Issu de Dada et du surréalisme, le groupe Panique, constitué de Fernando Arrabal, Roland Topor et Alejandro Jodorowsky, est créé en 1962. L’évolution de la pratique artistique de Jodorowsky de 1962 à 2016 est riche d’enseignements sur la performance théâtrale et l’interaction entre le théâtre et le cinéma. Nous suivons le constat que fait Joseph Danan dans Entre théâtre et performance: la question du texte qu’à un « état d’esprit dramaturgique » évoqué par Bernard Dort a succédé un « état d’esprit performatif » sur la scène contemporaine. L’œuvre de Jodorowsky est traversée par cet « état d’esprit performatif », de ses « éphémères paniques » qu’il réalise entre 1962 et 1967, à son « théâtre panique » puis son « théâtre essentiel », à son cinéma. L’analyse des éphémères, proches temporellement et essentiellement des premières performances historiques, permet de faire ressortir les caractéristiques de la performance qui peuvent passer dans d’autres formes artistiques. Avant la présentation d’une performance se noue implicitement un pacte entre les performeurs et les spectateurs. Ce « pacte performatif », correspondant aux attentes et aux croyances du spectateur de performance, repose sur trois points : l’implication de l’artiste lui-même dans son œuvre, l’unicité de la performance et la réalisation d’actes réels. Notre étude permet de voir comment ces trois points, tout en s’adaptant à l’art dans lequel ils sont apportés, constituent le noyau de l’ « état d’esprit performatif » qui parcourt l’ensemble de l’œuvre de Jodorowsky. / Deriving from Dada and surrealism, the Panic group, made up of Fernando Arrabal, Roland Topor and Alejandro Jodorowsky, was created in 1962. The evolution of Jodorowsky's artistic practice from 1962 to 2016 is rich in teachings on theatrical performance and the interaction between theatre and cinema. We agree with the observation made by Joseph Danan in Entre théâtre et performance: la question du texte that from a "dramaturgical state of mind" evoked by Bernard Dort has succeeded a "performative state of mind" on the contemporary scene. Jodorowsky's work is crossed by this "performative state of mind", from his "panic ephemera" that he realised between 1962 and 1967, to his "panic theatre" and his "essential theatre" and his cinema. The analysis of the ephemera, temporally and essentially close of the first historical performances, makes it possible to highlight the characteristics of the performance which can pass in other artistic forms. Before the presentation of a performance is implicitly a pact between the performers and the spectators. This "performance pact", corresponding to the expectations and beliefs of the performance spectator, is based on three points: the involvement of the artist himself in his work, the uniqueness of the performance and the realization of real acts. With our study we are able to see how these three points, while adapting to the art in which they are brought, constitute the core of the "performative state of mind" that runs through the whole of Jodorowsky's work.

Submitted by Glauber Assunção Moreira (glauber.a.moreira@gmail.com) on 2018-08-23T17:21:33Z No. of bitstreams: 1 DISSERTAÇÃO [David Farias].pdf: 4738631 bytes, checksum: 0ebe93ffdcb711334f0e56ab7dc95353 (MD5) / Approved for entry into archive by Elane Valverde Madureira (elaneval@yahoo.com.br) on 2018-08-24T15:08:43Z (GMT) No. of bitstreams: 1 DISSERTAÇÃO [David Farias].pdf: 4738631 bytes, checksum: 0ebe93ffdcb711334f0e56ab7dc95353 (MD5) / Made available in DSpace on 2018-08-24T15:08:43Z (GMT). No. of bitstreams: 1 DISSERTAÇÃO [David Farias].pdf: 4738631 bytes, checksum: 0ebe93ffdcb711334f0e56ab7dc95353 (MD5) / RESUMO Esta pesquisa relata o desenvolvimento de um processo criativo, ocorrido, em 2012, durante a montagem do texto dramatúrgico Dorotéia, de Nelson Rodrigues, junto a uma turma de alunos do Curso de Formação do Ator/Atriz, da Escola Técnica de Artes da Universidade Federal de Alagoas. Esta experiência cênico-teatral teve como base a apropriação das fontes primárias, teóricas e práticas, da arte da performance e suas respectivas características constitutivas. O olhar sobre o material caleidoscópico de referência, que engloba a cultura da performance em suas manifestações variadas, consubstanciou a atuação do professor/encenador e validou a escritura do professor/investigador. Os experimentos cênicos ganharam sentido a partir da construção de exercícios somático-performativos, matrizes geradoras para a composição de partituras psicofísicas, tanto para o treinamento do ator/performer (somático) quanto para a cena (performatividade). O autor descreve todo o percurso criativo como ferramenta metodológica, creditando ao drama-performance a mediação potencializadora de alteridades dos sujeitos envolvidos, além de resultados estéticos significativos, obtidos pela ampliação da capacidade interpretativa e expansão da consciência colaborativa. / ABSTRACT This research describes the development of a creative process, which occurred in 2012, during the dramaturgical setting of the text Dorotéia, from Nelson Rodrigues, along with a group of students of the Training Actor/Actress, Course of the Technical Art School from the Federal University of Alagoas. This scenic-theatrical experience was based on the appropriation of the primary theoretical and practical sources of arte da performance and their constituent features. The look on the kaleidoscopic reference material, that includes the culture of performance in its various manifestations that embrace the role of the teacher/director and validated the value of a teacher/researcher. The scenic experiments gained direction from the construction of somatic-performative exercises, generating patterns for the psychophysical composition of scores for both trainings, the actor/performer (somatic) and the scene (performative). The author describes the entire creative process as a methodological tool, crediting the drama-performance as a potentiality intercession from otherness of the subject involved, besides significant results of esthetics, obtained by the extension of interpretative capacity and expansion of the collaborative sense.

Mémoire en recherche-création. / La figure de la sorcière et sa parole envoûtante sont au cœur de ce mémoire de recherche-création. Le roman Filles d’Hécate explore les effets d’une parole sorcière au sein d’une communauté carcérale. Dans un pénitencier pour femmes, la narratrice et terroriste « ratée », Sarah, est témoin de la révolte de ses consœurs, menées par une mère infanticide que toutes appellent ‘Ma. Le récit à la première personne, entrecoupé de rituels à la troisième personne du pluriel, gravite autour de cette femme autrefois docile qui s’est soudainement réclamée sorcière, entraînant toute sa communauté dans une confrontation avec l’ordre établi. Dans un univers hautement surveillé et réglementé, quel est le poids de cette parole de contre-pouvoir, se propageant par les rumeurs et les superstitions ? Quel est le potentiel libérateur de ces discours de la marge pour des femmes autrement privées d’agentivité ? L’essai Contamination et performativité de la parole sorcière dans Les Enfants du sabbat d’Anne Hébert propose, quant à lui, de penser les effets de la parole sorcière dans les structures de pouvoir qui régissent la vie au sein du couvent des Dames du Précieux-Sang. Comment la narratrice, Julie, arrive-t-elle à contaminer à la fois l’ordre établi, s’appropriant jusqu’aux pouvoirs de la mère supérieure et de l’abbé Flageole, mais aussi les discours des autorités religieuses ? Il apparaît que la parole performative mise en scène par Hébert opère un renversement des rôles nécessaire à la prise de pouvoir de Julie, conjurant par la même occasion les violences lui étant adressées. La voix transcendante de la jeune religieuse, qui traverse les lieux et les époques et qui est capable de se travestir, vient ouvrir un espace de doute et de profanité au cœur de l’apparente pureté de l’institution religieuse. La parole de Julie de la Trinité acquiert une puissance quasi divine permettant à la sorcière de revisiter son passé et de surpasser sa mère, sorcière désormais déchue. / The witch and her bewitching speech are at the center of this M.A. thesis combining research and creative writing. The novel Filles d’Hécate explores the effects of the witch speech on a carceral community. In a women’s penitentiary, the narrator and “failed” terrorist, Sarah, witnesses the revolt of her sisters, lead by an infanticidal mother that everyone calls ‘Ma. The story in the first person, punctuated with rituals in the third person, revolves around this once docile woman who suddenly has claimed to be a witch, bringing her whole community into a confrontation with the established order. In a highly supervised and regulated universe, what is the weight of this counter-power speech, mainly propagated by rumours and superstitions ? What is the liberating potential of these discourses of the margin for women otherwise deprived of agency ? The essay Contamination et performativité de la parole sorcière dans Les Enfants du sabbat d’Anne Hébert proposes to think about the effects of the witch speech in the power structures that govern life within the “Dames du Précieux-Sang” convent. How does the narrator, Julie, manages to contaminate both the established order, subverting through appropriation the power of the Superior Mother and Abbot Flageole, but also the very discourses of the religious authorities ? It appears that the performative speech written by Hébert operates a reversal of roles necessary for Julie’s empowerment, at the same time countering the violence directed at her. Her transcendent voice, which crosses places and eras and can disguise itself, opens a space of doubt and profanity within the apparent purity of the religious institution. The speech of Julie of the Trinity acquires a quasi-divine power, allowing the witch to revisit her past and surpass her mother, now a fallen witch.

This study analyses the presence of feminism in Jan Guillou's Blue Star. The study is also looking for similarities between the main character Johanne Lauritzen and Guillou's male character in the series about Coq Rouge, Carl Hamilton. Answers are also sought for the question whether these two characters are heroes on the same terms.

This ethnographic research examines the social implications of the ethnolinguistic contact that occurs in the U.S.-Mexico border region at a day labor center in Tucson, Arizona. I discuss the multiple values of English and Spanish in this setting and how individuals interpret and negotiate these values in the construction and performance of identity. More specifically, I analyze how discourses of linguistic capital shape the organization of this community and influence the dynamics of employment negotiations. The research setting includes immigrant day laborers (primarily from Mexico and Central America), employers who contract workers, and bilingual volunteers who act as language brokers between workers and their employers; all of whom use language to interactively negotiate their social status as they construct identities vis-à-vis other members of the community. My analysis reveals a discourse that places a high level of linguistic capital on Spanish-English bilingualism in the economic market. Although I have not found evidence that this linguistic capital has a real exchange rate into dollars, my data demonstrates that immigrants rapidly acquire and contribute to this locally constructed discourse. I explore the techniques that workers use to exploit and promote their language abilities through ‘performances’ of bilingualism that are realized not only to secure employment, but also for social positioning within this community of practice. Language, then, is one of the many tools that both workers and employers use in the construction of interpersonal relationships and social hierarchies. In addition, I analyze gatekeeping encounters focusing on the rapid employment negotiations that occur between day laborers and their employers, building on previous research with regard to the concepts of rapport, co-membership, and the presentation of an institutional self. Finally, I propose a model for the study of intercultural communication and contact that reflects the dynamic nature of contact and the complexity of overlapping categories of identity. Identity formation is a multiplex and multidirectional social construction that necessitates pushing beyond binary models of intercultural communication. Identity construction is informed not only by face-to-face interlocutors, but also by the linguistic ecology of dominant and subordinate discourses and the imagined individual and collective interlocutors they evoke.

The body exists in space and time. It moves through cultural spaces and temporal rhythms. In the combination of instantiated actions and environmental conditions a context is created, this through embodiment. In this thesis I will attempt to link definitions of embodiment with the process of creating and performing new sound theatre works that involve live interaction with media technology. I will also examine terms such as inscription or incorporation and their application to processes of learning and memory within a particular context of inter-disciplinary skills. Finally, in the light of this genre, I will approach the problematic of analytical procedures that change the very parameters of embodied knowledge. The term sound theatre could be defined as a shift of play between music, image and text, incorporating elements such as gesture, choreography, audio and visual technology into a compositional dialogue. However this approach demands a re-examination of the spatial and temporal aspects involved in such inter-activity and their consequent relation to the performer. Taking the starting-point of sound and movement within the body of the performer, my research involves investigations into medial extensions of embodiment that have developed through a discourse with machines. This project takes an essentially practical basis for its research in the form of collaborations with musicians and practitioners of media technology towards a creative product. The result is a series of written compositions, each of which examines a different aspect of sound theatre. The valuable exchange that takes place during such a situation of experimentation becomes equally as important as the final product, providing much of the material framework for issues such as terminology and analytical procedures that concern my investigation.

Early in Richard Wright's Native Son, we see Bigger and his friend Gus “playing white.” Taking on the role of “J. P. Morgan,” the two young black men give orders and act powerful, thus performing their perceived role of whiteness. This scene is more than an ironic comment on the characters' distance from the lifestyle of the J. P. Morgans of the world; their acts of whiteness are a representation of how whiteness is constructed. Such an analysis is similar to my own focus in this dissertation. I argue that whiteness is a culturally constructed identity and that work serves as a performative space for defining and transgressing whiteness. To this end, I examine work and its influence on the performance of middle class and working class whiteness, as well as how those outside the definitions of whiteness attempt to “play white,” as Bigger does. Work enables me to explore the codes of whiteness and how they are performed, understood, and transgressed by providing a locus of cultural performance. Furthermore, by looking at novels written in the early twentieth century, I am able to analyze characters at a historical moment in which work was of great import. With the labor movement at its peak, these novels, particularly those which specifically address socialism, participate in an understanding of work as a performative act more than a means to end. Within the context of this history and using the language of whiteness studies, I look at how gendered whiteness is transgressed and reinforced through the inverted job-roles of the Knapps in Dorothy Canfield's The Home-Maker, how work can cause those who possess the physical attributes of whiteness to transgress this cultural identity, as the Joads in The Grapes of Wrath demonstrate, and how the ascribed identities as non-white for Sara in The Bread Givers, Jurgis in The Jungle, and Bigger in Native Son are by far more compelling than their performative acts.

The aim of this thesis is to study whether the Swedish state’s efforts to govern the professional practice of social workers (SWs) by knowledge to achieve an evidence-based practice, address the difficulties that SWs encounter in their practice. The Swedish state’s ambition is to govern the practice of social work by ideas and methods originating from medicine. The thesis therefore compares, through four different studies, the professional practice of SWs with general practitioners (GPs) as the most comparable sub-profession in medicine. The research questions that the thesis seeks to answer are: What situations are perceived as problematic and non-problematic by SWs and GPs? How does the professionals’ relationship with clients affect the performative aspects of these occupations’ enactment of their practice? How do SW and GPs experience the state’s efforts to govern their professional practice by knowledge? What problems can arise when the Swedish state builds its knowledge governance of social work practice on a comparison with medicine, even though these professional fields exhibit a number of important differences? The empirical material in the first and second studies consists of 52 narratives, written by SWs and GPs on problematic and non-problematic situations. The third study is based on vignette-based focus group interviews with 25 SWs and GPs. And the fourth study is based on a literature review, consisting of 54 articles about SWs’ and GPs’ practice. A first finding is that professionals rarely describe lack of knowledge or difficulties with knowledge use as problematic. A second finding is that non-problematic situations are connected to professionals’ control of the intervention process. SWs gained control of the relationship with the client either by use of coercive means or by the client’s active co-operation. GPs gained control of the intervention process by the use of professional knowledge. A third finding is that an understanding of professional practice as a linear process consisting of diagnosis, inference and treatment reflects GPs’ practice but not all aspects of SWs’ practice. A fourth finding is that both professions hold ambivalent positions towards evidence-based risk reductions technologies. The responses towards organisational risk reductions technologies differ in that GPs are sceptical, whilst SWs take a more pragmatic view. A main conclusion is that the Swedish state’s efforts to govern the performative aspects of SWs’ practice by knowledge, runs the risk of becoming a insufficient strategy since they tend to exhibit two main blind spots. The first is that these efforts tend to ignore that the relationship with the client has a crucial affect on and conditions SWs’ and in problematic situations also GPs’ knowledge use. The second is that the efforts also tend to ignore that control of the intervention process is not always maintained through control of knowledge use. For SWs control of the relationship with clients represents another mode of professional control of the intervention process. / Hur använder socialarbetare och allmänläkare kunskap i praktiken?, FAS/FORTE dnr 2009-0251

The diploma thesis examines the role of convention in J. L. Austin's speech act theory. It describes the possibility of "how to do things with words": such an analysis of language will be suggested that does not focus on the category of truth when dealing with particular utterances but rather replaces it with the category of felicity of a speech act in the social context. After having offered the explication including the central points of the given theory, there starts the investigation of which parts of the speech act theory are conventionally based and what role do conventions play in the speech act theory as a whole.

Este trabalho tem como finalidade analisar o processo de apropriação e conservação da biodiversidade a partir da perspectiva do povo indígena Zenú da Colômbia e dos diferentes sujeitos sociais, tais como organizações sociais de caráter local e ONGs, que trabalham nesse território, a partir da introdução de sementes transgênicas de milho em regiões vizinhas desde 2007. Este processo tem como referência a pesquisa etnográfica para a compreensão das diferentes iniciativas sociais e políticas impulsionadas pelo povo indígena em seu propósito de defender a biodiversidade do seu resguardo (reserva) e a constituição de uma identidade étnico territorial dentro deste grupo indígena. Assim, a biodiversidade constitui-se em um elemento fundamental na configuração da identidade étnico-territorial do povo Zenú, sustentadas, complementariamente, por uma elaboração discursiva de caráter performativo. Esse processo desemboca, por sua vez, em uma de re-indigenização do território que, além de reivindicar referentes espaciais e elementos culturais de vital importância para este grupo social, como é o caso do milho, estabelece os limites de uma nova fronteira simbólica em relação aos estados nacionais, geradora de sentimentos de pertencimento, mobilizações e posições políticas que confrontam as problemáticas que ameaçam seu território. Analisamos, da mesma forma, a construção de uma ecopolítica transnacional que supõe a conformação de laços, alianças e redes entre sujeitos sociais locais e transnacionais. Dentro desse conjunto de relações, centramo-nos no vínculo estabelecido entre a ONG Swissaid e o povo indígena Zenú, nos interessando, principalmente, na articulação das demandas culturais e territoriais desse grupo tradicional com as dos outros que circulam na rede de biodiversidade da América Latina, sob a perspectiva da campanha Sementes de identidade. Destacamos ainda a relação que as famílias indígenas estabelecem com o território, especialmente com a cultura do milho, adentrando-nos nas práticas comunitárias que sustentam a biodiversidade e buscam a reprodução social desse povo tradicional. / This research seeks to analyze the process of appropriation and conservation of the biodiversity from the perspective of the Zenu Indian people of Colombia and also of the different social subjects, such as local organizations and NGOs, that work in this territory, since the introduction of transgenic seeds of maize in neighboring regions from 2007. Taking, therefore, the ethnographic investigation as a reference to the comprehension of the different social initiatives and policies created by this Indian people in its purpose of defending the biodiversity of its territory and the constitution of an ethnic territorial identity inside this Indian group. The biodiversity constitutes, thus, a fundamental element in the configuration of an ethnic territorial identity of the Zenu people, sustained, in addition, by a discursive production with a performative character. This process ends, in turn, in a revitalization of an Indian condition of its population, and consequently, of its territory. A revitalization that, besides claiming spatial modals and cultural elements of vital importance for this social group, such as the case of the maize, establishes the limits of a new symbolic border in relation to the national States, that generates feelings of belonging, mobilizations and political positions that confront the problems that threat its territory. Thus, we analyze the construction of a transnational ecopolitic that supposes the conformation of bonds, alliances and connections between local and transnational social subjects. Within this set of relations, we focus on the link established between the NGO Swissaid and the Zenu people, being interested, mainly, in the joint of the cultural and territorial demands of this traditional group with that of other social subjects that circulate in the biodiversitys network of Latin America, under the perspective of the campaign Seeds of Identity. We emphasize also the relation that the Indian Zenu families establish with the territory, specially with the culture of the maize, making an approximation to the community practices that sustain the biodiversity and look to continue the social reproduction of this traditional people.