[pt] O estudo das obras do cineasta e artista visual brasileiro Karim Ainouz enfoca uma tendência cinematográfica atual que substitui a mise-en-scène clássica por um fluxo das ações cotidianas e efêmeras que se apresenta diante da câmera. Tal tendência estética funde ficção e documentário, explorando a imagem e o som através de suas qualidades intrínsecas, próxima da abordagem das artes visuais. Karim Ainouz traz às telas um cinema que flerta com as artes visuais e entender esses trânsito é fundamental para a compreensão de sua obra. Seus filmes abordam questões como sentir-se estrangeiro, a relação entre o indivíduo e o lugar onde ele habita e a memória. Sua obra é, acima de tudo, sobre cruzar fronteiras, sejam elas geográficas (seus personagens são, com frequência, viajantes), de circuito de exibição (imagens cinematográficas que poderiam se encaixar em uma exposição numa galeria de arte), narrativas (ficção que se une com documentário em uma mesma obra) ou estéticas (imagens contemporâneas feitas com materiais obsoletos). Entre seus longa-metragens, curta-metragens e uma video instalação, é possível analisar não somente os temas matrizes do seu trabalho, como também o lugar da imagem em movimento hoje em dia e a situação do cinema contemporâneo. / [en] The study of the filmmaker and visual artist Karim Ainouz s works focusses on a recent cinematographic tendency that replaces classic mise-en-scène by daily actions presented in a flux in front of the camera. This trend brings together fiction and documentary, exploring image and sound by their inner qualities, similar to a visual arts treatment of these features. Karim Ainouz brings to the screen a type of cinema very close to visual arts. Understanding the transit between these two types of art is essential to fully comprehend Ainouz s work. His films approach key points such as the feeling of being a foreigner, the relationship between a person and its habitat and memory. The director s work is, above all, about crossing borders, whether they are geographic borders (his characters are usually travelers), narrative borders (fiction bonded with documentary) or aesthetic borders (contemporary images made with obsolete materials). Through his feature films, short films and a videoinstalation, it is possible to analyze not only the main subjects and themes of his work, but also matters like the place of the image in movement nowadays and the contemporary cinema situation.

Submitted by Maike Costa (maiksebas@gmail.com) on 2016-06-21T12:48:27Z No. of bitstreams: 1 arquivo total.pdf: 1117323 bytes, checksum: d8c17e1b530e74150adf24a3a97c099f (MD5) / Made available in DSpace on 2016-06-21T12:48:27Z (GMT). No. of bitstreams: 1 arquivo total.pdf: 1117323 bytes, checksum: d8c17e1b530e74150adf24a3a97c099f (MD5) Previous issue date: 2014-11-07 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / This dissertation aims perfoming an analysis and interpretation process of the movie O céu de Suely (Aïnouz, 2006), paying special attention to the categories of space and character, seen that they are the main categories in the filmic constitution process. The relation between these two main categories – character and space – is also one of the issues which guides our research (LINS, 1976), as long as the action development in the narrative occurs, mainly, because of this relation. Another issue in this dissertation is to observe the way Karim Aïnouz’s filmic work is embedded to the contexts of production and critical reception – by using notions as the style (BORDWELL, 2008), to manage the production context, and, to manage the critical reception context, some aspects from reception aesthetics (JAUSS, 1994), (JAUSS, 1979), from spectatorship theory (STAM, 2003) and from the social response system of the author José Luiz Braga (2006) – as a way to better understand the object and enrich the analytic process. During our investigation, we also tried to realize how social series aspects, issues as identity, identification and belonging (CANCLINI, 1997), (HALL, 2006) have contributed to the fictional creation of space and character / Este trabalho busca realizar uma análise e interpretação do filme O céu de Suely (Aïnouz, 2006), com especial atenção às categorias de espaço e personagem, visto que essas, claramente, protagonizam o processo de constituição fílmica. A relação entre as duas categorias principais apontadas – personagem e espaço – é também uma das questões que guiam nosso trabalho (LINS, 1976), uma vez que o desenvolvimento da ação na narrativa decorre, principalmente, em razão dela. Também é uma das preocupações que concerne a esta pesquisa a observação da inserção da obra de Aïnouz nos contextos de produção e recepção (crítica) – utilizando noções tais como o estilo (BORDWELL, 2008), ao tratarmos do contexto de produção, e, ao tratarmos do contexto de recepção crítica, alguns aspectos da estética da recepção (JAUSS, 1994), (JAUSS, 1979), das teorias da espectatorialidade (STAM, 2003) e do sistema de resposta social de José Luiz Braga (2006) – enquanto meio de melhor compreender o objeto e enriquecer o processo analítico. Durante nossa investigação, também procuramos perceber de que maneira aspectos da série social, questões como identidade, identificação e pertencimento (CANCLINI, 1997), (HALL, 2006), contribuíram para a construção ficcional de personagem e espaço.

This essay sheds light on a specific religious reformist within the Islamic tradition. This contemporary reformist is none other than Abd al-Karim Soroush, whose theory on fundamental building blocks within the Islamic tradition, such as revelation and prophethood, has sparked the interests of philosophers, theologians, and scholars of religion in general, and Islamic religious tradition in particular. By conducting a content-based analysis of his own work The Expansion of Prophetic Experience: Essays on Historicity, Contingency and Plurality in Religion the essay aims to a) examine his views on revelation and prophethood, b) explore his theory in relation to Islamic jurisprudence and ethics, and c) investigate any legal and ethical problematizations that his theory poses within the Islamic tradition. In an effort to revive the essence of Islam and reform the approach to the Quran and Islamic tradition, Soroush breaks down prophethood into two components: prophetic mission and prophetic experience. According to Soroush, both the prophetic mission and experience are tied to the era in which Muhammad (peace be upon him) operated. Such a contextual approach entails viewing and interpreting the Quran as a canonized book that reflects Muhammad's intuitive experiences and their continuous interaction with the cultural, social, and economic conditions prevalent during his time. By categorizing different aspects of the Quran into essentialism and accidentialism, Soroush argues that traditional legal and ethical derivations belong to the accidental category, which implies that they should not be viewed as static but rather dynamic and subject to reinterpretation in light of the contemporary context. To consider the traditional interpretation of Islamic jurisprudence and ethics as a secondary aspect in relation to the primary aspect of Islam, namely its essence, and to strip jurisprudence of its centrality and authority has both advantages and disadvantages within the Islamic tradition. The advantage may lie in a more rational and accepting approach towards religious pluralism and women's rights. The disadvantage can manifest in challenges related to Muslim identity formation and the arbitrary definition of essential Islam that his theory may entail.

Submitted by André Aparecido Medeiros (andreapmed@hotmail.com) on 2018-10-09T21:00:31Z No. of bitstreams: 1 dissertação - andré - 7 imprimir.pdf: 1737893 bytes, checksum: 339c9cff2d47c03260498b6ba0c9708c (MD5) / Approved for entry into archive by Lucilene Cordeiro da Silva Messias null (lubiblio@bauru.unesp.br) on 2018-10-10T16:54:48Z (GMT) No. of bitstreams: 1 medeiros_aa_me_bauru.pdf: 1737893 bytes, checksum: 339c9cff2d47c03260498b6ba0c9708c (MD5) / Made available in DSpace on 2018-10-10T16:54:48Z (GMT). No. of bitstreams: 1 medeiros_aa_me_bauru.pdf: 1737893 bytes, checksum: 339c9cff2d47c03260498b6ba0c9708c (MD5) Previous issue date: 2018-08-15 / A pesquisa tem por finalidade analisar as representações de deslocamentos, interculturalidade e transitividade migratória em filmes dirigidos por Karim Aïnouz, com destaque para O Céu de Suely (2006), Viajo porque preciso, volto porque te amo (codireção de Marcelo Gomes, 2009) e Praia do Futuro (2014). Considerado um cineasta político, Karim se destaca por sua singularidade autoral na forma de narrar identidades em transitividade. Utiliza a linguagem cinematográfica para a representação de deslocamentos e migrações, fenômeno cujas problemáticas sociais associadas estão entre as mais complexas e graves do nosso tempo. Como instrumentos metodológicos, utilizamos: pesquisa bibliográfica, entrevista estruturada com especialistas da área e análise fílmica dos filmes citados. Entendendo o cinema como um meio de leitura histórico-social e como um produtor de imaginários, atenta-se para as características do enredo das obras e para a conjuntura político-cultural das produções. O olhar intercultural, sem distinção de origens, torna possível a abordagem equilibrada dos filmes analisados e de outros trabalhos semelhantes, favorecendo o diálogo cultural e a cidadania global. / This research aims to analyze the representations of displacement, interculturality, and migratory transitivity in films directed by Karim Aïnouz, especially Love for Sale or Suely in the Sky (O Céu de Suely, 2006), I Travel Because I Have to, I Come Back Because I Love You (Viajo porque preciso, volto porque te amo, codirection by Marcelo Gomes, 2009), and Futuro Beach (Praia do Futuro, 2014). Considered a political filmmaker, Karim stands out for his singularity as an author in the way of narrating identities in transitivity. He uses the cinematic language for the representation of displacements and migrations, a phenomenon whose associated social problems are among the most complex and serious of our time. As methodological instruments, we used: bibliographical research, structured interviews with specialists in the field, and film analysis. Understanding the cinema as a means of socialhistorical reading and as a creator of imaginaries, attentive to the works’ plot features and the political and cultural situation of the productions. The intercultural view, without distinction of origins, makes possible the balanced approach of the analyzed films and other similar works, contributing to cultural dialogue and global citizenship

Thesis (Ph. D.)--University of Wisconsin, 1974, with a new preface. / Includes bibliographical references (p. 409-427) and index.