Submitted by Cláudia Bueno (claudiamoura18@gmail.com) on 2015-10-28T17:08:39Z No. of bitstreams: 2 Dissertação - CHRISTIANE cavalcante FRAUZINO - 2015.pdf: 7170723 bytes, checksum: f43faceaa92e5fae8fa3e73a13a52868 (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) / Approved for entry into archive by Luciana Ferreira (lucgeral@gmail.com) on 2015-10-29T10:17:05Z (GMT) No. of bitstreams: 2 Dissertação - CHRISTIANE cavalcante FRAUZINO - 2015.pdf: 7170723 bytes, checksum: f43faceaa92e5fae8fa3e73a13a52868 (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) / Made available in DSpace on 2015-10-29T10:17:05Z (GMT). No. of bitstreams: 2 Dissertação - CHRISTIANE cavalcante FRAUZINO - 2015.pdf: 7170723 bytes, checksum: f43faceaa92e5fae8fa3e73a13a52868 (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) Previous issue date: 2015-04-14 / The present article evoke memories from my childhood and bring to present poetic elements that I will to construct a project for site specific. Images-memories of the past came into my mind like photographs. The memory like a poetic territory envolve and put together past and present on the same line, breaking boundaries. The images used to make the curtains, were printed from woodcut , pieces of old floorboard. Between present and past, images and memories, i try to connect ideas to propose possilites dialogues poetic. / Deambulando pelo território da memória afetiva, encontrei uma lembrança singular da qual comecei a explorar as possibilidades de um processo poético entre gravura e site specific. A presente pesquisa esboça um breve percurso possível de ser visualizado através da proposta de elaboração de um site retira imagens de matrizes apropriadas dos restos do antigo assoalho do casarão de meus familiares na cidade de Morrinhos e as transpõe para longas cortinas. A partir desse processo é que busco as relações poéticas entre os referenciais teóricos e execução poética de uma obra.

Grief and ritual : a pastoralperspective This study was undertaken with the aim to investigate the value of ritual for pastoral care, with a specific focus on loss – mainly the loss of a loved one because of death. Ritual is approached from a variety of perspectives in order to build a foundation for an understanding of the origins, functions and purposes of ritual. From this understanding of ritual, the effectiveness of ritual in the practice of pastoral care with the grieving is explored. Not only knowledge of ritual, but also the effect of death on those who are left behind and the process of grieving should be understood before the role of ritual in grief care can be investigated. The pastoral caregiver plays a guiding role in the practice of rituals in grief care. The bereaved should always be the main actor and the ritual should be planned in consultation with the person for whose benefit it is applied and performed. A lack of knowledge concerning the effect of death on people and systems as well as the process of grieving, can lead to people – pastoral caregivers and family, friends and colleagues who form the support system of those in the grief process – doing more harm than good, even though they meant well. Knowledge and an understanding of the process of grieving can enhance the support offered both by pastoral caregivers and by support systems. Since grief work cannot be done in isolation, this study emphasizes the involvement of the supporting group or community of the bereaved. Pastors and the faith community supporting the grieving persons should also beware of and actively oppose damaging theologies with regard to death. This study prefers ‘grief tasks’ that are to be completed, to ‘phases of grief’ through which the person goes, since the latter implies passivity on the side of the bereaved – something that ‘happens to’ them. ‘Grief tasks’, on the other hand, implies an active involvement in working through grief towards a desired outcome and a new future that does not exclude the deceased from the narrative of the lives of the living, but includes it in a way that accepts the death and supplements the new life narrative with memories of the deceased. Rituals of remembrance are pivotal since remembering in a healthy way has healing power for those who grieve. Ritual is found to be a very useful resource in pastoral care with the grieving and bereaved. A cognitive approach to healing is not sufficient. A cognitive-emotive approach is more appropriate, since it involves both mind and emotions. Ritual contributes a further aspect and speaks to a person’s whole being. Ritual can reach beyond words because it is symbolically laden and requires the active participation and performance of the bereaved. When grieving persons make the decision to deal with their loss actively, they will likely reach the desired outcome sooner and more effectively than would otherwise have been the case. / Thesis (PhD)--University of Pretoria, 2014. / gm2014 / Practical Theology / unrestricted

The oratorio August 4, 1964 is a twelve-movement work for orchestra, chorus, and four soloists written by Steven Stucky. The premise for the libretto, adapted by Gene Scheer, is the confluence of two events during one day (August 4, 1964) in the life of Lyndon B. Johnson. Although the main idea of the libretto focuses on these two events of this one day, many cultural references of the 1960's in general can be found as well, such as quotations from the well-known song "We Shall Overcome." Stucky borrows from a motet he wrote in 2005 for another quotation source utilized in this oratorio, "O Vos Omnes." My goal in this thesis is to reveal and analyze the many different levels of quotations that exist within August 4, 1964, to explore each quotation's individual function within the oratorio (as a cultural gesture, commentary or remembrance), and to examine the structural coherence that emerges as a result of their use within the oratorio.

This thesis is based on the theoretical framework of memory studies and deals with the question of memory and trauma representation in the prose works of Patrick Modiano, Georges Perec and W. G. Sebald. The thesis analyses a number of their works and focuses on the possibilities and difficulties of representing the traumatic experience of the Holocaust as well as the tension between the authors' personal memory and the collective and cultural memory expressed in post-war literature. Looking at the individual texts, the thesis traces various signs of traumatic narrative displayed in them, such as hypertrophied memory motifs and instruments, disruptions of linear chronology or a specific register that makes elements of extreme experience penetrate into the everyday. The thesis reaches two conclusions: first, that the traumatic narrative scheme is firmly tied to narration per se and reveals its transformative potential; second, that by means of the tools of traumatic narration, the authors find common ground in the ethical imperative of testimony.

No description available.

This dissertation explores the development of an American D-Day tale. D-Day, the Allied invasion of northwestern France in June 1944, stood out to Americans because it seemed to promise a quick end to the Second World War in Europe. This lasting conception of the amphibious assault as a critical juncture has placed it in the forefront of American memories of the war's European phase. More than a turning point, however, American conceptions of the event have come to constitute a veritable morality tale. According to its narrative, D-Day demonstrated the military competence of a free republic that put its faith in citizen-soldiers. This tale has romanticized warfare by depicting it as an event populated by democratic heroes engaging clearly evil foes in decisive clashes fought for liberty, national redemption, and world salvation. The redemptive power of violence displayed on Norman beaches enjoyed divine blessing, and even, as sometimes claimed, outright assistance. Veterans and their family members, politicians, military leaders, honorific organizations, news media personalities, filmmakers, scholars and authors all have offered entries into a staggering field of American D-Day-related material. Their messages, largely similar in tone, transmitted to American audiences through museums, monuments, news stories, books, speeches, games, documentary films and Hollywood spectaculars. This dissertation will also evaluate the impact of their memory work on America. D-Day allegedly reaffirmed cherished American notions of democracy, fair play, moral order, and the militant (yet non-militaristic) use of power for divinely sanctioned and altruistic purposes. Such interpretations of clashing arms have exerted a powerful influence on American conceptions of patriotism, civic duty, and the efficacious use of military power. Feeding the militarization of American culture in the Cold War and beyond, the D-Day tale has pushed Americans to see war as a bloody yet noble clash, a veritable crusade used by the righteous for just purpose and decisive results. This story has cemented into place popular conceptions of the battle and an ideal-type of expectations for "good" wars. / History

This dissertation represents an interpretation of the different forms of negativity in the modernist work that can be understood in terms of that which is unsaid, unsayable, or any other means of refusing to give an affirmative proposition regarding the world the work describes. It explores this negativity as both a representation of that which cannot be represented, and as an operational negativity, or negation, that takes part in the unmaking of the work's figures. The function of this negativity, as interpreted in Marcel Proust's Remembrance of Things Past (1913-1927), James Joyce's Ulysses (1922) and Krapp's Last Tape (1959) by Samuel Beckett, is to rewrite the representations of the work. Negativity is then also understood as a transformation and conditioning of elements already present in the literary work, that lead to ambivalent and problematic representations in the work. In this sense, negativity can be understood as a form of rewriting of the work's representations. The interpretations of the works of Proust, Joyce and Beckett are guided by this understanding, as given in the introduction, of negativity. In the analysis of Proust's novel, in "The Unmaking of Proust: Negation and Errors in Remembrance of Things Past", this form of negativity is situated in relation to Proust's handling of epistemological questions and mimetic references to reality in his work. The analysis of Joyce's work in "The Wandering of Language in James Joyce's Ulysses" discusses his treatment of language and the origins of language as being characterized by a negation that increases the difficulty of the language, and attempts to negate its origins. Finally, in the analysis of Beckett's "Krapp's Last Tape", in "Beckett, Proust, and the End of Literature", it is shown that negativity conditions both the reception of the influence of Proust by Beckett, and the play's attempt to suggest the end of writing. In conclusion the dissertation returns to the idea of negativity as a form of rewriting, and briefly indicates that the function of negativity in these novels can be understood as a form of invention. / Thesis (M.A.)--Potchefstroom University for Christian Higher Education, 2000.

This dissertation represents an interpretation of the different forms of negativity in the modernist work that can be understood in terms of that which is unsaid, unsayable, or any other means of refusing to give an affirmative proposition regarding the world the work describes. It explores this negativity as both a representation of that which cannot be represented, and as an operational negativity, or negation, that takes part in the unmaking of the work's figures. The function of this negativity, as interpreted in Marcel Proust's Remembrance of Things Past (1913-1927), James Joyce's Ulysses (1922) and Krapp's Last Tape (1959) by Samuel Beckett, is to rewrite the representations of the work. Negativity is then also understood as a transformation and conditioning of elements already present in the literary work, that lead to ambivalent and problematic representations in the work. In this sense, negativity can be understood as a form of rewriting of the work's representations. The interpretations of the works of Proust, Joyce and Beckett are guided by this understanding, as given in the introduction, of negativity. In the analysis of Proust's novel, in "The Unmaking of Proust: Negation and Errors in Remembrance of Things Past", this form of negativity is situated in relation to Proust's handling of epistemological questions and mimetic references to reality in his work. The analysis of Joyce's work in "The Wandering of Language in James Joyce's Ulysses" discusses his treatment of language and the origins of language as being characterized by a negation that increases the difficulty of the language, and attempts to negate its origins. Finally, in the analysis of Beckett's "Krapp's Last Tape", in "Beckett, Proust, and the End of Literature", it is shown that negativity conditions both the reception of the influence of Proust by Beckett, and the play's attempt to suggest the end of writing. In conclusion the dissertation returns to the idea of negativity as a form of rewriting, and briefly indicates that the function of negativity in these novels can be understood as a form of invention. / Thesis (M.A.)--Potchefstroom University for Christian Higher Education, 2000.

Made available in DSpace on 2016-04-28T19:58:46Z (GMT). No. of bitstreams: 1 Valter Donizete Flauzino.pdf: 918088 bytes, checksum: 42b4fd044f25d18dd242e4c151b45e77 (MD5) Previous issue date: 2012-06-27 / The main objective of this research is to study the significative implications between memory and writing, on novel S. Bernardo (1934), by Graciliano Ramos, emphasizes the process of the act of writing and, in it, the relations between memory and lookings. To guide this subject, we propose some critical hypotheses over essays written by Antonio Candido, João Luiz Lafetá, Wander Melo Miranda and Luís Bueno, in which these writers exceed the importance of writing to understand the novel. When the chief character narrator, Paulo Honório, gets in the representation of last lifetime, by the act of writing, he reaches the actual moment to review his actions, and facts of the past and, therefore, to correct his perspectives, ideas and values. To the conduct the reading again his past experiences, and to get in the understanding of his reality, the narrator obtains the possibility to know himself, to aware himself of the effects of his past actions, to know about the fusion of his memories to Madalena ones, and other characters, and, mainly, to embody the essence, and the metamorphosis of the impulsive man in dreamer one. We also guide to the studies about memory, according to Henry Bergson, Paul Ricoeur and Maurice Halbwachs, besides the theories about writings of Maurice-Jean Lefebve, Maurice Blanchot, and other ones. The research results have shown us the passage of writing to the act, and of how the writing of S. Bernardo established the process of metamorphosis of the character Paulo Honório. So, Paulo Honório moves from of condition of impulsive man to the dreamer one, and, by the act of writing, he becomes an evocative man. He gets in, under the poetic essence, in the universe of writing, built by possibilities, and by the no paths of the composition of his memorial book / O objetivo central desta dissertação é estudar as implicações significativas entre a memória e a escrita, no romance S. Bernardo (1934), de Graciliano Ramos (1892-1953), privilegiando o processo da escritura e, nele, as relações entre memória e olhar. Para atender a esta temática, propomos as hipóteses críticas levantadas da leitura dos ensaios críticos sobre S. Bernardo, escritos por Antonio Candido, João Luiz Lafetá, Wander Melo Miranda e Luís Bueno, nos quais destacam a relevância da escrita para a compreensão do romance. Paulo Honório, o narrador protagonista, ao se entregar à representação da experiência vivida, pela via da escritura, ganha o instante presente para rever suas ações e eventos do passado e, assim, corrigir suas perspectivas, ideias e juízos de valor. Ao proceder à releitura das vivências passadas e à compreensão de sua realidade, o narrador obtém a possibilidade de se autoconhecer, de conscientizar-se das consequências de seus feitos passados, de perceber a interpenetração de suas memórias com as de Madalena e demais personagens, e, principalmente, de incorporar a essencialidade e a transformação de homem impulsivo em homem sonhador. Também recorremos aos pressupostos teóricos sobre a questão da memória, segundo Henry Bergson, Paul Ricoeur e Maurice Halbwachs, bem como as teorias sobre a escrita de Maurice-Jean Lefebve e Maurice Blanchot, dentre outros. O resultado deste estudo nos revelou que a passagem da escrita da memória à escritura de S. Bernardo constituiu o processo de metamorfose da personagem Paulo Honório. Ao agir, dessa maneira, Paulo Honório transita da condição de homem impulsivo para a de homem sonhador e, via escritura, torna-se um homem evocativo. Instala-se, com essência quase poética, no universo do escrever, feito pelas possibilidades e descaminhos da composição do seu livro memorialista

Submitted by William Justo Figueiro (williamjf) on 2015-06-18T22:41:27Z No. of bitstreams: 1 31.pdf: 3145044 bytes, checksum: e64cd0a17cc5ef444666b102db1cfa46 (MD5) / Made available in DSpace on 2015-06-18T22:41:27Z (GMT). No. of bitstreams: 1 31.pdf: 3145044 bytes, checksum: e64cd0a17cc5ef444666b102db1cfa46 (MD5) Previous issue date: 2011-04-15 / CAPES - Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / Este é um estudo comunicacional de interface com a Filosofia, que articula duas temáticas: televisão e memória. De um lado, então, trabalhamos com perspectivas teóricas do campo da Comunicação, principalmente os conceitos de midiatização, audiovisualidades e ethicidades televisivas. Do outro lado, buscamos informações sobre memória nos pensamentos filosóficos de Henri Bergson, Paul Ricoeur e Sören Kierkegaard. Os tensionamentos teóricos possibilitaram a construção qualitativa do objeto, que denominei de Recordação televisual, cuja observação é guiada basicamente por três pontos: 1) os tempos em que são enunciadas lembranças singulares dos múltiplos indivíduos televisivos; 2) a intersubjetivação televisiva de memórias individuais – passados íntimos, privados, identitários; 3) uma reflexão sentimental do passado, que cabe a cada indivíduo fazer por si. Com o objetivo de apreender esse objeto em sua heterogeneidade e movência, articulamos à pesquisa o método intuitivo de Henri Bergson. Na primeira etapa do método, então, cartografamos as linhas de diferenciação. Para isso, foram imaginadas três categorias de fronteiras móveis, inspiradas pela metáfora da Constelação de Walter Benjamin: 1) Relatos de vida, em que a TV se torna um meio de enunciação de si, com narrativas orais sobre um passado íntimo; 2) Testemunhos de fatos televisivos, também composta por discursos orais, mas que visam à reconstituição de fatos que já são públicos; 3) Imagens mentais, tempos em que a TV constrói as imagens-lembranças dos indivíduos. Por fim, na segunda etapa da Intuição, as linhas divergentes foram convergidas para um mesmo ponto virtual, transformando o objeto num conceito. Em suma, a Recordação televisual se define como uma prática de construção de memórias individuais, mas que, através do uso de diversos elementos discursivos, se mantém sob o controle televisivo (de quem enuncia), e é utilizada para engendrar ações que perpetuem seu poder. / This study is a communication interface with Philosophy, which articulates two themes: television and memory. At first, we work with theoretical perspectives in the communication field, especially concepts of mediatization, “audiovisualidades” and “ethicidades televisivas”. On the other hand, we research information about memory in the philosophical thoughts of Henri Bergson, Paul Ricoeur and Sören Kierkegaard. The theoretical tensions allowed the quality construction of the object (which was named Televisual Remembrance), whose monitoring is guided primarily by three points: 1) the TV times when memories of the multiple natural individuals television are produced, 2) the individual memories of television – the intrinsic, private and identity pasts; 3) a sentimental reflection of the past, that each individual do by themselves. Aiming to appropriate this object in its heterogeneity and processuality, we articulated the intuitive method to the research from Henri Bergson. In the first stage of method, we mapped the lines of differentiation. For this purpose, we devised three categories of moving boundaries, inspired by the Constellation metaphor of Walter Benjamin: 1) Life reports, when the TV becomes a way of self-enunciation, with oral narratives about the past; 2) Testimonials of television facts, which also contains oral speeches, but aiming at the reconstruction of public events; 3) Mental images, when the TV constructs memory-images. After all, in the second stage of Intuition, the divergent lines were converged to a virtual point, becoming the object in a concept. The Televisual Remembrance is defined as a practice of construction of individual memories, which, through the use of some discursive elements, remains under the television control, and it is used to create actions that perpetuate its power.