This thesis represents an analysis of symbolic expressions used to convey traditional Chinese cultural values in marital relations as expressed through costumes and lyrics in Peking Opera plays and performances. Two symbols, dragon and phoenix, were selected from the costume collection. Four symbols--bird, tiger, wild goose, and dragon--were selected from compilations of lyrics. These symbols were selected because they expressed Chinese core cultural values, an imperial ideology based on Confucian thoughts, which were practiced rigidly during Qing Dynasty (1644-1911). Modeling Theory is applied to argue that dragon and phoenix as visual symbols convey ideas about characters' background, marital relationship, social status shifts, and socio-culturally desirable values. Social Drama Theory is employed to analyze the lyrics to understand how ideal images of husband and wife are constructed. The archetypes of Chinese traditional culture that have influenced Chinese thought and action for centuries are discovered and discussed.

Este trabalho propôs um estudo da cerâmica Anasazi/ Pueblo Antigo, Mogollon e Casas Grandes, com o intuito de averiguar a presença de um \"código pictórico\". Para tanto, foram realizadas análises quantitativas e qualitativas de um conjunto de 1.451 peças arqueológicas. Os resultados dessas análises levaram à constatação da existência de um \"código pictórico\" formado por um conjunto finito de símbolos gráficos, cuja produção e reprodução foi observada em cerâmicas dispersas tanto por uma ampla faixa territorial, como ao longo de uma considerável escala temporal (aprox. de 500 d.C. a 1500 d.C.). O conjunto artefatual estudado foi produzido por grupos humanos que habitaram uma região conhecida na arqueologia como \"Sudoeste\". Tendo como base a constatação de que este \"código pictórico\" foi amplamente expresso na cerâmica encontrada ao longo de vastos territórios, foi também aqui investigado e demonstrado que alguns de seus \"símbolos principais\" poderiam também ser encontrados na iconografia de áreas hoje consideradas como norte e centro - mesoamericanas. Nesse sentido, o trabalho buscou contribuir também para o aprofundamento do debate da natureza das trocas e dos contatos que hoje acredita-se terem sido travados ao longo destas extensas áreas. / This work aims to demonstrate the existence of a common \"pictorial code\", through a study of the Anasazi/ Ancient Pueblo, Mogollon and Casas Grandes ceramic production. The quantitative and qualitative analyses conducted in 1.451 ceramic artefacts were able to demonstrate the presence of a pictorial code, formed by an specific set of graphic symbols, expressed in the ceramics found through a vast territory, covering a substantial time lapse (from aprox. 500 d.C. to 1500 d.C.). Groups that once inhabited a region known in archeological literature by the name of \"Southwest\", produced the ceramic artifacts analyzed by this study. Considering that this \"pictorial code\" was present and seen through such extensive areas, its presence was also investigated in the material production of the surroundings areas of Mesoamerica. It was demonstrated, through such investigation, that some of its main symbols were also depicted in the iconography of north and central Mesoamerica. The analysis of such scenario contributes to a better understanding of the nature of the contacts and exchanges that it is known today to have happened through such territories.

Made available in DSpace on 2016-04-27T19:31:42Z (GMT). No. of bitstreams: 1 antonio.pdf: 5926373 bytes, checksum: e6b6ebc1ebc01dfe122f88bf7c4cbfc6 (MD5) Previous issue date: 2008-01-21 / Along the historical development of the Brazilian nation constitution, from nineteen century, accentuate idealizations of building a society based on progress and civilization basics. At various times and in different ways, social ideals were projected for the nation in construction, which was formed in policies of the elites associated with the Imperial government and in economy based on slavery. Such notions that formed, at the same time, the basis of ideal departure and the end of destination, were benchmarks taken in Europe, particularly in France, where the development of the art industrial hinder a firm pace of constant acceleration, signaling an irreversible process of progress and civilization. In this context, as justifying the option for the imported models, the caipira, social subject relegated to the historical ostracism, is going to be used as a representation of the non-progress and the non-civilized. This study seeks then to interpret, within the benchmark methodology of Depth Hermeneutics, and within the conceptual structures developed in Cultural History, as symbolic expressions built with the image of caipira had potential to operate as ideology, in this specific social and historic context / Ao longo do desenvolvimento histórico de constituição da nação brasileira, a partir do século XIX, acentuam-se idealizações de construção de uma sociedade baseada nas noções de progresso e civilização. Em diversos momentos e de diferentes modos, projetavam-se ideais sociais para a nação em construção, que se formava nas políticas das elites associadas ao governo Imperial e numa economia fundamentada na escravidão. Essas noções que constituíam, ao mesmo tempo, a base ideal de partida e o termo de destino, eram referenciais tomados da Europa, especialmente da França, onde o desenvolvimento da técnica industrial entrava numa cadência firme de aceleração constante, sinalizando um processo irreversível de progresso e civilização. Neste contexto, como que uma justificativa da opção pelos modelos importados, o caipira, sujeito social relegado a um ostracismo histórico, passa a ser utilizado como representação do não progresso e do não civilizado. Este estudo procura, então, interpretar, dentro do referencial metodológico da Hermenêutica de Profundidade, e dos arcabouços conceituais desenvolvidos na História Cultural, como que as expressões simbólicas construídas com a imagem do caipira tinham potencial para operar como ideologia neste contexto social e histórico específico

Este trabalho propôs um estudo da cerâmica Anasazi/ Pueblo Antigo, Mogollon e Casas Grandes, com o intuito de averiguar a presença de um \"código pictórico\". Para tanto, foram realizadas análises quantitativas e qualitativas de um conjunto de 1.451 peças arqueológicas. Os resultados dessas análises levaram à constatação da existência de um \"código pictórico\" formado por um conjunto finito de símbolos gráficos, cuja produção e reprodução foi observada em cerâmicas dispersas tanto por uma ampla faixa territorial, como ao longo de uma considerável escala temporal (aprox. de 500 d.C. a 1500 d.C.). O conjunto artefatual estudado foi produzido por grupos humanos que habitaram uma região conhecida na arqueologia como \"Sudoeste\". Tendo como base a constatação de que este \"código pictórico\" foi amplamente expresso na cerâmica encontrada ao longo de vastos territórios, foi também aqui investigado e demonstrado que alguns de seus \"símbolos principais\" poderiam também ser encontrados na iconografia de áreas hoje consideradas como norte e centro - mesoamericanas. Nesse sentido, o trabalho buscou contribuir também para o aprofundamento do debate da natureza das trocas e dos contatos que hoje acredita-se terem sido travados ao longo destas extensas áreas. / This work aims to demonstrate the existence of a common \"pictorial code\", through a study of the Anasazi/ Ancient Pueblo, Mogollon and Casas Grandes ceramic production. The quantitative and qualitative analyses conducted in 1.451 ceramic artefacts were able to demonstrate the presence of a pictorial code, formed by an specific set of graphic symbols, expressed in the ceramics found through a vast territory, covering a substantial time lapse (from aprox. 500 d.C. to 1500 d.C.). Groups that once inhabited a region known in archeological literature by the name of \"Southwest\", produced the ceramic artifacts analyzed by this study. Considering that this \"pictorial code\" was present and seen through such extensive areas, its presence was also investigated in the material production of the surroundings areas of Mesoamerica. It was demonstrated, through such investigation, that some of its main symbols were also depicted in the iconography of north and central Mesoamerica. The analysis of such scenario contributes to a better understanding of the nature of the contacts and exchanges that it is known today to have happened through such territories.

When collective action for community is defined as local development or as a struggle for survival different understandings are in focus. Politically, this kind of community action is defined as local development and understood in terms of growth and economics. An economic approach to community action is also emphasised in the EU-programmes that support local development groups and projects. On the other hand local groups describe their activities as a struggle for community and community survival. Inspired by feministic research approaches and with an interest in human aspects and values this study investigates meanings of community action as experienced and expressed by rural inhabitants and activists. The study is based on fieldwork that was carried out in a small rural community in the northern inlands of Sweden: Trehörningsjö. Since the middle of the 1990s, the women in Trehörningsjö have driven collective action to uphold the community. With its point of departure in the community and expanding into the arenas of reserach and politics, the study takes on the form of a reflexive research process in which the researcher's former knowledge and new understandings are made visible and discussed parallel with the interpretations made. The main focus of the study is the activist's demand of voice, visibility and worth. The first chapter presents the local community and provides a background to the study. The chapter includes an account of the reflexive approach that widened the field of research from a local to a translocal study of community action. In chapters two, three, four and five the struggle for community is reflected through fieldwork experiences in Trehörningsjö and other arenas beyond the village. Situated events and instances of collective action such as the fight for the local health care centre, are analysed as symbolic expressions of community values and rural importance. From chapter two and onwards, the study follows the footsteps of the leading female activist in and beyond the community itself; that is, the day-to-day work, meetings, conferences and other places where community action is acted out. The struggle for community is proven to focus on translocal rather than local action. In chapter six the fieldwork experiences - that tell about resistance and a struggle for community values and perspectives - are placed in the wider context of the rural development movement, local development research and governmental rural policy in Sweden. On all these arenas community action tend to be interpreted as local development in line with a growth perspective, rather than as community protests and struggles that expresses other meanings. Chapter seven takes the analyses and discussion further, and relates community struggle to concepts such as civil society and social economy. Anthony Giddens concept of life politics and Alberto Meluccis concept of collective action are used to deepen the analysis on how humane meanings and relation based aspects of community action are made invisible on the political "growht and development" agenda. Community struggle presents a possibility for rural inhabitants to (re)define and reclaim their community and themselves as important and valuable. However, to be able to understand what the concept of community struggle expresses, and demands, it needs to be acknowledged as a form of action that has the potential to challenge established bureaucratic and political defintions, which, in practice, proves to be difficult.