by Agnes Kwok Wai-fong. / Thesis (M.Phil.)--Chinese University of Hong Kong, 1992. / Includes bibliographical references (leaves [109]-[115]). / Acknowledgement --- p.1-2 / Abstract --- p.3 / Preface --- p.4-7 / Chapter Chapter 1 --- The Development of Imagination from the Medievals to The Romantics --- p.8-32 / Chapter Chapter 2: --- The Chinese Concept of Shen and Liu Xie's Shen-si --- p.33-58 / Chapter Chapter 3: --- Image-forming and Imagination in Sino-Western Perspectives --- p.59-87 / Chapter Chapter 4: --- Different Functions of Imagination in Comprehending Nature China and the West --- p.88-108 / Works Cited

Submitted by JOSIANE SANTOS DE OLIVEIRA (josianeso) on 2018-05-14T12:27:18Z No. of bitstreams: 1 Valdinei Vicente de Jesus_.pdf: 1304540 bytes, checksum: 9f533dd3f0216c2ef71596f739468d66 (MD5) / Made available in DSpace on 2018-05-14T12:27:18Z (GMT). No. of bitstreams: 1 Valdinei Vicente de Jesus_.pdf: 1304540 bytes, checksum: 9f533dd3f0216c2ef71596f739468d66 (MD5) Previous issue date: 2016-03-26 / CAPES - Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / A tese tem como principal objetivo sustentar que a aplicação da ética em Ricoeur, sob a perspectiva do respeito e do reconhecimento, exige uma solução poética. Para tal a presente investigação 1) utiliza o terceiro livro da pequena ética de Ricoeur, que trata da tragédia grega e da sabedoria prática, para escancarar os limites do formalismo kantiano, com seu método ascendente de justificação de máximas, ao mesmo tempo que elucida a proposta do pensador francês de adicionar um critério descendente de justificação; 2) passa pela sustentação de que a proposta de Conil de defender uma hermeneutização pura de Kant, diferentemente de Ricoeur, permanece confinada nos limites do kantismo que apregoa o critério ascendente de justificação e como tal não é suficiente para orientar tomadas de decisões em casos difíceis; 3) propõe a tese de que a saída para o problema da aplicação da ética aos hard cases consiste em uma solução poética, mais especificamente, em um uso poético-metafórico do imperativo categórico alicerçado na capacidade da imaginação; 4) elucida o respeito enquanto critério descendente de justificação ao qual se deve conceder prioridade em todas as vezes que o respeito à singularidade insubstituível das pessoas entrar em conflito com ao imperativo categórico; 5) torna claro que o liame entre o respeito e o reconhecimento se desenha na medida em que ambos remetem à singularidade insubstituível, ou seja, aos seres portadores de existência-valor; e, por fim, 6) esclarece que o verdadeiro reconhecimento da existência-valor não está no reconhecimento no plano jurídico ou na reciprocidade moral mas se enraíza no reconhecimento ético-simbólico da economia do dom. Nesse contexto, propomos um uso meramente regulativo da figura da ágape enquanto um critério adicional supra ético – não metaético – que pode ser útil para que se possa fiscalizar a exigência de uma reciprocidade radical sempre à espreita no coração do imperativo kantiano. / This thesis has as main objective to support the application of Ricoeur’s ethics, especially from a perspective of respect and recognition, requires a poetic solution. For this, the present investigation 1) uses the third book of the Ricoeur’s small ethics, which deals with the Greek tragedy and the practical wisdom, to open the limits of Kantian formalism, with its ascending method of justification of maxims, at the same time that it elucidates the proposal of the French thinker to add a descending criterion of justification; 2) goes through the support that Conil’s proposal to defend a pure Kant’s Hermeneutization, unlike Ricoeur, remains within the limits of Kantianism that proclaims the ascending criterion of justification and as such is not sufficient to guide decision-making in difficult cases; 3) proposes the thesis that the solution to the problem of applying ethics to hard cases consists of a poetic solution, more specifically, a poetic-metaphorical use of the categorical imperative based on the capacity of the imagination; 4) elucidates respect as a descending criterion of justification to which priority must be given at all times when respect for the irreplaceable singularity of persons conflicts with the categorical imperative; 5) it makes clear that the link between respect and recognition is drawn insofar as both refer to the irreplaceable singularity, i.e., to the existence-value bearing beings; and finally 6) clarifies that the true recognition of existence-value is not in legal recognition or moral reciprocity but is rooted in the ethic-symbolic recognition of the gift economy. In this context, we propose a merely regulative use of the figure of agape as an additional supra-non-metaethical criterion that may be useful in order to control the demand for radical reciprocity always lurking at the heart of Kantian imperative.

Esta tese é o resultado de uma extensa investigação a respeito do processo criativo pessoal que envolve a invenção de um ecossistema como poética artística. Ela é a resposta para a possibilidade de construir uma poética visual coerente baseada nos conceitos biológicos de ecossistema e simbiose que envolva construções escultóricas a partir de objetos cotidianos banais de pequeno tamanho, encontrados principalmente no ambiente doméstico. Baseada nas experiências pessoais prévias, dedicadas ao objeto na arte, e focada na busca por objetos comuns passíveis de produzirem interação simbiótica foi construído um conjunto de trabalhos envolvendo objetos, fotografias, pessoas e o espaço, os quais foram ordenados para melhor identificação segundo suas características quanto ao suporte e ao procedimento técnico. São eles: a) conjuntos simbióticos verticais, que podem ser compartimentados, livres ou mistos - aqueles cujo substrato de apoio é vertical como a parede; b) conjuntos simbióticos horizontais - aqueles cujo substrato de apoio é horizontal; c) trabalhos fotográficos - trabalhos originados a partir da fotografia e, d) trabalhos macro visíveis - trabalhos confeccionados a partir de lentes ou que as requerem para melhor serem vistos. A partir de organizações de montagem intencionadas para proporcionar maior proximidade e intimidade do espectador através de movimentos do corpo, os trabalhos instigam a percepção da escala das coisas bem como dá vistas aos objetos ínfimos imperceptíveis no cotidiano. A articulação teórico-prática acontece levando-se em conta diferentes estudos relacionados ao objeto principalmente na voz de Abraham Moles, Jean Baudrillard e Gaston Bachelard. Além de dialogar com designers e diversos artistas cujas obras tangenciam aspectos desta pesquisa, articulamos reflexões com o pensamento do curador Agnaldo Farias sobre o objeto na arte contemporânea. Defendemos que o lugar para pequenos objetos no contexto da arte contemporânea é um ecossistema inventado no qual o espectador é convidado a interagir e deixar-se levar por sua fantasia e imaginação da mesma maneira que somos conquistados pelas palavras e imagens de um livro infantil. / This Thesis is the result of an extensive investigation of the personal creative process involving the invention of an ecosystem as artistic poetics. It is the answer to the possibility of building a coherent visual poetics based on biological concepts of ecosystem and symbiosis, involving sculptural constructions from banal daily objects of small size, mainly found at home. Based on previous personal experiences, dedicated to the object in art and focused on the search for common objects capable to produce symbiotic interaction, I built a body of work involving objects, photographs, people and space, which were ordered for better identification according to their characteristics of support and technical procedure. They are a) vertical symbiotic sets, which may be compartmentalized, free or mixed - those works whose substrate support is vertical as the wall; b) horizontal symbiotic sets - those works whose substrate support is horizontal; c) photographic works - works originating from photography; and d) macro visible work - work made from lenses or require them to best be displayed. From intentioned assembly organizations to provide greater closeness and intimacy of the spectator through body movements, the work instigate the perception of things scale and gives views to tiny inconspicuous objects in daily life. The theoretical and practical articulation occurs taking into account different studies related to the object mainly in the thinking of Abraham Moles, Jean Baudrillard and Gaston Bachelard. In addition of dialogue with designers and several artists whose works tangent aspects of this research, I articulate reflections with the thought of the curator Agnaldo Farias about the object in contemporary art. I argue that the place for small objects in the context of contemporary art is an ecosystem created, in which the spectator is invited to interact and let themselves be taken away by their fantasy and imagination in the same way that we are conquered by the words and images of a children's book.

Depuis la mise en place du PNNS (Programme National Nutrition Santé) en 2001 en France, chacun sait qu'il faut manger des légumes quotidiennement, et ce depuis le plus jeune âge, pour bénéficier d'une alimentation équilibrée. Dans le pays dont le « repas gastronomique » a été labellisé en 2010 par le comité intergouvernemental de l'UNESCO pour la sauvegarde du patrimoine immatériel de l'humanité, la culture alimentaire a donc vu, depuis une vingtaine d'années, sa tradition basée sur le goût et la commensalité, bouleversée par une approche de plus en plus fonctionnelle de l'alimentation, centrée sur la nutrition et la santé.Le mangeur français est, dans ce contexte, assailli de discours contradictoires sur l'alimentation, mais qui tendent pour la plupart à le responsabiliser et potentiellement à le culpabiliser. Imprégné d'une culture alimentaire de plaisir et de liberté, il subit un véritable bouleversement des valeurs liées à l'alimentation.On pourrait alors penser que les pratiques ont changé et que la consommation de légumes, aujourd’hui mise en valeur par les politiques de santé publiques, a fortement augmenté. Paradoxalement, ce n'est pas le cas. La dernière étude du CREDOC montre même qu’« en 2016 (…) on n’a jamais eu aussi peu de grands consommateurs de fruits et légumes, que ce soit chez les enfants ou les adultes. » (2017). Par ailleurs, « l’atteinte du repère de cinq fruits et légumes par jour se fait avant tout en consommant plus de fruits frais » (Ibid.).Or si les dernières études montrent une baisse générale de la consommation des légumes, les classes diplômées de la société sont les seules qui conservent une consommation plus forte, principalement de légumes frais. La question est alors de savoir si le légume ne serait pas en passe de devenir un nouvel aliment distinctif, concentrant les valeurs dominantes de notre société surmoderne (Augé, 1994) reprises à leur compte par les catégories « moyennes supérieures », telles la fraîcheur, la légèreté, le naturel, etc. Si l’on peut gager une diffusion des pratiques aujourd’hui minoritaires du haut de l’échelle sociale vers le bas, suivant par là les théories de l’innovation sociale observées au fil de l’histoire, il semble pertinent de s’intéresser aux freins et leviers, au-delà des conditions matérielles, de la consommation des légumes chez ces mangeurs.Pour comprendre, interpréter, analyser la consommation des légumes en France, il s’agit ici d’étudier l'imaginaire qu'ils déploient chez les mangeurs les plus consommateurs, car si « tout fait social doit être étudié sous l'angle matériel et sous l'angle mental » (Corbeau, Poulain, 2002), les paramètres du choix rationnel sont loin d'être suffisants, dans le cas de l'alimentation en général, et des légumes en particulier, pour comprendre leur faible consommation. Dans ce cadre, la consommation de légumes est appréhendée comme source de distinction et d’intégration sociale.A partir de l’enquête de terrain sur 20 mangeurs, restreinte en nombre mais étendue de par les multiples protocoles d’enquêtes déployés, issus de catégories socioprofessionnelles diplômées, il s’agit de comprendre le rapport entre l'expérience sensorielle et même polysensorielle, sensible (multimodale) attachée aux légumes et les représentations concomitantes.De l’expérience de dégustation à l’ « image du goût » (Boutaud, 2005) des légumes, en passant par le contexte et les modalités de leur consommation, l’idée est de saisir, sur le terrain et de façon très concrète, la manière dont les discours médiatiques nombreux sur les légumes, constitutifs des imaginaires sociaux sur le sujet, sont reçus, perçus, appropriés et plus ou moins intégrés dans les pratiques des mangeurs, eux-mêmes situés à la croisée d’un faisceau de facteurs favorables ou non à l’image des légumes, à différentes échelles, consciemment ou inconsciemment. / Since the establishment of the PNNS (National Health Nutrition Program) in 2001 in France, everyone knows that we must eat vegetables daily, and from a very young age, to enjoy a balanced diet. In the country whose "gastronomic meal" was certified in 2010 by the UNESCO Intergovernmental Committee for the Safeguarding of the Intangible Cultural Heritage of Humanity, the food culture has, for twenty years, seen its tradition based on on taste and commensality, disrupted by an increasingly functional approach to nutrition, focused on nutrition and health.The French eater is, in this context, beset by contradictory discourses on food, but which tend for the most part to make him responsible and potentially to make him feel guilty. Impregnated with a food culture of pleasure and freedom, it undergoes a real upheaval of the values ​​related to food.One could then think that the practices have changed and that the consumption of vegetables, today highlighted by the public health policies, has strongly increased. Paradoxically, this is not the case. The latest CREDOC study even shows that "in 2016 (...) we have never had so many large consumers of fruits and vegetables, whether in children or adults. "(2017). In addition, "reaching the benchmark of five fruits and vegetables a day is primarily done by consuming more fresh fruit" (Ibid.).However, while the latest studies show a general decline in vegetable consumption, the certified classes of society are the only ones that maintain a higher consumption, mainly of fresh vegetables. The question then is whether the vegetable would not be on the way to becoming a new distinctive food, concentrating the dominant values ​​of our super-modern society (Augé, 1994) taken over by the "upper middle" categories, such as freshness, lightness, naturalness, etc. If we can bet a diffusion of practices today minority from the top of the social ladder down, following the theories of social innovation observed throughout history, it seems relevant to be interested the brakes and levers, beyond the material conditions, the consumption of vegetables among these eaters.To understand, interpret and analyze the consumption of vegetables in France, it is a question here of studying the imaginary that they deploy among the most consuming eaters, because if "all social fact must be studied from the material and from the mental point of view "(Corbeau, Poulain, 2002), the parameters of rational choice are far from sufficient, in the case of food in general, and vegetables in particular, to understand their low consumption. In this context, the consumption of vegetables is understood as a source of distinction and social integration.From the field survey on 20 eaters, limited in number but extended by the multiple survey protocols deployed, from socioprofessional categories graduates, it is to understand the relationship between sensory experience and even polysensory, sensitive (multimodal) attached to vegetables and concomitant representations.From the tasting experience to the "image of taste" (Boutaud, 2005) of vegetables, through the context and the modalities of their consumption, the idea is to grasp, on the ground and in a very concrete way, the way in which the numerous media discourses on vegetables, constitutive of social imaginaries on the subject, are received, perceived, appropriate and more or less integrated into the practices of the eaters, themselves located at the crossroads of a bundle of favorable factors or not in the image of vegetables, at different scales, consciously or unconsciously.

Este trabalho se compõe, por assim dizer, em três tempos. Num primeiro tempo intenta-se construir a noção de linguagem em relação com a mitologia. Num segundo tempo, a relação entre mitologia e estratégia política. Ou seja, o uso da mitologia que se poderia chamar de mitologia tecnicizada. Num terceiro tempo, linguagem, mitologia e política historicamente articulados em simbolização no texto Clara de Schelling. / This work is structurated, so to speak, in three parts. The fisrt part aims at \"constructing\" the notion of language in relation to mythology. In the second part, the relation between mythology and politic strategy. In other words, the \"use\" of mythology that could be called \"technical use of mythology\". In the third part, language, mythology and politics articulated in symbolization in Schelling\'s Clara.

This ethnographic study is driven by the aim of understanding how an out-of-school learning program supports the development of youth artists and writers, particularly when it operates outside of institutional strictures such as mandatory grading, curricular guidelines, and tracking based on age and perceived abilities. The research is guided by the following overarching questions: 1) In what ways do Black, Latinx, and queer students demonstrate investment in critical multimodal literacies? 2) How do world-building projects reveal the possibilities and limits of the imagination? 3) What conditions can inspire youth to articulate their identities as evolving writers and leaders? This work argues that playing with multimodal projects and imaginative world-building opportunities provided generative conditions for young adults’ development as writers, creators, and mentors. By engaging in transdisciplinary projects that invited crafting, coding, urban planning, architectural modeling, and creative writing, youth participants contributed to a participatory learning environment that celebrated their inherent capacities as critical thinkers and actors. My research ultimately highlights the ways that critical multimodal literacies can promote powerful self-expressions, complex articulations of the future, and projections of self confidence through productive play and public engagement with wider audiences.

This study considers the relationship between landscape and the Arcadian funereal imagination in the context of eighteenth century Britain, arguing that the Arcadian landscapes imagined by the British elite were instruments of rituals facilitating the reformation and transformation of socioeconomic, political, and moral structures of the British empire. Drawing upon texts and landscape practices, three case studies are examined: Alexander Pope’s (1688-1744) Twickenham grotto and his descriptive letter to Edward Blount; Sir William Chambers’ (1723-1796) Dissertation on oriental gardening and his design for Kew gardens, Sir John Soane’s (1753-1837) manuscript Crude hints towards an history of my house in LIF and his house-museum in Lincoln’s Inn Fields in London. The landscape itinerary of Pope’s Twickenham villa, in relation to his letter to Blount, suggests that it was structured analogous to the initiatory route of the Eleusinian mysteries as accounted in Pope’s translation of the Odyssey. Noting Pope’s engagement with Freemasonry, associated with the Opposition party, I suggest this implied Odyssean journey not only metaphorically anticipates the restitution of the Stuart dynasty and the reassertion of a political order founded upon aristocratic land ownership, but is also a means by which the ‘initiates’ contest the Enlightenment ideal of a mind of autonomy. In relation to the Burkean sublime, Chambers’ Dissertation, an imaginary travel narrative, is read as a city landscaping theory which aims to shape the morals of British citizens exposed to the erosion of commercial society. Whilst the scenes of luxury in the Chinese gardens imply a double effect of commercial society, the funereal imagery of ‘the surprising,’ built upon the Burkean sublime-effect, is intended as a cure of moral corruption associated with luxury. Stimulated by geological notions (e.g. stratigraphy and catastrophism), Soane’s ruinous text of Crude hints, a mirror of the house-museum as well as the earth, illustrates a parallel between the ‘first principles’ of the movement of the earth and that of the mind, i.e. imagination and signification. The funereal imagination in the text, which itself represents simultaneous creation and destruction, is revealed to be the architect’s construction of an ideal language that can express the being of the nation and the self. This thesis ends with a theoretical discussion of the role of the funereal imagination in eighteenth century landscape and architecture, i.e. how British imperial identity was forged, transmitted, negotiated, and reconstructed constantly within the temporally and spatially extended discursive realm of Arcadian mythology.

Cette thèse s’intéresse à une forme de l’imaginaire : le psychédélisme. Gilbert Durand définit l’imaginaire comme « l’incessant échange qui existe au niveau de l’imaginaire entre les pulsions subjectives et assimilatrices et les intimations objectives émanant du milieu cosmique et social » (Durand, 1960, p. 38). Ainsi, l’imaginaire psychédélique est à appréhender comme lieu de reliance d’une communauté. Comprendre la reliance, c’est analyser les modes dynamiques qui créent les liens - parfois distendus - dans la société post-moderne. Ce concept mêlé à l’imaginaire psychédélique a ouvert les portes de la perception d’une mystique hippie. En intégrant des codes et des formes d’autres cultures au sein du mouvement psychédélique, la jeunesse occidentale à assimilé des modes de spiritualité qui se structurent dans une pensée syncrétique.Détenteur d’une puissance parfois céleste, parfois diabolique, il est. « au centre des bouleversements culturels de la fin des années soixante, il a même prétendu engager la révolution psychédélique et s’est emparé de la thématique spirituelle » (Jezo-Vannier, 2012, p. 8). C’est avec le rock et le rock psychédélique que notre société a construit ce que E. Morin nomme « le star-system ». Par cette approche, il montre que le religieux n’a pas disparu, comme l’avait prédit par ailleurs Gilles Deleuze. Le rock psychédélique et son histoire ont en effet contribué à façonner une part de cette religiosité post-moderne.Cette fabrique des dieux modernes permet d’entrer de plain-pied dans la dimension théorique de cette thèse. C’est au cœur du star-system et de l’imaginaire psychédélique que transparaissent « les rapports de notre perception ordinaire du monde et de celle que nous pouvons avoir parfois, et que la mystique possède continûment, de la réalité ultime et du divin » (Huxley, 1954, p.9). C’est ainsi que notre travail tentera de répondre aux questions suivantes : peut-on entrevoir, dans la musique psychédélique, un mode de reliance ? En quoi est-elle à l’origine des syncrétismes psychédéliques ? Pourquoi ? / This thesis deals with a form of this imaginary: psychedelia. Gilbert Durand defines the imaginary as : « the constant exchance that exists at the imaginary level’s between the subjective and assimilative drives and the objective summonses emanating from the cosmic and social middle » (Durand, 1960, p38). Thus psychedelic imaginary is considered as the place of reliance of humanity. Understanding reliance is analyzing the dynamic modes that sometimes creates loose ties in our post-modern society. This concept mingled with psychedelic imaginary has opened the gateway to perceiving a hippie mystic. By integrated codes and other forms of culture, inside the psychedelic movement, the western youth assimilated spiritual and mystic ideas, structured in a syncretic thought.With its sometimes celestial or diabolical power, it was “at the center of cultural turning points in the late sixties, it also allegedly started the psychedelic revolution and took on the spiritual topic” (Jezo-Vannier, 2012, p.8). It is thanks to rock and psychedelic rock that our society built what Morin calls the “star-system”. Edgar Morin’s approach on the star-system shows us that religion has not disappeared like Gilles Deleuze had predicted. Psychedelic rock and its history contributed to shape part of this post-modern religiosity.This modern construction of deities allows us to fully enter into the theoretical dimension of this thesis. It is in the heart of the star-system and the psychedelic imaginary that is showed “the links between our ordinary perception of the world and the one that we sometimes have, and that mysticism constantly possesses, of the ultimate reality and the divine”. (Huxley, 1954, p.9).Can we perceive in psychedelic music a sign of reliance? In what sense is it at the beginning of psychedelic syncretism? Why?

Fundação Carlos Chagas Filho de Amparo a Pesquisa do Estado do Rio de Janeiro / Em sua teoria do conhecimento, cuja formulação definitiva se encontra na segunda parte da Ethica, Spinoza afirma que o conhecimento que se dá por meio de signos pertence à Imaginação, isto é, ao primeiro gênero de conhecimento, o qual é essencialmente inadequado uma vez que não consegue compreender a natureza das coisas, mas simplesmente as conhece de forma mutilada e confusa. Contudo, atribuir o conhecimento ex signis ao âmbito imaginativo não pode implicar a recusa, por parte de Spinoza, de toda e qualquer utilização de signos a fim de comunicar o conhecimento verdadeiro, sob pena de o próprio texto da Ethica deslegitimar suas pretensões de verdade já no momento mesmo em que se anuncia. Partindo do princípio de que deve haver certo modo de utilização de signos que consiga contornar, em alguma medida, sua constituição essencialmente inadequada a fim de comunicar idéias adequadas, a presente investigação reconstrói uma teoria da linguagem subjacente à doutrina da Ethica na tentativa de estabelecer por que meios se pode efetuar uma utilização filosófica dos signos. / In his theory of knowledge, whose ultimate presentation can be found in the second part of the Ethics, Spinoza points out the imaginative (and hence inadequate) nature of the knowledge we have through signs. It means that this knowledge, being essentially fragmented and confused, is in fact unable to understand the genuine nature of things. However, asserting the imaginative nature of the knowledge ex signis can by no means imply that Spinoza is refusing the possibility of each and every usage of signs as a valid way to express adequate ideas, or else the text of the Ethics would be delegitimating its pretensions of truth in the very moment it enunciates itself. Assuming that it must exist a way of using signs that manages to overcome somehow the essentially inadequate nature of the knowledge related to it in order to communicate an adequate knowledge, the present investigation reconstructs what can be called an underlying theory of language latent in Spinozas Ethics, trying to establish how a philosophical usage of signs becomes possible and effective.

Submitted by Liliane Ferreira (ljuvencia30@gmail.com) on 2018-03-29T11:00:09Z No. of bitstreams: 2 Dissertação - Tatiana Maria de Moura - 2017.pdf: 5501415 bytes, checksum: 8b9b4fa9c337d91b707a44a50dbc639a (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Approved for entry into archive by Luciana Ferreira (lucgeral@gmail.com) on 2018-03-29T11:38:42Z (GMT) No. of bitstreams: 2 Dissertação - Tatiana Maria de Moura - 2017.pdf: 5501415 bytes, checksum: 8b9b4fa9c337d91b707a44a50dbc639a (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Made available in DSpace on 2018-03-29T11:38:42Z (GMT). No. of bitstreams: 2 Dissertação - Tatiana Maria de Moura - 2017.pdf: 5501415 bytes, checksum: 8b9b4fa9c337d91b707a44a50dbc639a (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Previous issue date: 2017-08-30 / This research has as main objective to understand the racism in the contemporaneity, taking as sources, racist postings against black people, transmitted in the social networks Facebook e Twitter. Through the analyses of the contents, we seek to identify the stereotypes for which the black people are still represented at these days. Considering the practices and symbolic dimension of racism, we began our dissertation examining the role of the State in the construction of racial inequalities and the process of black people resistance launch at various historical moments. In a second moment, based on Roger Chartie’s concepts of representation and the concept of social imagination elaborated by Baczko, we show how the ideal of racial bleaching and miscegenation contributed with the formation of a national identity substantiated on the racism. This research enabled us to elaborate a Weblog that offers workshops plans for teachers to have access to pedagogical tools that may contribute to a teaching practice focused on the valorization of ethnic-racial diversity. / Esta pesquisa tem como principal objetivo compreender o racismo na contemporaneidade, tomando como fontes, postagens racistas contra negros, veiculadas nas redes sociais Facebook e Twitter. Através da análise de conteúdo, buscamos identificar os estereótipos pelos quais o negro é representado ainda nos dias de hoje. Considerando a dimensão prática e simbólica do racismo, iniciamos a nossa dissertação examinando o papel do Estado na construção das desigualdades raciais e os processos de resistência negra empreendidos nos diversos momentos históricos. Num segundo momento, com base nos conceitos de representação de Roger Chartier (1991) e imaginário social formulado por Baczko (1985) mostramos como o ideal de branqueamento e mestiçagem, contribuíram para a formação de uma identidade nacional fundamentada pelo racismo. Essa pesquisa nos possibilitou a elaborar um Web Blog que disponibiliza planos de oficinas para que professores/as tenham acesso a ferramentas pedagógicas que poderão contribuir para uma prática docente voltada para a valorização da diversidade étnico-racial.