Chez les Kabyè du Togo, le cycle de l'initiation masculine occupe une place centrale dans la construction du rapport au territoire. Échelonnée sur dix années et composée de quatre grades, l'initiation est la voie d'accès au statut d'homme adulte. Les rites d'entrée dans les différents grades procèdent conjointement à l'inscription de tous dans le territoire villageois, et à l'identification progressive des jeunes hommes à des créatures de brousse. Le dispositif rituel construit des jeunes gens aptes à pénétrer en brousse ― chaque grade le faisant selon ses propres modalités ― pour pouvoir finalement faire face aux menaces qu'elle recèle. L'articulation de l'initiation au cycle annuel des rites agraires et cynégétiques, et au cycle quinquennal des rites de régénération du territoire est étudiée. Elle permet de mettre en évidence que le lien des initiants à la brousse est réinvesti par le système rituel, de telle sorte que les initiants sont d'importants intervenants dans les rites permettant le maintien des conditions d'existence au village. Leurs actes complètent ceux des responsables du culte aux divinités du territoire : des grands prêtres aux accents de rois sacrés. La façon dont les initiants prennent part aux rites liés à la pluie, au vent et à la terre, et les interdits auxquels ils sont soumis, appuient l'hypothèse qu'ils partagent avec les grands prêtres un pouvoir immédiat sur les éléments naturels. L'initiation masculine peut être comprise comme une initiation à la royauté sacrée qui, pour la majorité des jeunes hommes, n'ira pas jusqu'à son terme. Dans la phase ultime de l'initiation, certains pourront être intronisés grands prêtres. / Among the Kabye of Togo, the male initiation cycle is central to building the relationship to the territory. Completed over a period of ten years and divided into four grades, the initiation cycle is the route to the adult male status. The rites of access to the different grades jointly proceed to the inclusion of all in the village territory, and to the progressive identification of young men to bush creatures. The ritual system makes sure young people are able to penetrate the bush — each grade according to its own terms — and cope with the threats it holds. The link between the initiation and the annual cycle of the agricultural and hunting rites, as well as the quinquennial cycle of regeneration of the territory, is studied hereafter. This highlights that the link between the initiates and the bush is reinvested by the ritual system, in such a way that the initiates are important contributors to the rites, allowing the conditions of existence in the village to be maintained. Their actions complete those of the people in charge of worshipping the territory divinities: great priests resembling sacred kings. The way the initiates take part in rituals linked to rain, wind and earth, in addition to the taboos they face, support the hypothesis that they share with the great priests an immediate power on natural elements. The male initiation cycle can be understood as an initiation to sacred kingship which, for the majority of young men, will not be fully completed. In the ultimate phase of the initiation cycle, some will be enthroned as great priests.

Cette approche de recherche sur Fernando Arrabal et le théâtre panique pointe une période circonscrite à l’œuvre théâtrale du dramaturge dite « panique ».L’objet de cette thèse cherche donc à essayer de comprendre la théorie panique (la mémoire, le hasard et la confusion) ainsi qu’une thématisation sur les différents modèles artistiques de ses pièces paniques et l’influence arrabalienne dans le devenir scénique d’aujourd’hui. L’étude part d’une nouvelle esthétique théâtrale baroque allant du texte à la scène ainsi que de la stratégie utilisée par l’écrivain dramaturge dans ces pièces appelée la cérémonie panique.La problématique centrale est celle de la perception esthétique et cathartique qui plonge le spectateur vers la confusion de la scène et de la vie. Le panique suivant la théorie artauldienne fusionne la réalité et le cauchemar. L’individu est confronté au chaos de la vie jusqu’à la fin tragique de la mort.La dramaturgie arrabalienne mène l’écrivain sur un double questionnement, celui de la quête de la gloire, de l’identité avec la réalité à travers la connaissance de soi et du monde mais aussi aux peurs que cela provoque. La représentation de ce théâtre plonge le spectateur dans un véritable choc émotionnel. Le théâtre panique de Fernando Arrabal est un théâtre universel, mais aussi un théâtre de l’extrême, qui va à l’encontre de la vérité, de la liberté et de la panique. Une panique individuelle et collective qui à travers un théâtre total fait éclater la raison et les carcans sociétaux cherchant un monde meilleur. L’écrivain est d’autant plus d’actualité que la triste réalité nous confronte au théâtre panique. / This approach to the research on Fernando Arrabal and the panic theater points out to a specific and limited time of the playwright’s theatrical work called "panic".The aim of this thesis is therefore to try to understand the panic theory (memory, chance and confusion) as well as a thematization on the different artistic models of these panic plays and the Arrabalian influence on the scenic future of today. The study begins with a new baroque theatrical aesthetics ranging from text to scene and from the strategy used by the playwright in these panic plays called the panic ceremony.The central problem is that of the aesthetic and cathartic perception that plunges the viewer into the confusion of the scene and of life. The panic following the Artauldian theory merges reality and nightmare. The individual is confronted with the chaos of life until the tragic end of death.The Arrabalian dramaturgy leads the writer on a double questioning, that of the quest for glory, of identity with reality through the knowledge of the self and of the world, but also that of the fears it fathers. The representation of this theatre plunges the viewer into a real emotional shock. The panic theater of Fernando Arrabal is not only a universal theatre, but also a theatre of the extreme, which goes against the truth, freedom and panic. An individual and collective panic which, through a complete theater, is breaking out reason and social contraints, and also looking for a better world. The writer is all the more topical as the sad reality confronts us with panic theater.

Esta dissertação tem como objetivo analisar como a dimensão religiosa fortaleceu o processo de devolução do terreno do Pátio do Colégio para a Companhia de Jesus em 1954 e, posteriormente, a reconstrução do conjunto arquitetônico, iniciada a partir de 1955. Analisando a permanência e a manutenção da memória do conjunto jesuíta a partir de 1810 até a devolução do terreno para a ordem e o início da construção do conjunto a partir da década de 1950, além da dispersão e da preservação de objetos tidos como sagrados oriundos das antigas edificações do Pátio do Colégio, busca-se entender como grupos ligados à Igreja Católica e, em especial, à Companhia de Jesus influenciaram no retorno do caráter sagrado desse território gradativamente secularizado a partir da expulsão dos jesuítas no século XVIII, auxiliando na reconstrução e validação do conjunto religioso. / This dissertation aims to analyze how the religious dimension has strengthened The process of returning the land from the Patio do Colégio to the Society of Jesus in 1954 and, later, the reconstruction of the architectural set, started from 1955. Analyzing the permanence and maintenance of the memory of the Jesuit Of 1810 until the return of the land to the order and the beginning of the construction of the set From the 1950s, in addition to the dispersion and preservation of objects considered as From the old buildings of the Patio do Colégio, it is sought to understand how Groups linked to the Catholic Church and, in particular, to the Society of Jesus In the return of the sacred character of this territory gradually secularized from Expulsion of the Jesuits in the eighteenth century, assisting in the reconstruction and validation of Religious group.

A pesquisa debruça-se sobre a arquitetura religiosa moderna produzida no Brasil, sua trajetória e seu processo de renovação ao longo do século XX, tendo a luz natural como o protagonista deste espaço e o uso das técnicas de proporcionamento na composição plástica das igrejas como eficazes em mobilizar a percepção humana. O objeto de estudo da presente pesquisa configura-se através da arquitetura religiosa produzida por personagens do Movimento Moderno no Brasil: Oscar Niemeyer, Edgar Guimarães do Valle, Dominikus Böhm, Gottfried Böhm, Adolf Franz Heep, Edgar Oliveira Fonseca, Joaquim Guedes, Hans Broos, Antônio Carlos Farias Pedrosa, Jerônimo Bonilha Esteves, Israel Sancovski e Carlos Alberto Naves. Numa delimitação histórica, restringe-se ao período entre 1940 e 1970, fase de implementação, assimilação e consolidação dos princípios modernos no Brasil. Através do estudo e análise das capelas e igrejas escolhidas, a pesquisa desvenda as formas pelas quais o arquiteto entendeu o conceito luminoso, o problema de medidas e de proporções e como isso se refletiu nas expressões e linguagens que envolvem a arquitetura. Para isso, o trabalho analisa treze obras. Os programas representativos dessa arquitetura a serem estudados serão capelas e igrejas católicas. / The research focuses on modern religious architecture produced in Brazil, its history and its process of renewal throughout the twentieth century and the natural light as the protagonist of this space and the use of proportioning techniques in plastic composition of the churches as effective to mobilize human perception. The study object of this research is configured through religious architecture produced by Modern Movement in Brazil characters: Oscar Niemeyer, Edgar Guimarães Valle, Dominikus Böhm, Gottfried Böhm, Adolf Franz Heep, Edgar Oliveira Fonseca, Joaquim Guedes, Hans Broos, Antonio Carlos Farias Pedrosa, Jeronimo Bonilha Esteves, Israel Sancovski and Carlos Alberto Naves. In a historical definition, is limited to the period between 1940 and 1970, the implementation phase, assimilation and consolidation of modern principles in Brazil. Through the study and analysis of the chosen chapels and churches, the research reveals the ways in which the architect got the bright idea, the problem of measurements and proportions and how it was reflected in the expressions and languages that involve architecture. For this, the paper analyzes thirteen works. Representative programs of this architecture to be studied will be chapels and Catholic churches.

La parole politique est l'instrument principal d’exercice du pouvoir au Cameroun, dirigé par Paul Biya depuis trente-cinq ans. Confrontée aux postures du sujet politique, cette parole trahit à l’arrière-plan discursif, les pensées profondes de l’homme politique. Apporter un éclairage sur cette situation particulière est la tâche principale que nous nous sommes assigné dans cette thèse de Doctorat qui s'intéresse à la relation entre le pouvoir et la mise en scène argumentative dans le discours de Paul Biya à l'ère du multipartisme au Cameroun. Le cadre épistémologique dans lequel se positionnent nos travaux est l’analyse du discours avec une orientation vers l’argumentation rhétorique. Empruntant les démarches intégrative et analytique de l’analyse de discours, nous puisons les concepts opératoires de notre recherche principalement dans les sciences du langage. Nous procédons aussi à l’exploration textométrique de notre corpus à l’aide du logiciel d’analyse statistique Hyperbase. L’analyse nous invite également à constituer de nouvelles notions pour rendre compte des particularités du discours de Paul Biya. La thèse montre que dans sa communication, Paul Biya procède à une mise en scène fondée sur des arguments logico-affectifs, ancrée dans la réalité sociale et les pratiques des différents pouvoirs traditionnels camerounais. Derrière le masque discursif, l'analyse met au jour des stratégies de persuasion, l'évolution de la vie sociopolitique camerounaise. Cette recherche révèle comment Paul Biya incarne un pouvoir fort, sacralisé voire mythifié; s'arrogeant une aura nationale exclusive apte à apaiser le peuple et à inhiber toute action rivale. C’est ainsi qu’il a réussi à mettre en place un régime politique qui joue constamment sur des contrariétés en vue de pérenniser son pouvoir. / Political speech is the main tool used in order to wield power in Cameroon, a country which is being run by Paul Biya for the past 35 years. The various stands taken by this political figure is revealed through these speeches which inform on the argumentative background and inner thoughts of this politician. The doctorate thesis which studies the relationship between power and the argumentative strategies in Paul Biya speeches in the multiparty era in Cameroon therefore sets out to throw more light on this peculiar situation. This research work is discussed from the vantage point of discourse analysis, more specifically on rhetoric argumentation. Using integrative and analytical approaches to discourse analysis, the work draws its key concepts mainly from language sciences. The textometric analysis of the corpus is carried out using the Hyperbase Statistics Analysis software. Also, the analysis of the corpus has brought us to coin new terms in order to address the specificities of Paul Biya speehes. The findings reveal that in his speeches, Paul Biya makes use of a set-up which is grounded on logico-affective arguments anchored in the social reality as well as in the practices of the various traditional powers in Cameroon. The analysis also brings to the fore the various persuasive strategies and the evolution of the sociopolitical life in Cameroon. This research work also reveals how Paul Biya incarnates a strong, sacred and mythified power which gives him the privilege of having an exclusive aura at the national level which can appease the Cameroonian people and nip in the bud all the initiatives of his rivals. He has therefore succeeded in establishing a political regime which takes advantage of disharmony in order to perpetuate his power.

Submitted by admin tede (tede@pucgoias.edu.br) on 2016-09-08T19:46:37Z No. of bitstreams: 1 DOUGLAS OLIVEIRA DOS SANTOS.pdf: 2100172 bytes, checksum: a1c86dc714849f689d29018fbb28c466 (MD5) / Made available in DSpace on 2016-09-08T19:46:37Z (GMT). No. of bitstreams: 1 DOUGLAS OLIVEIRA DOS SANTOS.pdf: 2100172 bytes, checksum: a1c86dc714849f689d29018fbb28c466 (MD5) Previous issue date: 2016-02-12 / In the interpretation of sacred literature, we realized that the hermeneutical Christian principles always interpret the Old Testament from its current conception of monotheism. Here, we analyze the construction of this monotheistic concept in an attempt to understand how these interpretive principles have guided the understanding of Deuteronomy and Joshua 6.4 24.15 with this monotheistic perspective. To perform this analysis, we must understand the current imagery in various processes of construction of the Western Sacred, studying these texts in the Hebrew Bible, in the monolátrica construction process and checking the Hellenistic influences in the formation of the Septuagint. That way, you can see the influences that permeate translations and interpretative methods of fundamentalist Orthodox perspective and current, and rehearse questions and critical-constructive reflections. / Na interpretação da literatura sagrada, percebemos que os princípios hermenêuticos cristãos sempre interpretam os textos do Antigo Testamento a partir da sua concepção atual de monoteísmo. Aqui, analisamos a construção desse conceito monoteísta, na tentativa de entender como esses princípios interpretativos passaram a nortear a compreensão de Deuteronômio 6,4 e Josué 24,15 com essa perspectiva monoteísta. Para realizar essa análise, foi preciso compreender o imaginário vigente em vários processos da construção do Sagrado ocidental, estudando esses textos na Bíblia Hebraica, no processo da construção monolátrica e na verificação das influências do Helenismo no processo de formação da Septuaginta. Dessa forma, é possível perceber as influências que permeiam as traduções e os métodos interpretativos de perspectiva fundamentalista e ortodoxa atuais, e ensaiar questionamentos e reflexões crítico-construtivos.

Made available in DSpace on 2016-07-27T13:48:51Z (GMT). No. of bitstreams: 1 Perciliana Chaves Pereira.pdf: 8433744 bytes, checksum: d75f751f681297087e07b3584621e18f (MD5) Previous issue date: 2004-03-26 / The objective of this thesis seeks to study analytically the religiousness present in the poetic writings of Cora Coralina underscoring her representative influence in the field of letters in Goiás and her multifaceted symbologies that were made possible by the re-signification of linguistic signs through which the poetess elaborates her universe of meanings. Starting with bibliographical research as a basis of support, a hermeneutic process is utilized in the de-construction of the poems being studied in order to verify the fabric of her work. Initial1y, the social-cultural enviroment lived and represented by Cora Coralina, which gives birth to the majority of her themes, is established. What is sought to be shown is how the authoress constructs by means of nature' s elements ( earth, water, vegetation, rocks) manifestations that mark the presence of the force of the sacred in her poetry elevating the profane world to this irrefutable condition by means of a rich symbology with which her verses are ornamented. Her identification with the "obscure" (workers, marginalized women, the poor, the outcast) and her symbiosis with the elements of animate (animals, plants, roots etc.) and inanimate (earth, land, rocks etc.) nature are researched. Final1y, the plausibility of Coralina s world, which via religiousness and mysticism is impregnated with diverse levels of transcendence converting that which is particular into universal, is sought to be revealed. What one seeks to disclose as a synthesis to all this examination is human essence as scrutinized by the poetess, who is a representative of the presence of the feminine being in the world. / Este trabalho tem por objetivo fazer um estudo analítico da religiosidade presente na escritura poética de Cora Coralina, destacando também sua representatividade no cenário das letras goianas e as multifaces de suas simbologias, possibilitadas pela ressignificação dos signos lingüísticos com que a poetisa elabora o universo de suas conotações. Partindo de uma pesquisa bibliográfica como suporte teórico, utiliza-se um processo hermenêutico na desconstrução dos poemas em estudo, a fim de verificar como se processa a sua tecitura. Inicialmente, situa-se o ambiente sóciocultural vivido/representado por Cora, gestador maior de suas temáticas. Procura-se mostrar que, por intermédio dos elementos da natureza: terra, água, vegetação, pedra, a autora constrói hierofanias que marcam a força do sagrado em sua poesia, alçando o mundo profano à irrefutável condição de sagrado por meio da rica simbologia com que orna seus versos. Investiga-se sobre suas identificações com os obscuros (trabalhadores, mulheres excluídas, gente humilde, marginalizados) e sobre suas simbioses com os elementos da natureza animada (animais, plantas, raízes etc.) e inanimada (terra, gleba, pedra etc). Por fim, busca-se revelar a plausibilidade do mundo coralineano que, por via da religiosidade e do misticismo, é impregnado de diversas transcendências, as quais convertem o que é local em universal. Como síntese de todas essas perquirições, tenta-se desvelar a essência humana perscrutada pela poetisa, representante do ser feminino no mundo.

by Lai Boon Tsing Joseph. / Thesis (M.Phil.)--Chinese University of Hong Kong, 1994. / Includes bibliographical references (leaves 212-214) and discography (leave 215). / Chapter Chapter 1 --- Introduction --- p.1 / Chapter Chapter 2 --- The Development of I. Stravinsky's Word- setting Philosophy --- p.8 / Chapter Chapter 3 --- The Word-setting of Threni: id est Lamentationes Jeremiae Prophetae (1957/58) --- p.29 / Chapter Chapter 4 --- "The Word-setting of A Sermon, a Narrative and a Prayer (1960/1)" --- p.70 / Chapter Chapter 5 --- The Word-setting of Abraham and Isaac (1962/3) --- p.102 / Chapter Chapter 6 --- Comparison of the Word-setting of the Three Selected Passages --- p.137 / Chapter Chapter 7 --- Conclusion --- p.156 / Appendices --- p.162 / Bibliography --- p.212 / Discography --- p.215 / List of Appendices / Appendix I THRENI: The metric placement of the normally-stressed syllables --- p.162 / Appendix II THRENI: The metric placement of the normally-unstressed syllables --- p.168 / Appendix IIIA THRENI: Normally-unstressed syllables that are accentuated resulting from an ascending leap in the melody --- p.175 / Appendix IIIB THRENI: Normally-stressed syllables that are accentuated resulting from an ascending leap in the melody --- p.178 / "Appendix IV THRENI: The treatment of the ultimate syllable of a phrase, clause or sentence" --- p.180 / "Appendix V A SERMON， A NARRATIVE AND A PRAYER, II A NARRATIVE: Table of monosyllabic sung- words showing their stressed or non- stressed identity" --- p.182 / "Appendix VI A SERMON, A NARRATIVE AND A PRAYER, II A NARRATIVE: The metric placement of the normally-stressed syllables" --- p.185 / "Appendix VII A SERMON, A NARRATIVE AND A PRAYER, II A NARRATIVE: The metric placement of the normally-unstressed syllables" --- p.187 / "Appendix VIIIA A SERMON， A NARRATIVE AND A PRAYER, II A NARRATIVE: Normally-unstressed syllables that are accentuated resulting from an ascending leap in the melody" --- p.189 / "Appendix VIIIB A SERMON, A NARRATIVE AND A PRAYER, II A NARRATIVE: Normally-stressed syllables that are accentuated resulting from an ascending leap in the melody" --- p.190 / "Appendix IX A SERMON, A NARRATIVE AND A PRAYER,II A NARRATIVE: The distribution of all syllables stressed by all means" --- p.191 / Appendix X ABRAHAM AND ISAAC :The metric placement of the normally-stressed syllables --- p.195 / Appendix XI ABRAHAM AND ISAAC: The metric placement of the normally-unstressed syllables --- p.199 / Appendix XIIA ABRAHAM AND ISAAC : Normally-unstressed syllables that are accentuated resulting from an ascending leap in the melody --- p.204 / Appendix XIIB ABRAHAM AND ISAAC: Normally-stressed syllables that are accentuated resulting from an ascending leap in the melody --- p.206 / "Appendix XIIIA A SERMON, A NARRATIVE AND A PRAYER, II A NARRATIVE: The distribution of normally-stressed monosyllabic words" --- p.208 / "Appendix XIIIB A SERMON, A NARRATIVE AND A PRAYER,II A NARRATIVE: The distribution of normally-unstressed monosyllabic words" --- p.210

Made available in DSpace on 2016-04-25T19:20:13Z (GMT). No. of bitstreams: 1 Nadia Garcia Basso.pdf: 8975347 bytes, checksum: c301e85effd16c42273715fad9b94b1b (MD5) Previous issue date: 2011-04-29 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / The television media becomes the stage and pulpit of new religious actors, especially the neo-Pentecostal pastors who believe in the strength of this effective tool to acquire a new herd, through virtuality. The church parades on the TV catwalk. Since modern communication strategies, the Universal Church of the Kingdom of God acquired this visibility using mainly the mass media and among all projects in the area, the Rede Record TV shows to be the most ambitious. High investments occurred in the technical and programming of the station at the hearing reflected that success, at the point of taking the runner-up position in audience at various times on TV. The influence of the station is also noticed in the pews of Bishop Edir Macedo; many testimonies confess that it was through religious programming, on the Rede Record TV dawns, which led the faithful to participate in the meetings in the temples. However, the priority is not to conquer the UCKG huge audience, but to establish a contract between sender and recipient of the communication so that the viewer becomes a consumer of the religious services offered and symbolic goods. The study object of this research is the television media as an instrument of IURD disclosure of his religious ideals. It is intended to analyze the use of persuasion of the religious discourse of television IURD in the process of conversion of the faithful reconstruction of the sacred and the value proposition designed by media resources, specifically the television media. Although the theme of the Brazilian neo- Pentecostal scenario, which emerges with much impact, the Universal Church of the Kingdom of God, has been approached with a special interest for researchers in the field of Religious Science, we believe that research can establish boundaries, as where we adopt the concept of bias of Simulacrum and the Baudrillardian vision about the age of image and new technologies, the virtual and the extinction of the ideological truths , as the theoretical basis of this research in relation to the UCKG media empire in post-modernity. Delimiting the object further, we intend to examine the program say, that I listen to you from IURD so we turn to the postmodern characteristics, with special emphasis on the analysis of simulacrum that permeates contemporary television communication / A mídia televisiva torna-se palco e púlpito de novos atores religiosos, especialmente os pastores neopentecostais, que acreditam na força desse instrumento eficaz, para conquistar um novo rebanho, por meio da virtualidade. As igrejas desfilam na passarela televisiva. A partir de estratégias modernas de comunicação, a Igreja Universal do Reino de Deus adquiriu essa visibilidade utilizando principalmente os meios de comunicação de massa e entre todos os projetos na área, a Rede Record de Televisão demonstra ser o mais ambicioso. Altos investimentos ocorreram no aspecto técnico e na programação da emissora que refletiram na audiência conseguida, a ponto de assumir a vice-liderança no Ibope em vários horários na TV. A influência da emissora também é percebida nos bancos da igreja do bispo Edir Macedo, muitos testemunhos confessam que foi através da programação religiosa, presente nas madrugadas da Rede Record de Televisão, que induziram os fiéis a participarem das reuniões nos templos. No entanto, a prioridade da IURD não é conquistar altos índices de audiência, mas estabelecer um contrato entre destinador e destinatário da comunicação para que seu telespectador se torne um consumidor dos serviços religiosos e bens simbólicos oferecidos. O objeto de estudo dessa pesquisa é a mídia televisiva da IURD como instrumento de divulgação de seu ideário religioso. Pretende-se analisar a potencialidade de persuasão do discurso religioso televisivo da IURD, no processo de conversão dos fiéis, na reconstrução do sagrado e proposição de valores projetados por meio de recursos midiáticos, especificamente, a mídia televisiva. Embora, o tema sobre o cenário neopentecostal brasileiro, no qual emerge com muito impacto, a Igreja Universal do reino de Deus, tenha sido abordado com um especial interesse pelos pesquisadores da área de Ciências da Religião, consideramos possível estabelecer demarcações nessa pesquisa, na medida em que adotamos o viés do conceito de Simulacro e da visão baudrillardiana, sobre a era da imagem, das novas tecnologias, do virtual e da extinção das verdades ideológicas, como base teórica dessa pesquisa em relação ao império midiático da IURD na pós-modernidade. Delimitando ainda mais o objeto, pretendemos analisar o programa Fala que eu te escuto da IURD a fim de adentrarmos nas características pós-modernas, com ênfase especial no enfoque de simulacro que permeiam a comunicação televisiva contemporânea

Made available in DSpace on 2016-04-25T19:20:14Z (GMT). No. of bitstreams: 1 Jose Antonio Boareto.pdf: 2598639 bytes, checksum: c06f9f34b0fcb52ebedab04a3b5d08c6 (MD5) Previous issue date: 2011-05-13 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / The object of story of this work is the youth adeptto the Bola de Neve Church. Through the approach of their experiences, we try to stablish a link to the studies in Science of Religion, with a respective from the instituting instend of the institution. The field search and the interdiscplinar analysis are being the basis to offer clues to an understanding of this youth religious phenomenom. The challenge of locating it within the Brazilian Religious Field leads us to elaborate another necessary concept to describe it: neo-tribalism-pentecostal . The delimitation for the study are the thoughts on neopentecostalism as seen in Ricardo Mariano and neo-tribalism as seen in Michel Maffesoli. The experiences of the young ones are analysed through three references: conversion, aesthetics and religious experience; from the perspective of Rodney Stark, Edin Abumanssur and Luiz Felipe Pondé respectives. Considering this concept, ing offer an understandient key to the tribal characteristics of church as teenfagic and pledge of the emergengy of the savage sacred , and second to the thought of Roger Bastide acting as an orixá servant / O objeto de estudo deste trabalho são os jovens adeptos da Bola de Neve Church. Procuramos aproximar de suas experiências e com isto corroborar com os estudos em Ciências da Religião numa perspectiva de análise partindo do instituinte ao invés da instituição. Através da pesquisa de campo e da análise interdisciplinar oferecemos pistas para uma compreensão deste fenômeno religioso juvenil. O desafio de localizá-lo dentro do Campo Religioso Brasileiro faz com que elaboremos outra conceituação necessária para descrevê-lo: neo-tribalismo-pentecostal. As delimitações para o estudo são os pensamentos sobre neopentecostalismo como visto em Ricardo Mariano e neo-tribalismo como visto em Michel Maffesoli. A experiência dos jovens é analisada através de três referências: conversão, estética e experiência religiosa; da perspectiva de Rodney Stark, Edin Abumanssur e Luiz Felipe Pondé respectivamente. Considerando este conceito, oferece-se uma chave de compreensão para as características tribais da igreja como teenfágica e propiciadora da emergência do sagrado selvagem, e segundo o pensamento de Roger Bastide atuando como uma serva dos orixás