Orientador: Giovanni Antonio Pinto Alves / Resumo: A reestruturação que o ensino superior privado vem experimentado nos últimos anos impactou nas instituições criadas pós 1968 e 1996. Os paradigmas da gestão flexível foram introduzidos no mercado educacional “graças” a entrada do capital especulativo, representado pelos grandes conglomerados do setor. As instituições “locais” e as fundações, tiveram que promover uma reengenharia nas instituições para concorrer nesse mercado. Essas mudanças afetaram sobre maneira o trabalho do docente, que viu seus ganhos minorados, e suas condições de trabalhos precarizadas, além é claro de conviverem com o medo constante da demissão, fruto da instabilidade do negócio da educação. O adoecimento, que seria resultado esperado do aviltamento das condições de trabalho, no entanto, não são expressos no número de absenteísmo no setor. Isso em razão da privatização do sofrimento, etos requerido do docente pelo ramo da educação privada. Essa privatização do sofrimento é a forma de permanecer em atividade num setor que valoriza o discurso gerencialista da proatividade e resiliência. A privatização do sofrimento é expressa através do silenciamento dos docentes, que mesmo em face de precarização e rebaixamento do trabalho e das condições de vida, se resignam as condições laborativas apresentadas. / Abstract: The restructuring that private higher education has undergone in recent years has impacted the institutions created after 1968 and 1996. The paradigms of flexible management were introduced into the educational market "thanks" to the entry of speculative capital, represented by the great conglomerates of the sector. The "local" institutions and the foundations had to promote a re-engineering in the institutions to compete in that market. These changes affected in a way the work of the teacher, who saw his gains reduced, and his conditions of precarious work, besides of course of living with the constant fear of dismissal, fruit of the instability of the education business. Illness, which would be expected from the degradation of working conditions, however, are not expressed in the number of absenteeism in the sector. This is due to the privatization of the suffering, required by the teacher in private education. This privatization of suffering is the way to remain active in a sector that values the managerialist discourse of proactivity and resilience. The privatization of suffering is expressed through the silencing of teachers, who, even in the face of precariousness and relegation of work and living conditions, resign themselves to the working conditions presented. / Doutor

A dissertação Pintura, silêncio e outros ruídos tem como principal mirada reflexiva a produção de dois artistas norte-americanos: John Cage e Cy Twombly. Partindo das proposições de entendimento do conceito de silêncio feitas por John Cage, Pintura, silêncio e outros Ruídos tensiona algumas aproximações entre determinados trabalhos de Cage - produzidos a partir de 4\'33, 1952 - e da produção em pintura e desenho de Twombly, sugerindo algumas relações entre som, desenho, pintura e ruído. As reflexões geradas a partir da aproximação entre os dois artistas são levadas, em seguida, à minha própria produção em pintura, observando a maneira como incidem em minha investigação prática. / The dissertation Painting, silence and other noises has as its main focus of reflection the work of two north-american artist: John Cage and Cy Twombly. Following along the understanding propositions of the concept of silence done by John Cage, Painting, silence and other stresses some similarities between some (specific) work done by Cage - fr 4\'33? and beyond - and both pantings and drawings by Twombly, suggesting some relationship between sound, drawing, painting and noise. The reflections generated from the proximity between the two artists are considered, as follows, in my own production of paintings, noting how they influence my own research.

Made available in DSpace on 2015-03-04T21:02:07Z (GMT). No. of bitstreams: 0 Previous issue date: 21 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / A presente dissertação analisa em que sentido Wittgenstein nos convida ao silêncio a partir de seu último aforismo no Tractatus logico-philosophicus 1921, que foi norteador deste trabalho: “Sobre o que não se pode falar, sobre isso deve-se calar.” . Observa-se que o silêncio ocupa um lugar de identidade, ou seja, será necessário guardá-lo, protegê-lo, pois é a partir do silêncio, para Wittgenstein, que será possível encontrar a “clareza” que se busca sobre o mau uso que se faz da linguagem. O silêncio é, portanto, o hiato entre o dito e o não-dito; nele estão contidas as condições de possibilidade para compreensão daquilo que está para ser dito, mas que só pode ser mostrado. Paradoxalmente, para Wittgenstein mais uma vez o silêncio representa a atitude, porque para ele o significado da vida não poderia ser suficiente ou logicamente explicado através de sistemas lógicos. Segundo tese de Wittgenstein, há um limite para a linguagem, ou seja, nossa linguagem é insuficiente e, portanto, seria necessário apelar a i / The current presentation analyzes the sense in which Wittgenstein invites us to the silence from his last aphorism in Tractactus logico-philophicus 1921, which has oriented this work: " Whereof one cannot speak, thereof one must be silent. " Observe oneselt that the silence occupies a place of identity, that is, It will be necessary to keep itselt, protect itselt, because it is from silence to Wittgenstein, that it will be possible to find the “clarity” that is sought over the bad use of the language. The silence is, therefore, the hiatus between what is said and what is unsaid, in it are the conditions of the possibility to a comprehension from that is still to be said, but it can only be shown. Paradoxically, to Wittgenstein once more the silence represents the attitude, because to him, the meaning of life could not be enough or logically explained through the logic systems. According to Wittgenstein is thesis, there is a limit for the language that is, our language is insuffcient and therefore, it would be

A dissertação Pintura, silêncio e outros ruídos tem como principal mirada reflexiva a produção de dois artistas norte-americanos: John Cage e Cy Twombly. Partindo das proposições de entendimento do conceito de silêncio feitas por John Cage, Pintura, silêncio e outros Ruídos tensiona algumas aproximações entre determinados trabalhos de Cage - produzidos a partir de 4\'33, 1952 - e da produção em pintura e desenho de Twombly, sugerindo algumas relações entre som, desenho, pintura e ruído. As reflexões geradas a partir da aproximação entre os dois artistas são levadas, em seguida, à minha própria produção em pintura, observando a maneira como incidem em minha investigação prática. / The dissertation Painting, silence and other noises has as its main focus of reflection the work of two north-american artist: John Cage and Cy Twombly. Following along the understanding propositions of the concept of silence done by John Cage, Painting, silence and other stresses some similarities between some (specific) work done by Cage - fr 4\'33? and beyond - and both pantings and drawings by Twombly, suggesting some relationship between sound, drawing, painting and noise. The reflections generated from the proximity between the two artists are considered, as follows, in my own production of paintings, noting how they influence my own research.

This thesis explores chosen practices of silence in contemporary Christian women’s lives, insubstantially addressed within the literature of feminist and practical theologians. A survey of their discourse, which predominantly addresses the imposed silencing of women and the attendant quest for authentic voice to name their experiences, is supplemented by interdisciplinary exploration of silence within wider theologies, Quaker Studies, linguistics, and the talking and arts therapies. Employing feminist research methodologies, this qualitative study utilises descriptively rich material from semi-structured interviews to consider the function of silence within research interviews, to identify and map women’s engagement within a spectrum of practices of silence, to explore their role in the women’s spiritual journeys, and to highlight difficulties reported in sustaining this discipline. Data analysis shows that although frequently associated with solitude, practices of silence are valued as transformational in the women’s relationships with God, self, and others. A metaphor of a web is proposed to represent the process of relational change, and silence’s potential in developing relationally responsible communities is advocated. Explanations for feminist theologians’ neglect of chosen silence are derived from the analysis, and this discipline is invited to re-engage with silence as a resource for discovering authentic identity beyond egoic selfhood.

The purpose of this study was to capture, analyse and interpretate Non-Standard Workers (NSWs) experience of the phenomenon of silence in organisational settings to provide a conceptualisation of the antecedents and determinants of silence utilised by NSWs.

This thesis explores the intersection of observational filmmaking with auto-ethnographic writing, a combination not used very often but with great potential for visual anthropologists. I examine how my research and filmmaking over a ten-year period have been shaped both by my cancer experience as well as by my Japanese background. Using the metaphor "journey", I approach my own traumatic cancer experience and turn it into a field of study. My journey begins from the moment of my first cancer diagnosis and treatment in the US, moving through my second diagnosis in Norway, and leading up to my most recent fieldwork with a cancer support community in Japan. My auto-ethnographic journey illustrates how I altered my own relationship to my cancer, moving through critical encounters that transformed me from a silent sufferer to an attentive listener. These experiences have also influenced my metaphorical thinking about "dying well" to "living well" with cancer. My personal journey is closely linked to my professional one, and also affects my approaches to filmmaking. By meeting the anthropologist Paul Stoller, who has also lived in the world of cancer, I learned the importance of coming to terms with one's own cancer mask. This mask can easily evoke a sense of being trapped in a "continuous liminality" (Stoller 2005), a transitional state between health and sickness, hopefulness and hopelessness, past and future, life and death. How am I able, as a researcher and filmmaker, to go on with my life in this in-between state and attend to the lives of others through this cancer mask? In my recent fieldwork, I decided to enter the world of the cancer patients' shadow and met with the families of patients and bereaved families in a support group in Japan. I learned that they too wore a mask, though I struggled to establish friendships with them as my cancer status versus their caregiver status distanced us somewhat. I overcame this challenge by using the technique of collaborative filmmaking to seek mutual fellowship with them, and trying to create a shared space in-between, ma in Japanese, where we could meet and feel with each other (kyokan empathy). For that purpose, and combined with the technique of feedback screening, I used a mobile phone as a filming device to free up my face and to make me available as a listener for the filmed persons. The fieldwork resulted in the film 'To the Last Drop' (2016). By combining the methods of auto-ethnographic writing and observational filmmaking, my personal account served to broaden my understanding of the experiences of those afflicted by cancer in Japan. Together, these methods expand on the space between, where suffering becomes visible and silence becomes audible, in a culturally sensitive way.

Made available in DSpace on 2016-04-28T20:38:50Z (GMT). No. of bitstreams: 1 Mariana Domingues.pdf: 508389 bytes, checksum: 7b6625adc76ce2643ae522480ca7e8b5 (MD5) Previous issue date: 2014-03-10 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This work is part of an investigation into the silence and its repercussions in the image field. Bergman and Tarkovsky were chosen to situate a particular type of film, it appears that in close dialogue with psychoanalysis and the subject's relation to the image / Este trabalho parte de uma investigação acerca do silêncio e suas repercussões no campo da imagem. Bergman e Tarkovski foram os escolhidos pra situar um determinado tipo de cinema, este que aparece em estreito diálogo com a psicanálise e a relação do sujeito com a imagem

Sixteen figures, all lined up together, speaking quietly.

Silence in and around mixed-status families in the United States is an issue that is not an easy task to categorize or understand. In order to comprehend the various ways in which silence intersects with the lives of these communities, this study uses various accounts from mixed-status families as well as studies from various fields as a starting point.