In 1994 genocide occurred in the tiny, crowded country of Rwanda in the Great Lakes region of Africa. What was unique to that genocide was its efficiency and use of low technology weapons: somewhere around 800,000 to one million persons were killed, mainly by machetes and bullets, and often by neighbors, former friends, or relatives that they knew by name. The killers had been well-prepared for their roles via myth-building and reinforcement of old fears against the victims. There was little to no international intervention, although Rwanda had close political ties with France and a colonial history with Germany and Belgium. Although dozens of books and articles have been written seeking to understand, in both practical and theoretical ways, the motivations of the killers, this research looks to add to that body of knowledge by considering the ideas of a theorist outside traditional political theory — René Girard — and how they may shed some light on the 1994 Rwandan genocide. Girard's conception of mimetic rivalry and his theorization of scapegoating illuminate society-based characteristics of political competition between well-established factions of Rwandan society. These characteristics, if subjected to various manipulations of social positioning and control, can serve to precipitate brutal acts of believed conciliatory violence against a perceived causal group. Without examining the origin of violence in society, an understanding of the 1994 genocide is incomplete, and policies designed to prevent such genocides from recurring may not be effective. / Master of Arts

Busca compreender o conto El Otro, de Jorge Luis Borges. Para tanto, efetua sua análise formal; acrescida pelo exame de um corpus secundário. Uma vez que a narrativa apresenta dois personagens autobiográficos, sendo o jovem similar e estranho à produção deste autor, é necessário comparar tal personagem à obra borgeana de juventude, no tocante ao realismo, engajamento, biografismo e ultraísmo. Verifica que o Borges de 1918 a 1920 não exibe tais concepções literárias, exceto pelo ultraísmo. Na segunda etapa juvenil, entre 1921-1928, encontra ultraísmo, biografismo e alguns pontos de contato, com elementos do realismo. Contudo, observa a existência de realismo, engajamento, biografismo e ultraísmo no contexto literário argentino dos anos vinte. Os três primeiros rasgos estão especialmente ligados ao grupo boedista. No entanto, como o conto alude ao Modernismo, entende-se que não só o Realismo, mas toda a geração de vinte é contemplada na figura do personagem mais novo. Na leitura do conto, entende que as personagens produzem um diálogo entre a obra borgeana e a geração argentina dos anos vinte, na qual, o jovem Borges da realidade fica incluso. A matéria sob o diálogo, tanto nas estruturas quanto na temática, consiste de uma série de questionamentos ao realismo. Essas representações também podem ser lidas enquanto duas atitudes fundamentais diante da arte literária. Entende-se que em Nota sobre Walt Whitman há uma oposição aos postulados boedistas, no tocante ao biografismo. Como a segunda etapa juvenil apresenta concepções biografistas, verifica que este ensaio de 1932 (a Nota) assinala uma mudança. Por isto, propõe que a polêmica Boedo-Florida foi um momento importante para a transformação ocorrida entre a obra juvenil e a obra madura. Em seu Prólogo, Domingos F. Sarmiento: Facundo, encontra objeções ao realismo e ao engajamento. Nos pressupostos, foi destacado que o autor começa um combate aos postulados realistas na década de trinta. Uma vez que o prólogo é escrito em 1974, compreende-se, que através de seus ensaios, o autor está em constante diálogo com o realismo. Interpreta em La Postulación de la Realidad a divisão borgeana entre dois modos de fazer literatura: o clássico e o romântico. Com isso, entende-se que estes modos literários genéricos, propostos neste ensaio, possuem um paralelo com os modos derivados das personagens e estruturas do conto analisado. Ao mesmo tempo, percebese que o modo realista / romântico (expressivo) está ligado à obra juvenil, ao passo que o modo clássico (alusivo) é associável à obra borgeana da maturidade. Ademais, no conto, El Milagro Secreto, encontra uma das técnicas clássicas, gerando alta verossimilhança (efeito buscado pelas obras românticas). Igualmente esta é uma técnica recorrente em algumas obras realistas. Assim, o uso dos detalhes circunstanciais representa um ponto de contato entre a obra borgeana e o realismo. No entanto, concluise que a utilização deste recurso ainda pode ser vista como uma crítica a esta estética. / This dissertation tries to understand El Otro, a short story by Jorge Luis Borges. In order to achieve this goal, we make an analysis of it and of a secondary group of texts. As the narrative has two autobiographical characters, and the youngest of them seems different from the author and his first books, it is necessary to compare this character with this authors youth works (essays) in relation to realism, engagement, tendency to look for relations between literature and the authors life (called biographism in this paper), and ultraism. The first chapter confirms that the young Borges (1918-1920) does not present these characteristics in his evaluation of literature, except for ultraism. In a later period of his youth (1920-1928), there is ultraism and biographism and some relations with the realistic way of literary construction. However, there were realism, engagement, biographism and ultraism in the Argentine literary context of the twenties. The three first can be associated with the writers in the Boedo group. However, the story alludes to Modernism too; so it is possible to understand that the young character in the short story is related to the generation of Argentine writers in the twenties. The reading of the short story shows that it produces a dialog between the borgesean literature and the Argentine writers of the twenties, including the young Borges. The dialog and the narrative resources reveal that realism is criticized. These two representations can be read as two generic ways to deal with literature. So, it is possible to state, that in Nota sobre Walt Whitman, there is an opposition to the way boedists dealt with biographism. As Borges second youth period does not present biographism, we affirm that this essay captures a transformation. Therefore, we can confirm that the controversy between the groups, Florida and Boedo, may have been an important moment between Borges youth books and his well known works. In his preface Domingos F. Sarmiento: Facundo, new objections to realism and engagement can be found. In the first chapter it is asserted that Borges fights realism since the thirties. Thus, if the preface was written in 1975, we can assert that this authors critical texts are in dialog with realism. The essay La Postulación de la Realidad shows the borgesean classification of literature: the classical way and the romantic way of writing. Thus, we verify the existing parallel between this essay and the short story analyzed. This text shows that the romantic way has a connection with the second period of Borges youth works, while the classical way is related to his mature works. Other borgesean short story, El Milagro Secreto, uses one of the classical techniques to generate verisimilitude, but this is a technique commonly used by realists too. Therefore, this story shows that there is a contact point linking the borgesean works and realism. This same technique keeps a final objection to realism.

Uppsatsen handlar om hur jag utifrån två självupplevda berättelser ur förskolans verksamhet bättre kan förstå barns känsla av ett själv och vilken roll den spelar vid deras utvecklande av bildskapande i förskolan. Jag får genom den essäistiska processen syn på vad det är det jag upplever som dilemma i mina två inledande berättelser. Det handlar om min förförståelse av det i förskolan så ofta benämnda begreppet självkänsla samt om hur jag genom applicerandet av Aristoteles mimesis-begrepp på mina berättelser söker nå en ökad förståelse av barns känsla av ett själv för att bättre kunna stödja utvecklandet av deras bildskapande. Essäns reflekterande del har två avsnitt. Först gör jag först en komprimerad historisk tillbakablick på området affektteori för att söka en ökad förståelse av förskolans självkänslabegrepp. Genom att sedan lämna självkänsla därhän och istället applicera begreppen självbild, självvärdering och self-efficacy på mina inledande bilder ur verkligheten förändras min syn på vad barns känsla av ett själv i förskolans verksamhet kan vara. Även min förståelse av hur jag som pedagog kan stödja barnen i denna känsla, för att deras bildskapande utveckling skall stärkas förändras. I den andra delen av mina reflektioner söker jag med hjälp av en fördjupning av Aristoteles tolkning av begreppet mimesis en utvidgad förståelse för barns behov av bildskapande. Jag kommer till insikt om, tvärt emot min initiala bias, att kopiering och mallar kan vara utmärkta verktyg vid utvecklingen av barns bildskapande processer.. Avslutningsvis tar jag helt kort upp barns kultur och dess inkorporerande i förskolans verksamhet som ett vidare forskningsområde. / This essay is about how I can better understand children's sense of self and what role it plays in their development of image creation in preschool, based on two self-perceived stories from pre-school activities. Through the essay process, I get an idea of ​​what I experience as a dilemma in my two initial stories. It's about my understanding of the in preschool so often referred to concept of self-esteem, and how I, by reaching an increased understanding of children's sense of self, better can support the development of their image creation. The essay´s reflective part has two sections. First, I make a compressed historical backlog in the field of affect theory to seek an increased understanding of preschool's self-esteem concepts. By then leaving the concept of self-esteem and instead applying the concepts sense of self, self-evaluation and self-efficacy to my initial images from reality, my view changes on what children's sense of self in preschool activities can be. Even my understanding of how I as a teacher can support them in this sense for their image-creating development to be strengthened changes. In the second part of my reflections, I seek, by means of Aristotle's interpretation of the concept of mimesis, an in-depth understanding of children's image creation needs. I realize, contradictory to my initial bias, that copying and templates can be excellent tools in the development of children's image-making processes. In conclusion, I take up the children's culture and its incorporation into preschool activities as a further research area.

Fundação de Amparo à Pesquisa do Estado do Rio de Janeiro / Esta tese pretende discutir a história da modernidade como a história do abandono do corpo. A era moderna é a era da mimesis e, como tal, faz da interpretação um componente necessário do horizonte histórico imposto por ela mesma. A interpretação veio para ficar: mas as sucessivas tentativas de apropriação do mundo pelos conceitos anestesiaram os sentidos do homem moderno. Os excessos hermenêuticos contribuíram para um empobrecimento da experiência da arte. A pós-modernidade se abre, para nós, como um novo horizonte histórico, e oferta-se como oportunidade para recuperarmos aquilo que perdemos: o nosso corpo, os nossos próprios sentidos. / This thesis aims at discussing the history of modernity as the history of the abnegation of the body. The modern era is the era of mimesis and, as such, it makes of interpretation a necessary component of the historic horizon imposed through modernity itself. Interpretation is here to stay: but the successive attempts of world appropriation by concepts anesthetized the senses of the modern man. The hermeneutic excesses contributed to an impoverishment of art experience. Post-modernity opens itself for us as a new historic horizon, offering the opportunity to recover what we have lost: our body, our senses themselves.

Fundação de Amparo à Pesquisa do Estado do Rio de Janeiro / Esta tese pretende discutir a história da modernidade como a história do abandono do corpo. A era moderna é a era da mimesis e, como tal, faz da interpretação um componente necessário do horizonte histórico imposto por ela mesma. A interpretação veio para ficar: mas as sucessivas tentativas de apropriação do mundo pelos conceitos anestesiaram os sentidos do homem moderno. Os excessos hermenêuticos contribuíram para um empobrecimento da experiência da arte. A pós-modernidade se abre, para nós, como um novo horizonte histórico, e oferta-se como oportunidade para recuperarmos aquilo que perdemos: o nosso corpo, os nossos próprios sentidos. / This thesis aims at discussing the history of modernity as the history of the abnegation of the body. The modern era is the era of mimesis and, as such, it makes of interpretation a necessary component of the historic horizon imposed through modernity itself. Interpretation is here to stay: but the successive attempts of world appropriation by concepts anesthetized the senses of the modern man. The hermeneutic excesses contributed to an impoverishment of art experience. Post-modernity opens itself for us as a new historic horizon, offering the opportunity to recover what we have lost: our body, our senses themselves.

No description available.

Busca compreender o conto El Otro, de Jorge Luis Borges. Para tanto, efetua sua análise formal; acrescida pelo exame de um corpus secundário. Uma vez que a narrativa apresenta dois personagens autobiográficos, sendo o jovem similar e estranho à produção deste autor, é necessário comparar tal personagem à obra borgeana de juventude, no tocante ao realismo, engajamento, biografismo e ultraísmo. Verifica que o Borges de 1918 a 1920 não exibe tais concepções literárias, exceto pelo ultraísmo. Na segunda etapa juvenil, entre 1921-1928, encontra ultraísmo, biografismo e alguns pontos de contato, com elementos do realismo. Contudo, observa a existência de realismo, engajamento, biografismo e ultraísmo no contexto literário argentino dos anos vinte. Os três primeiros rasgos estão especialmente ligados ao grupo boedista. No entanto, como o conto alude ao Modernismo, entende-se que não só o Realismo, mas toda a geração de vinte é contemplada na figura do personagem mais novo. Na leitura do conto, entende que as personagens produzem um diálogo entre a obra borgeana e a geração argentina dos anos vinte, na qual, o jovem Borges da realidade fica incluso. A matéria sob o diálogo, tanto nas estruturas quanto na temática, consiste de uma série de questionamentos ao realismo. Essas representações também podem ser lidas enquanto duas atitudes fundamentais diante da arte literária. Entende-se que em Nota sobre Walt Whitman há uma oposição aos postulados boedistas, no tocante ao biografismo. Como a segunda etapa juvenil apresenta concepções biografistas, verifica que este ensaio de 1932 (a Nota) assinala uma mudança. Por isto, propõe que a polêmica Boedo-Florida foi um momento importante para a transformação ocorrida entre a obra juvenil e a obra madura. Em seu Prólogo, Domingos F. Sarmiento: Facundo, encontra objeções ao realismo e ao engajamento. Nos pressupostos, foi destacado que o autor começa um combate aos postulados realistas na década de trinta. Uma vez que o prólogo é escrito em 1974, compreende-se, que através de seus ensaios, o autor está em constante diálogo com o realismo. Interpreta em La Postulación de la Realidad a divisão borgeana entre dois modos de fazer literatura: o clássico e o romântico. Com isso, entende-se que estes modos literários genéricos, propostos neste ensaio, possuem um paralelo com os modos derivados das personagens e estruturas do conto analisado. Ao mesmo tempo, percebese que o modo realista / romântico (expressivo) está ligado à obra juvenil, ao passo que o modo clássico (alusivo) é associável à obra borgeana da maturidade. Ademais, no conto, El Milagro Secreto, encontra uma das técnicas clássicas, gerando alta verossimilhança (efeito buscado pelas obras românticas). Igualmente esta é uma técnica recorrente em algumas obras realistas. Assim, o uso dos detalhes circunstanciais representa um ponto de contato entre a obra borgeana e o realismo. No entanto, concluise que a utilização deste recurso ainda pode ser vista como uma crítica a esta estética. / This dissertation tries to understand El Otro, a short story by Jorge Luis Borges. In order to achieve this goal, we make an analysis of it and of a secondary group of texts. As the narrative has two autobiographical characters, and the youngest of them seems different from the author and his first books, it is necessary to compare this character with this authors youth works (essays) in relation to realism, engagement, tendency to look for relations between literature and the authors life (called biographism in this paper), and ultraism. The first chapter confirms that the young Borges (1918-1920) does not present these characteristics in his evaluation of literature, except for ultraism. In a later period of his youth (1920-1928), there is ultraism and biographism and some relations with the realistic way of literary construction. However, there were realism, engagement, biographism and ultraism in the Argentine literary context of the twenties. The three first can be associated with the writers in the Boedo group. However, the story alludes to Modernism too; so it is possible to understand that the young character in the short story is related to the generation of Argentine writers in the twenties. The reading of the short story shows that it produces a dialog between the borgesean literature and the Argentine writers of the twenties, including the young Borges. The dialog and the narrative resources reveal that realism is criticized. These two representations can be read as two generic ways to deal with literature. So, it is possible to state, that in Nota sobre Walt Whitman, there is an opposition to the way boedists dealt with biographism. As Borges second youth period does not present biographism, we affirm that this essay captures a transformation. Therefore, we can confirm that the controversy between the groups, Florida and Boedo, may have been an important moment between Borges youth books and his well known works. In his preface Domingos F. Sarmiento: Facundo, new objections to realism and engagement can be found. In the first chapter it is asserted that Borges fights realism since the thirties. Thus, if the preface was written in 1975, we can assert that this authors critical texts are in dialog with realism. The essay La Postulación de la Realidad shows the borgesean classification of literature: the classical way and the romantic way of writing. Thus, we verify the existing parallel between this essay and the short story analyzed. This text shows that the romantic way has a connection with the second period of Borges youth works, while the classical way is related to his mature works. Other borgesean short story, El Milagro Secreto, uses one of the classical techniques to generate verisimilitude, but this is a technique commonly used by realists too. Therefore, this story shows that there is a contact point linking the borgesean works and realism. This same technique keeps a final objection to realism.

Cette réflexion porte sur l’influence de la poésie lyrique dans les œuvres théâtrales du romantisme au symbolisme. En essayant de confronter les corpus du drame romantique et du théâtre symboliste et en exhumant celui du théâtre des poètes parnassiens et de leurs contemporains, elle entend dégager des constantes et mettre en lumière une crise du théâtre aristotélicien, dont les effets se prolongent jusque dans les dramaturgies de l’extrême contemporain. Mais penser un théâtre de poètes, autrement dit un théâtre qui intègrerait les propriétés de la poésie lyrique au sein du genre dramatique, revient à soulever un certain nombre de paradoxes.Ce théâtre des poètes est d’abord un théâtre qui minore de plus en plus le poids de l’action, au profit de l’expression lyrique. Le drame et le système actantiel qu’il véhicule tendent à se réduire à une seule situation, unique et statique, de laquelle les conflits intersubjectifs ont été évacués. La poésie lyrique, de par sa subjectivité, intériorise le drame et c’est désormais au sein d’un même sujet qu’il faut chercher les composantes dramatiques. Son intérêt pour l’intériorité conduit le théâtre des poètes à délaisser le système de la représentation mimétique, parce qu’il préfère, à la réalité objective et concrète, le domaine plus abstrait des idées. Cette subjectivité qu’importe la poésie dans le genre théâtral pousse finalement les dramaturges à braver le tabou absolu du théâtre aristotélicien, à savoir la présence du poète dans son œuvre : la lyricisation du théâtre entraîne ainsi la manifestation du poète dans sa pièce. / This reflection deals with the influence of lyrical poetry over theatrical works from romanticism to symbolism. By confronting the corpuses of the romantic drama and the symbolist theater, but also by exhuming the Parnassiens’ theater, it envisions encountering constants and highlighting a crisis of Aristotelian theater whose effects extend up until the most contemporary dramaturgies. But considering the existence of a theater by poets, one that integrates the characteristics of lyrical poetry into the dramatic forms, raises several paradoxes. This theater by poets is before all one that reduces more and more the importance of the action, in favour of the lyrical expression. The drama and the actantial model it implies get converted in one unique and static situation, where all the intersubjective conflicts have been erased. Because of its subjectivity, lyrical poetry internalizes the drama: and thus all the dramatic components have to be searched for inside the subject. Its interest for interiority leads the theater by poets to abandon the mimetic representation system, because of its favouring of the abstraction of ideas over the objective and material reality. This subjectivity imported by poetry into the dramatic form explains why the dramatists break the absolute taboo of Aristotelian theater: the poet’s presence inside his play. The lyricisation of theater entails the poet’s manifestation in a form where it is prohibited.

This paper uses the concept of mimesis to clarify the debate concerning the representation of reality in music. Specifically, this study defines the audio reality effect and the three main practices of realism as a way of understanding mimetic practices in multiple artistic media, in particular regarding the multimedia works of the "Landscape series." After addressing the historical debates concerning mimesis, this study develops a framework for the understanding of mimesis in sound by addressing the writings of Weiss, Baudrillard, Barthes, Deleuze, and Prendergast and by examining mimetic practices in 19th-century European painting and multimedia performance works. The audio reality effect is proposed as a meaningful translation of Roland Barthes' literary reality effect to the sonic realm. The main trends of realist practice are applied to electroacoustic music and soundscape composition using the works and writings of Emmerson, Truax, Wishart, Risset, Riddell, Smalley, Murray Schafer, Fischman, Young, and Field. Lastly, this study mimetically analyzes "2 seconds / b minor / wave" by Michael Pisaro and Taku Sugimoto and the works of the "Landscape series" in order to demonstrate the relevance of mimesis for understanding current musical practice.

Le jeu est dans la comédie sociale et le comédien le transporte sur la scène. Les rôles dépendent de la structure de la société, de la place de l’acteur et de son individualité. Ils évoluent selon des facteurs extérieurs et intérieurs à l’humain. Certains acteurs s’approprient plus facilement leur rôle que d’autres, s’en défont pour en jouer un nouveau avec une aisance surprenante. Ils naviguent au sein de la société, épousent gestuelle et discours de chaque classe, abandonnent un costume pour en revêtir un autre. Ils s’engagent dans une nouvelle partie du jeu social, alors que d’autres n’en maîtrisent qu’une. Leur latitude est plus restreinte. Le théâtre est le domaine qui érige ce jeu des rôles en profession. Dès lors, l’interrogation sur la latitude du comédien à jouer requiert une contextualisation et appelle la question de l’inné et de l’acquis. L’humain joue-t-il d’emblée ou apprend-il à jouer et dans ce cas quelles étapes jalonnent cette formation? En tout premier lieu, le cadre afférent au théâtre dont nous parlons, à la société où il se développe et au corps qu’il met en jeu est posé. Ensuite, par une recherche théorico-empirique le corps est désarticulé et étudié dans ses dimensions anthropologique, anatomophysiologique, scénique. Par la suite, dans la sphère du corps en mouvement, le corps est exploré selon un processus de déconstruction-reconstruction par un aller-retour de la scène au quotidien menant vers une anthropologie théâtrale et un théâtre anthropologique. Enfin, le comédien est réintégré au coeur du corps social, dont il est membre, qu’il crée et qui le crée. / Theatrical play is present in everyday life and the actor recreates it on stage. The roles played depend on the social structure, the actor and his or her individuality. They evolve according to interior and exterior human factors. Some actors take on a role more easily than others, then let it go in order to play a new one with surprising ease. They move through society, melding gestures and speech patterns of each social class, dropping one costume for another. They are involved in a new part of the social game, while others only perfect one. The latter’s scope is more limited. The theatre is the arena that creates professional role players. Therefore, the examination of the scope of the actor requires a context and asks about what is innate and what is acquired. Does the human play impulsively or learn to play and if so, what are the steps in this training? First, the context and framework concerning the theatre, the society where it develops and the body type of actors is posited. Following a theoretical and empirical approach, the body is analysed and the anthropological, anatomical, and scenic dimensions are explored. Next, the body in movement is investigated according to a deconstruction-reconstruction process alternating between the stage and everyday life, leading to a theatrical anthropology and an anthropological theatre. Finally, in the last part of the research the actor is reintegrated into the heart of society, to which he belongs, that he creates and by which he is influenced. / Das Spiel existiert in der sozialen Komödie und der Schauspieler bringt es auf die Bühne. Die Rollen hängen von der sozialen Struktur ab, von dem Platz des Schauspielers in der Gesellschaft und seiner Individualität. Sie entwickeln sich nach den äußeren und inneren Faktoren des Menschen. Einige Schauspieler eignen sich ihre Rollen leichter an als andere,befreien sich von einer Rolle um eine neue mit einer überraschenden Leichtigkeit zu spielen. Sie tauchen in die Tiefe der Gesellschaft ein, und übernehmen Gestik und Rede jeder Schicht, lassen ein Kostüm zurück um sich mit einem anderen zu kleiden. Sie engagieren sich in einer neuen Partie des Gesellschaftsspiels, während andere nur eine beherrschen. Deren Handlungsspielraum ist eingeschränkter. Das Theater ist der Bereich, der dieses Spielzum Beruf macht. Folglich erfordert die Frage nach dem Handlungsspielraum des Schauspielers eine Kontextbildung und wirft die Frage nach Angeborenem und Erworbenen auf. Spielt der Mensch aus eigenem Anlass oder lernt er zu spielen und welche Etappenmarkieren diese Ausbildung? Zuerst setzen wir die Rahmenbedingungen dieser theaterbezogenen Recherche fest: Umwelches Theater handelt es sich? In welcher Gesellschaft entwickelt es sich? Und welche/was für Körper wurden inszeniert? Dieser Körper wird sodann durch eine theoretische undempirische Forschung desartikuliert und in seinen anthropologischen,anatonomophysiologischen und szenischen Dimensionen erforscht. Durch einen Prozess der Dekonstruktion-Konstruktion vom alltäglichen Leben zur Bühne und vice versa wird der Körper erkundet. Daraus entsteht eine Theater Anthropologie und ein anthropologisches Theater. Zuletzt wird der Schauspieler in den sozialen Körper - dessen Mitglied er ist, den er kreiert und der ihn neuerschöpft - wieder integriert.