Bueno, com a intenção de tentar aclarar as perspectivas hibridística e semiosférica em ambas, a saber: as novelas Mar Paraguayo, de 1992, e Mascate, ainda inédita. Na linguagem dessas duas narrativas, uma abordagem imanente, à maneira do Formalismo Russo, hibridizada com aspectos da teoria pós-colonial, em especial, aparece como método de análise, quando solicitada pelo texto literário, para embasar a análise. / It is believed that the mixture among elements of different origins, inherent to any hybridization process, is embedded in the fictional work of Wilson Bueno. Among all forms of hybridity present in the authors literature, there is, no doubt, the intentional linguistic hybrid is the one which underpins all of them. The analysis of the mechanisms of this literary discourse focuses two works from different contexts in Buenos production, with the intention of trying to interpret the hybridistic and semiospheric perspectives in both, namely: the narratives Mar Paraguayo (1992), and Mascate, still unpublished. In the language of these two stories, the immanet approach, in the Russian Formalism manner, hybridized with aspects of the Postcolonial Theory, in particular, is my method of analysis.

O trabalho consiste na reflexão sobre a produção composicional estruturada em processos de hibridação, e a aplicação deste conceito à elaboração de uma peça para a formação instrumental de banda sinfônica, onde se promove a confluência entre gêneros e técnicas de linguagens distintas. Partindo sobre os princípios que emolduraram o conceito Third Stream de fusão entre o jazz com a música erudita, verificamos as possibilidades de ampliação dessa proposta agregando também elementos da música popular brasileira, e de acordo com os rumos tomados, conferimos alguns trabalhos que se assemelham ao dessa dissertação, no que concerne ao procedimento de hibridismo, mostrando fortes relações com as características da produção musical pós-moderna. / The work consists of the reflection about the compositional production structured on hybrid processes, and the use of this concept to the development of a piece for instrumental concert band, which promotes the confluence between genres and techniques of distinct languages. Starting with the principles that framed the Third Stream concept of the fusion between jazz and classical music, we verify the possibilities of the enlargement of this proposal aggregating elements of Brazilian music, and in accordance with the direction taken, we found some works that resemble the piece of this dissertation, in relation to hybrid procedures, showing strong relationships with the characteristics of post-modern musical production.

Made available in DSpace on 2016-08-10T11:07:23Z (GMT). No. of bitstreams: 1 VANDERLEY JOSE DE OLIVEIRA.pdf: 1347225 bytes, checksum: 829503370024d873f3441c082b2ceb9c (MD5) Previous issue date: 2016-02-26 / This research presents a cutout in the work of the French poet Jean Nicolas Arthur Rimbaud and Brazilian artists Renato Russo and Paul Leminski in analog form; grounded in the literature and cultural production of the final decades of the nineteenth century in France and Brazil, as well as in the final decades of the twentieth century. The analysis of texts is directed to modernity: the hybrid theoretical aspects, polyphonic and dialogic; with emphasis on marginalized and subaltern enunciation. The aim is to demonstrate, through these productions, the interartistic effects of such aspects as well as its reflex on the language and public reader-listener: the interlocutors. In discussing these issues based on the triad of texts, the study aims to mark the arising of modern poetry, even in the late nineteenth century, the moment that Rimbaud is the protagonist. Thus, was used as an object of analysis: the poems of Rimbaud: Fome and O coração logrado ; the songs of Renato Russo: Teatro dos vampiros and Daniel na cova dos leões and, finally, the poems of Leminski: Sintonia para pressa e presságio and Sem título . In this context, the painting O gritoof the Norwegian Edvard Munch (1893) emerges as a visual correspondence of poetic and musical art. / Esta pesquisa apresenta um recorte da obra do poeta francês Jean Nicolas Arthur Rimbaud e dos artistas brasileiros Renato Russo e Paulo Leminski, de forma analógica, embasado na literatura e produção cultural das décadas finais do século XIX na França e no Brasil, só que nas décadas finais do século XX. A análise dos textos está direcionada à modernidade: seus aspectos teóricos híbridos, polifônicos e dialógicos, com ênfase na marginalidade e enunciação subalterna. O objetivo é demonstrar, por meio dessas produções, os efeitos interartísticos de tais aspectos, bem como seus reflexos na linguagem e no público leitor-ouvinte: os interlocutores. Ao discutir tais temas com base nos textos da tríade, o estudo visa a demarcar o surgimento da poesia moderna, ainda no final do século XIX, momento no qual Rimbaud é protagonista. Para tanto, foi utilizado como objeto de análise, os poemas de Rimbaud: FOME e O coração logrado ; canções de Renato Russo: Teatro dos vampiros e Daniel na cova dos leões e, por fim, os poemas de Leminski: Sintonia para pressa e presságio e Sem título . Nesse contexto, a pintura O Grito, do norueguês Edward Munch (1893), surge como a correspondência visual da arte poética e musical.

Made available in DSpace on 2016-07-27T13:46:27Z (GMT). No. of bitstreams: 1 HULDA SILVA CEDRO DA COSTA.pdf: 2734160 bytes, checksum: a0146805d81523745399983125973f20 (MD5) Previous issue date: 2013-12-19 / This thesis analyzes the Umbanda religion and its consolidated training process through a continuous syncretism that began in the late 17th Century, with the first black religious communities, mostly Bantu s origin. This formation process of Umbanda presented four phases. The first one began with the Calundu, in the 17th Century, advancing to Cabula, in the early 19th Century, the Macumba, in the middle of this same century, resulting in Umbanda, which emerged in the early 20th century, and has become the fourth phase of this syncretic religious and continuous process. The research is intended to open a discussion about the formation process of the structural basis of The Umbanda Religion, which origin comes from the fusion of several elements of African origin, the Spiritualism of Kardecista, the elements of indigenous origin and even the elements of Catholicism. This way, it characterizes a highly syncretic process, and because of its approach to Christianity, a significant separation from its African headquarters occurred. Nowadays, some theorists do not want to use the term syncretism, relating it to situations of domination, as something impure, and therefore, relegated as a negative term, considered a pejorative concept, such as bringing in its essence, a conception of the mixture, thus denying the originality and identity of the African s descent people. Thus, some researchers prefer to use the terms hybridity and bricolage(DIY), stating that these terms are different from the term syncretism. As a result of this debate, we can clearly identify in which parts of the discussion these authors either match or differ in their points of view, and how different and distant they are in their theories about these terms, in order to verify the applicability of the Umbanda Religion. We approach the search process of its legitimation as a Brazilian Umbanda religion, and to be accepted by the ruling class. Accordingly, we analyze its passage by the Vargas era, its relationship with the Catholic Church and the military dictatorship, when it reached its zenith. We analyzed its precipitous decline, from the 1980s on, with the growth of neo- Pentecostal movements. Since then, the Umbanda has been in decline, but revived in the 21st. century, represented by three major religious segments namely: Initiative Umbanda, Holy Umbanda and Cross Line Umbanda. / A presente tese analisa a religião Umbanda e seu processo de formação consolidado por meio de um sincretismo contínuo que teve início no final do século XVII, com as primeiras comunidades religiosas negras, em sua grande maioria de origem banto. Esse processo formador da Umbanda apresentou quatro fases. A primeira, se iniciou com o Calundu, no século XVII, perpassando pela Cabula, no início do século XIX, pela Macumba, em meados deste mesmo século, resultando na Umbanda, que surgiu no início do século XX, e se constituiu a quarta fase deste processo religioso sincrético e contínuo. A pesquisa tem a finalidade de abrir uma discussão acerca do processo formador da base estrutural da religião Umbanda, que nasceu da fusão de vários elementos de origem africana, do Espiritismo Kardecista, de elementos de origem indígena e ainda de elementos advindos do catolicismo, caracterizando dessa forma, um processo altamente sincrético, e por causa da sua aproximação com o cristianismo, ocorreu um afastamento significativo de suas matrizes africanas. Atualmente, alguns teóricos não querem utilizar o termo sincretismo, relacionando-o às situações de dominação, como se fosse algo impuro, sendo, portanto, relegado como um termo negativo, considerado um conceito pejorativo, no sentido de que ele poderia trazer em seu bojo uma concepção de mistura, negando assim a originalidade e a identidade dos povos afro descendentes. Assim, alguns pesquisadores preferem utilizar os termos hibridismo e bricolagem, afirmando que esses termos são diferentes do termo sincretismo. Diante desse debate, verificamos onde esses diferentes autores se encontram e onde se distanciam em suas teorizações acerca desses termos, para verificar a aplicabilidade na religião Umbanda. Abordamos o processo de busca de legitimação da Umbanda como uma religião brasileira, e para ser aceita pela classe dominante. Nesse sentido, analisamos a sua passagem pela era Vargas, sua relação com a igreja católica e com o regime militar, momento este último, que lhe proporcionou vivenciar o seu apogeu. E analisamos a sua queda vertiginosa, a partir dos anos de 1980, com o crescimento dos movimentos neopentecostais. A partir daí, a Umbanda entrou em declínio, mas ressurgiu no século XXI, representada por três grandes segmentos religiosos a saber: a Umbanda Iniciática, a Umbanda Sagrada e a Linha Cruzada.

Esta dissertação pretende analisar, sob a perspectiva dos Estudos Comparados, a obra O homem que não podia olhar para trás, do escritor moçambicano Nelson Saúte, destacando a hibridez do texto, tecido por vários diálogos que se entrelaçam entre as marcas da tradição oral e os aspectos estilísticos e estéticos da narrativa, em constante articulação com a pintura de Roberto Chichorro. Essa combinação de linguagens, trazendo à tona reminiscências deixadas pelo mito de Orfeu, remete a aspectos importantes da história de Moçambique. / This paper aims to analyze, from the perspective of Comparative Studies, the work O homem que não podia olhar para trás from the Mozambican writer Nelson Saúte, pointing out the hybrid of the text, performed by several dialogues that are closely connected among brands of oral tradition and stylistic and aesthetic aspects of the narrative, in constant relation to Roberto Chichorro\'s paintings. This combination of languages, bringing up reminiscences left by the myth of Orpheus, refers to important aspects of the history of Mozambique.

Submitted by Filipe dos Santos (fsantos@pucsp.br) on 2016-08-25T11:53:58Z No. of bitstreams: 1 Rogério Zanetti Gomes.pdf: 13047337 bytes, checksum: d1c07eebdf86f231c8679d1a7958d312 (MD5) / Made available in DSpace on 2016-08-25T11:53:58Z (GMT). No. of bitstreams: 1 Rogério Zanetti Gomes.pdf: 13047337 bytes, checksum: d1c07eebdf86f231c8679d1a7958d312 (MD5) Previous issue date: 2016-03-08 / This study aims at investigating the current hybridity in contemporary photography in the visual arts. With its focus on Brazil, the author presents resources for a theoretical foundation of artistic photographic production and extends the study to the curatorial side of the topic. A review of literature on hybrid arts is offered on the basis of Santaella (2003), Dubois (1990), and Annateresa Fabris. A special focus is on Duchamp’s relationship with photography and art history. The concept of expanded photography is further developed with reference to Müller-Pohle (1985), Krauss (1979), Youngblood (1970), and Rubens Fernandes (2002). The study includes a report on collections of expanded photography in museums and galleries. A central part of the study is the documentation of a seminar organized by the author under the title Campo Expandido: A Convergência das Imagens (‘The Expanded Field: The Convergence of the Images’) held at Londrina State University in April 2013, in which ten speakers (artists, art critics, curators, and theorists) discussed the topic in lectures and round tables. The result of this seminar was a mapping of the field of Expanded Photography in Brazil, supporting the curatorial project ‘Brazilian Photography: Expanded Field’, presented at the end of the study / Esta pesquisa se propõe a investigar o hibridismo corrente na fotografia contemporânea dentro do campo das artes visuais, especifica-se que a abordagem se limita a investigar a fotografia brasileira como objeto da relação fotografia e arte. Sendo esta área de atuação do pesquisador/artista, neste campo da visualidade, justifica-se tal investigação para fundamentar as bases teóricas para a produção autoral, além de consolidar as suas investigações no campo curatorial da fotografia brasileira. Desta forma, foi realizado um levantamento bibliográfico em torno das artes híbridas, com fundamento em Santaella (2003), seguido por uma linha do tempo a partir de Duchamp nas relações da fotografia com a história da arte, baseada em Dubois (1990) com apoio das pesquisas de Annateresa Fabris. E, por fim, a conceituação de fotografia expandida é sedimentada por Müller-Pohle (1985), subsidiada por Krauss (1979), Youngblood (1970) com apoio da tese de Fernandes (2002). Como pesquisa de campo investigativa foram realizadas visitas a exposições em museus e galerias, e uma pesquisa de caráter descritiva na forma de seminário intitulado ‘Campo Expandido: a convergência das imagens’, realizado na Universidade Estadual de Londrina, em abril de 2013, composto por dez palestrantes, entre eles, artistas, críticos, curadores e teóricos que debateram as questões em torno desta temática, na forma de conferência dos eixos centrais e mesas redondas, e o resultado do seminário propiciou um mapeamento da fotografia brasileira expandida, o qual subsidia a proposição do projeto curatorial intitulado ‘Fotografia brasileira: um campo expandido’, apresentado como resultado desta investigação

Magister Artium - MA (Linguistics, Language and Communication) / Fairy tales have been changing continuously. From the likes of the Greek and Chinese versions of the Cinderella tale, Cinderella has been transformed into other versions. Charles Perrault and The Brothers Grimm had their way with the story of Cinderella with both parties putting their own mark on the tale. Disney made the story notorious as the consumers mostly tend to remember Disney's version and not earlier writers of the story (Zipes, 1999). Since then, various other versions in the current sphere of story-telling, especially through movie-making, have had a series of re-telling of the story. James Finn Garner's "Politically Correct Bedtime Stories" has made its mark in the world of politically correct, versions of fairy tales. He has graced readers with his satire and thereby challenged the more traditional versions of the story of Cinderella (and others) by posing a dry, humorous twist and facing the 'issues' which underlie the social problems in Cinderella such as equality, sexism and patriarchal, inappropriate gender biased terminology. Garner takes it upon himself to remediate the story of Cinderella through transformations of events and socially structured power relations, reworking the plot and characters and reformulation of gender-biased terminology. This results in a witty politically correct remodelling of the story which upholds a general moral in line with the contemporary socio-political ethos, championing usage of politically correct language.

This research seeks to address the issue of media consumption and the formation of diaspora identity within second and third generation British-born residents of Pakistani origin. In recent years there has been much debate centred on this group within the context of domestic and wider international geopolitics of winning hearts and minds, the ‘war on terror’ and the rise of the internet and social media as unrestricted spaces of self-expression. This has had a profound impact on the sense of belonging that transcends national boundaries and becomes a more transnational experience creating new communities of interest. The role of the media and other forms of communication may be a key or important determinant in how these groups, represented by the Pukhtoon and Punjabi in this study, not only see themselves but view representation of their identify and sense of self to a wider public arena. The perceived relationship between Islam and the ‘war on terror’ as formed by the media has had a profound impact on perceptions and mindsets of many of the diaspora. New technology has created a new smartphone generation able to reassess and reaffirm their emerging hybridity set within a new discourse of equal rights and respect for cultural and religious values within a transnational context.

This thesis explores the relationship between development representations and diaspora audiences. It brings together literature on representations, with concepts of audience, diaspora and identity to provide an in-depth study of how and with what effects, visual representations of development in NGO fundraising campaigning that depict Africa, impact on Nigerian diaspora audiences. This study challenges the tendency in much of development literature in this field to homogenise British audiences of NGO communication. This has imagined audiences as some form of monocultural Western-situated community, coextensive with the 'general' British public. It further assumes audiences read, interpret and are impacted by NGO representations in very similar ways. This assumption precludes critical engagement with the complexities and particularities of audiences and is unable to reflect the multiple and differentiated ways in which audiences think, feel and behave in response to development representations. By using focus group discussions with UK Nigerian diaspora audiences, one-to-one interviews and online-ethnography as the methodological tool, and postcolonialism as an analytical framing, this thesis reveals the complex and contested ways that individual diaspora subjectivities, positionalities and life experiences are implicated in their construal of development representations and the perspicuity of their impact. One of the key findings of this study is that development representations impact African diaspora audiences in diverse and complicated ways, that both reproduce and contradict negative and, stereotypical 'ways of seeing' and knowing Africa. Furthermore, it highlights how diaspora ethno-racial/cultural identities affect, and are implicated in, the reading and interpretation of development representations of Africa. Indeed, diaspora audiences affirm and challenge their connections or, lack thereof, with their country of origin through these representations. Moreover, the study shows how NGO development representations provide symbolic spaces from which diaspora audiences can articulate their identities as well as, forge relationships among themselves and with their wider communities. This study builds on Stuart Hall's ([1973]1980) Encoding/Decoding theorisation on audiences, by demonstrating that Nigerian diaspora audiences of development representations are sophisticated, varied and paradoxical in how they interpret and decipher media representations. Indeed, their socio-cultural positioning, personal histories and lived-experiences inform and shape how they discursively construct perceptions and knowledge of their place of origin through representations. Furthermore, it contributes to postcolonial theorisations of hybridity in diaspora identities, by showing that Nigerians strategically adopt new and preferential ethnosymbolic identities, in response to representations. These re-configurations of the Diaspora 'Self' are neither stable or consistent but are nonetheless utilised by Nigerians to subvert development representations and harmful public perceptions and stereotypes about Africans that they shape.

Cette thèse étudie les spécificités du discours produit par les femmes écrivains de la diaspora afro-caribéenne au Canada et aux Etats-Unis, notamment chez Edwidge Danticat, Nalo Hopkinson, Jamaica Kincaid, Paule Marshall, M. NourbeSe Philip, et Olive Senior. La position ambivalente de ces auteures qui sont culturellement dedans et dehors influence leurs écrits, en prose comme en poésie, dans lesquels elles revendiquent leurs histoires, leurs corps et leurs langues. La discussion s’attache à observer les opérations discursives en démontrant que les auteures étudiées articulent de nouvelles formes de subjectivité et prouvent que la formation des identités culturelles ne dépend pas d’un territoire stable, mais plutôt d’un espace culturel mobile, voire volatile. D’une part, ces femmes réécrivent le passé dans un discours qui déstabilise les versions hégémoniques de l’histoire et d’autre part, elles cherchent à représenter leurs corps en dépassant leur dimension matérielle et choisissent d’embrasser leur schizophrénie culturelle. Leurs projets brisent le silence et libèrent les subjectivités incontrôlées à travers la création de polyphonies incarnées, de multiples contre discours et d’énoncés non-conformistes. Les constructions discursives de leur moi ne pouvant en effet se manifester qu’à l’extérieur des terminologies canoniques, ces auteures s’inscrivent dans une démarche de résistance au discours unique et privilégient a fortiori une rhétorique hétéroglossique. En somme, cette analyse comparative est innovante en ce qu’elle démontre que mémoires, langues et identités diasporiques sont intimement liées, et qu’au delà de leurs démarches respectives et des stratégies discursives qui leur sont propres, ces auteures sont des écrivains du limbo qui, à la manière des danseurs de limbo, transforment l’instabilité en une expérience de recréation artistique. Elles placent leurs représentations au coeur d’une dynamique empreinte de mouvement, de fluidité, de pluralité et d’hybridité, et prouvent clairement que la diaspora féminine caribéenne peut faire entendre sa voix. / This dissertation examines the specific discourse produced by diasporic African Caribbean women writers in Canada and the USA, namely Edwidge Danticat, Nalo Hopkinson, Jamaica Kincaid, Paule Marshall, M. NourbeSe Philip, and Olive Senior. These authors’ ambivalent positions as both cultural insiders and outsiders are conveyed through their prose and poetry, in which they reclaim their histories, bodies and tongues. The thesis highlights discourse operations in demonstrating that the selected authors articulate new forms of subjectivity, hence proving that cultural identities do not depend on static territories but rather on mobile and even volatile cultural spaces. Besides reconstructing the past through a discourse that truly unsettles hegemonic versions of history, African Caribbean diasporic women writers represent their bodies beyond materiality and choose to embrace their cultural schizophrenia. Their projects consist in un-silencing the unruly selves through the creation of embodied polyphonies, multiple counter-voices and anti-conformist utterances. The discursive constructions of the self therefore occur outside of canonical terminology, as these women writers resist single-voiced discourse and favour heteroglossic rhetorics. Ultimately, this comparative literary analysis is innovative as it proves that diasporic memories, tongues and identities are interlinked, and that beyond their respective agendas and personal discursive strategies, these authors are limbo writers who, like limbo dancers, transform instability into a recreative and artistic experience. They inscribe their self-representations into a powerful dialectic of movement, fluidity, plurality and hybridity, and truly demonstrate that the feminine Caribbean diaspora can speak.