The main objective of this essay is to find out and show as to whether the respective pedagogies of Paolo Freire and Gayatri Chakravorty Spivak are free from the authoritarian and oppressive tendencies they both expressively seek to oppose. More specifically, the investigation presented in this text is focused on the relation between theory and method in Freire’s Pedagogy of the Oppressed and Spivak’s “Righting Wrongs – 2002: Accessing Democracy among the Aboriginals.” The analysis of this relation, and these two texts, moreover, is informed by three interconnected research questions, asking (1) how Freire and Spivak prompt us to learn from the learner, (2) if Freire and Spivak manage to circumvent the danger of transference, of imposing the teacher’s agenda on the student, and (3) how the methodological leap (from theory to practice) of Freire and Spivak fit into their respective theorizing in a broader sense. As the inquiries above suggest, this essay pays close attention to the fact that Freire and Spivak both—albeit to different degrees—try to render their theories practicable, while still avoiding undemocratic methods that fail to take into account the voice and the reality of the student. By way of a close reading of some of Freire’s and Spivak’s central pedagogical concepts, a thorough scrutiny of the concrete methodological examples provided by the same scholars, and an analysis of Freire’s dialectical reasoning and Spivak’s Marxist/deconstructionist theorizing, this thesis aims to demonstrate that neither of these two theorists are completely successful in realizing their educational projects. In the case of Freire, this is primarily due to a methodological saving clause that ultimately functions so as to mute students whose voices are not resonant with that of the pedagogue, and in Spivak’s case, the failure finds its explanation mainly in the author’s deconstructionist tendency to resist the practice of offering concrete, overall solutions to complicated problems.

This thesis discusses clerical censorship against the film industry as a phenomenon encompassing questions of popular education and mass culture, power formation, and ideological struggles. It argues that clerical censorship should be understood not as the undertaking to simply make sins less attractive, in films, but as the Church's efforts to influence the state and police force, magistrates, or government censorship boards to prohibit or remove certain films’ offensive contents, which are believed to be ideologically contrary to the Church’s doctrine. The financial, political and legal sanctions called in force by Church censorship surely go beyond the idea of moral reprimand recommend by the Catholic teachings. They put in action what Gramsci called culturally influential ‘hegemony’. In particular, film boycott will be flagged out as that method which empowers the clergy (composed of high prelates, clergymen, and nuns) to influence their followers (flock of souls) to not even consider watching films, containing representations and ideas unapproved of by the Pope. In implementing its control techniques, by means of its reticular system, the church edits indexes, which set criteria for condemning and banning as ‘immoral’ and ‘harmful’, artistic products and ideological ideas, which threaten its theological standpoints. In this sense, the Catholic’s habit to set film ratings and spread public shaming may be said to contribute towards Church censorship as a wide-ranging practice. In consideration of the fact that the various forms of influence and control over the Catholic communities, exercised at local and national level by the clergy in parish churches, communities, schools, associations, and through the media, are acknowledged in this thesis as methods of clerical censorship, I also discuss the action and the militancy of self-appointed censors of Catholic background, who align themselves with the existing governmental censorship boards. In particular, this thesis conducts and examination of how filmmakers, producers, and distributors may at times witness their films being totally suppressed by state and church censorship, and at others, manage to bypass the trouble of compliance with censorship regulations by negotiating ploys to escape severe confrontation in the field of legal censorship. To reveal facts hidden behind the nation’s façade of liberalism and progressivism, this thesis addresses the conceptions behind constitutional/legal censorship and Church censorship. I demonstrate how the power of film censorship located in the nation's major centres of power, the judiciary and the religious, exercise double-edged forms of censorship, using their authority to influence society and individuals. A focus will be placed on recent reforms, which have aptly solved this impasse, and secured larger margins of freedom for the Italian film industry. Indeed, as my argument supports, cinema, as an art form, is also highly fertile in ideological and artistic dissidence against censorial forms of state and church, which attempts to influence and at times limit both the artists' expressive freedom and the audience's right to be entertained and informed.

Obiettivo di questo lavoro è presentare e discutere la critica militante di Pier Paolo Pasolini tra gli anni 50 e 60 del XX secolo, attraverso lanalisi dei saggi e delle recensioni delle due raccolte Passione e ideologia (1960) ed Empirismo eretico (1972). Pasolini, critico multiforme oltre che artista sperimentale, capace di muoversi tra i più diversi campi artistici, viene inserito nel contesto della critica italiana, mostrandone le affinità e le peculiarità rispetto alle principali correnti critiche contemporanee, come il marxismo, la stilistica, lermetismo, lo strutturalismo. / O objetivo deste trabalho é apresentar e discutir a crítica militante de Pier Paolo Pasolini escrita entre os anos de 1950 e 1960 do século XX, analisando ensaios e resenhas das duas coletâneas Passione e ideologia (1960) e Empirismo eretico (1972). Pasolini, enquanto crítico multiforme e artista experimental, transita pelos mais diversos campos artísticos. No contexto da crítica italiana, o trabalho procura mostrar as afinidades e as peculiaridades das principais vertentes críticas contemporâneas, como o marxismo, a estilística, o hermetismo, o estruturalismo

Thesis (M. Arch.)--University of Adelaide, 1989. / Includes bibliographical references (leaves 209-232).

Thesis (Ph.D.)--University of Melbourne, School of Art History, Cinema, Classics and Archaeology, 2006. / Typescript. Includes bibliographical references (p. [314]-369).

Texte remanié de: th. doct.--Mannheim--Universität, 1996. / Bibliogr. p. 157-166.

The present study proposes to analyze the Zona Sur Barrio Piedra Buena project, by the artist Gian Paolo Minelli, which gathers photographs taken by residents of the Piedrabuena housing complex in Buenos Aires. The objective is to reflect on the ardence of these images, analyzing how Minelli's work rescues the history of the vanquished and brushes the story against the grain (as Walter Benjamin puts it) by recalling the history of these people and the neighborhood that was created by the government during periods of military dictatorship in Argentina. In this way, we try to debate the power of photography in opening the story by removing the ashes that cover these forgotten inhabitants. / Submitted by Roberto Luiz Svolenski (roberto.svolenski@unisul.br) on 2017-10-17T16:59:03Z No. of bitstreams: 2 license_rdf: 811 bytes, checksum: e39d27027a6cc9cb039ad269a5db8e34 (MD5) Dissertação Roberto Svolenski - Piedrabuena A imagem que arde 2017.pdf: 29344724 bytes, checksum: 8013a932370c04f70cc5add598bcb840 (MD5) / Approved for entry into archive by Karina Ramos Wagner (wagner.karina@unisul.br) on 2017-10-17T17:06:24Z (GMT) No. of bitstreams: 2 license_rdf: 811 bytes, checksum: e39d27027a6cc9cb039ad269a5db8e34 (MD5) Dissertação Roberto Svolenski - Piedrabuena A imagem que arde 2017.pdf: 29344724 bytes, checksum: 8013a932370c04f70cc5add598bcb840 (MD5) / Made available in DSpace on 2017-10-17T17:06:25Z (GMT). No. of bitstreams: 2 license_rdf: 811 bytes, checksum: e39d27027a6cc9cb039ad269a5db8e34 (MD5) Dissertação Roberto Svolenski - Piedrabuena A imagem que arde 2017.pdf: 29344724 bytes, checksum: 8013a932370c04f70cc5add598bcb840 (MD5) Previous issue date: 2017-07-27 / O presente estudo propõe analisar o projeto Zona Sur Barrio Piedra Buena, do artista Gian Paolo Minelli, que reúne fotografias realizadas pelos moradores do complexo habitacional Piedrabuena, em Buenos Aires. O objetivo é refletir sobre a ardência dessas imagens, analisando a forma como o trabalho de Minelli resgata a história dos vencidos e escova a história a contrapelo (segundo a expressão de Walter Benjamin) ao rememorar a história dessas pessoas e do bairro, que foi criado pelo governo durante os períodos de ditadura militar na Argentina. Desta maneira, busca-se debater a potência da fotografia em abrir a história ao retirar as cinzas que cobrem esses moradores esquecidos.

Dissertação (mestrado)—Universidade de Brasília, Instituto de Letras, Departamento de Teoria Literária e Literaturas, 2008. / Submitted by Thaíza da Silva Santos (thaiza28@hotmail.com) on 2011-02-10T19:20:25Z No. of bitstreams: 1 2008_MarlosGBrayner.pdf: 2542456 bytes, checksum: 2abeaee21ff9a7a069aeb6f2e9e43329 (MD5) / Approved for entry into archive by Daniel Ribeiro(daniel@bce.unb.br) on 2011-02-10T21:41:12Z (GMT) No. of bitstreams: 1 2008_MarlosGBrayner.pdf: 2542456 bytes, checksum: 2abeaee21ff9a7a069aeb6f2e9e43329 (MD5) / Made available in DSpace on 2011-02-10T21:41:12Z (GMT). No. of bitstreams: 1 2008_MarlosGBrayner.pdf: 2542456 bytes, checksum: 2abeaee21ff9a7a069aeb6f2e9e43329 (MD5) / Esta dissertação apresenta uma pesquisa sobre aspectos de teoria lingüística e cinematográfica na obra do intelectual italiano Pier Paolo Pasolini, especificamente a partir de seus textos teóricos de caráter ensaístico coligidos no livro Empirismo Hereje. A dissertação apresenta ainda, a análise de alguns poemas e filmes do autor. A pesquisa procura inicialmente investigar como Pasolini entende um sistema de representação semiótica e discute a noção de realidade na sua obra. Em um momento seguinte, procura-se analisar os fundamentos e implicações dos conceitos de realidade, representação e estilo na formação do cinema de poesia. A análise está baseada especialmente na articulação dos conceitos de teoria da linguagem desenvolvida nos ensaios estudados. _________________________________________________________________________________ ABSTRACT / This dissertation presents a research on linguistic and cinematic theories in the work of the Italian intellectual Pier Paolo Pasolini, specially in the theoretical texts compiled in the volume Heretical Empiricism. The dissertation still embraces analysis of some Pasolini´s poems and films. Initially, the research investigates how Pasolini conceives a semiotic representation system and dialogues with the notion of reality in his work. In the next moment, the research focus on the background information and implications associated with the concepts of reality, representation and style, in order to accomplish poetry cinema. The analysis is embodied with language theory concepts developed into the Heretical Empiricism texts.

CoordenaÃÃo de AperfeÃoamento de Pessoal de NÃvel Superior / nÃo hà / A obra dos diretores Pier Paolo Pasolini e Glauber Rocha possuem muitas caracterÃsticas em comum no que diz respeito ao fazer cinematogrÃfico. Este estudo tem como objetivo investigar o processo de construÃÃo da experiÃncia mÃstica presente na obra dos dois diretores. Os textos Cinema de Poesia (1965), de Pasolini, e o manifesto Eztetyka do Sonho (1971), de Glauber Rocha foram selecionados como base para esta pesquisa. Na tentativa de compreender a dimensÃo do pensamento estÃtico dos diretores dentro de suas produÃÃes, a pesquisa foi a procura nas imagens dos filmes A ricota (1962) e Claro (1975) um fazer imagÃtico que remetesse a uma possÃvel experiÃncia mÃstica. Com a dificuldade de se definir essa experiÃncia incognoscÃvel, a pesquisa procurou a presenÃa do mÃstico nas imagens dos filmes desses diretores. Assim, ela nÃo aponta como se dà està experiÃncia, mas como podemos pensar a presenÃa do mÃstico a partir de seu primeiro predicativo apontada pelo filÃsofo das religiÃes Rudolf Otto, o mysterium. Com isto, este trabalho quer encontrar o que existe nÃo de revelado nas imagens dos diretores, mas o que nelas contÃm de algo mÃstico que se coloca no figurÃvel, na obscuridade da imagem, algo que nÃo està apresentado como tal. Assim, abordando a importÃncia de uma imagem que subverta a lÃgica imagÃtica hegemÃnica na contemporaneidade.

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / Esta tese tem por objeto textos que se voltam para o homem: o cinema trágico- poético de Pier Paolo Pasolini e as tragédias gregas clássicas. Este autor de cinema se debruçou sobre os textos trágicos, pois via neles um fundamento político, ou seja, a superação pela razão de um passado arcaico do homem, que gerava sua incerteza existencial. Primeiramente, tendo traduzido a Oréstia, de Ésquilo, o diretor italiano identificou nesse texto aquilo que ele, como humanista que era, desejava fosse alcançado pelo homem moderno: a superação do medo causado pelo irracional que sempre habitou a mente humana. Esta interpretação da Oréstia, aliada às convicções previamente firmadas pelo diretor e poeta a capacidade dos ingênuos de formar uma nova ideologia e a persistência no homem moderno de certa irracionalidade domada pela razão levou à realização do filme Appunti per unOrestiade africana (1967), um filme otimista quanto ao triunfo da razão. Tendo feito esses apontamentos, Pasolini jamais rodaria seu filme sobre a Oréstia, passando a uma perspectiva pessimista, com a filmagem de Medeia (1969), cuja frase final da personagem- título Nada mais é possível doravante aponta para Salò, o último filme que ele realizou, marcado pela desesperança, pouco antes de morrer assassinado. Édipo Rei (1967) foi o primeiro dos filmes trágicos e o mais mítico deles. Neste último ainda persistem as convicções de Pasolini apontadas acima, o que o identifica com Accattone (1961), conforme declarou o próprio diretor, e indica também a linha da análise crítica realizada nesta tese. Com base na crítica especializada (Canevacci e Fusillo) foi possível demonstrar a peculiar adaptação do trágico ancestral ao cinema de poesia pasoliniano, através de uma filmografia ideologicamente infensa a concessões à indústria cultural / The objects of the present work are texts about Man: the tragic-poetic cinema of Pier Paolo Pasolini and the classical Greek tragedies. That cinema author dedicated much attention to tragic texts, in which he saw a political foundation: the overcoming, by reason, of mans archaic past, which caused his existential uncertainty. After having translated Aeschyluss Oresteia, the Italian director identified in this text what he, as a humanist, hoped that modern man would achieve: the overcoming of the fear caused by the irrational that has always dwelt in the human mind. This interpretation of the Oresteia, coupled with other convictions held by the poet/director that the naïve could form a new ideology, and the persistency, in modern man, of rationally-tamed irrationality led him to film Appunti per unOrestiade africana (1967), an optimistic film as concerns the triumph of reason. After having taken down the notes, Pasolini would never come to make the Oresteia film, but moved on towards a pessimistic perspective my filming Medea (1969), the last sentence of which, said by the protagonist Nothing is possible any longer points towards Salò, his last film, as he was murdered shortly afterwards. Oedipus Rex (1967) was the first of his tragic films, and the most mythical of all. In it, some of Pasolinis early convictions mentioned above can be seen to persist, so that, in a sense, Oedipus Rex is evocative of Accattone (1961), as, in fact, has been confirmed by the director himself. The critical approach taken in the present work has been inspired on this. By resorting to specialized criticism (Canevacci, Fusillo) it was possible to demonstrate the peculiar adaptation of the ancestral tragic that takes place in Pasolinis poetry cinema by means of a filmography that remained ideologically contrary to concessions to the culture industry