Made available in DSpace on 2016-04-25T20:20:58Z (GMT). No. of bitstreams: 1 Dieudonne Bukasa N Dala.pdf: 1277018 bytes, checksum: b850095ffe7ee5b8ce095860699d6f41 (MD5) Previous issue date: 2013-06-04 / Our objective for this study is to write about the Syncretism Afro Brazilian, particularly, and the syncretism Afro Catholic with the case of Ibeji e saints Cosmas and Damian, particularly. This way we wrote about the twins in Africa first and about the twins in Brazil at the second moment. After this, we made our considerations / O nosso objetivo é de escrever sobre o sincretismo afro-brasileiro, em geral, o sincretismo afro-católico com o caso dos Ibeji e santos Cosme e Damião, em particular. Por isso, analisamos os gêmeos na África primeiro para depois escrever sobre os gêmeos no Brasil. Depois disso, fizemos as nossas considerações

Made available in DSpace on 2016-04-26T14:54:09Z (GMT). No. of bitstreams: 1 Dieudonne Bukasa N Dala.pdf: 1277018 bytes, checksum: b850095ffe7ee5b8ce095860699d6f41 (MD5) Previous issue date: 2013-06-04 / Our objective for this study is to write about the Syncretism Afro Brazilian, particularly, and the syncretism Afro Catholic with the case of Ibeji e saints Cosmas and Damian, particularly. This way we wrote about the twins in Africa first and about the twins in Brazil at the second moment. After this, we made our considerations / O nosso objetivo é de escrever sobre o sincretismo afro-brasileiro, em geral, o sincretismo afro-católico com o caso dos Ibeji e santos Cosme e Damião, em particular. Por isso, analisamos os gêmeos na África primeiro para depois escrever sobre os gêmeos no Brasil. Depois disso, fizemos as nossas considerações

Nesta investigação damos continuidade aos estudos sobre textos sincréticos verbovisuais iniciados no mestrado, tendo como objeto empírico de estudo os fanzines, também chamados zines, publicações alternativas de pequena circulação, que se situam nas bordas, nas interfaces entre arte, design, literatura e cultura visual. Na escolha do objeto empírico, bem como na delimitação do corpus de análise, levamos em consideração algumas particularidades observadas na obra de Roland Barthes (1984, 1990, 2004). Corroboraram com essa escolha, o crescente interesse pelos fanzines observado nas áreas de Educação, Comunicação e Design, o surgimento e expansão dos zine fests e a escassez de publicações e estudos acadêmicos sobre o assunto no Brasil. Como objetivo geral, estudamos o sentido ou os efeitos de sentido advindos das relações entre as linguagens envolvidas nos zines. Para tanto, contamos com o aporte teórico e metodológico da semiótica discursiva. Dentre seus autores, citamos as contribuições de Barros (2003), Fiorin (2004, 2009), Teixeira (2004, 2009) e Greimas e Courtés (1991, 2008). Para pensar especificamente as relações entre as linguagens no plano de expressão, buscamos aproximações com Louis Hjelmslev (1978, 2006) e José Roberto do Carmo Jr. (2009). A partir das análises de Pequeno compêndio dos fantasmas interiores, de Ale Kalko; Acordo mal e Em branco, de Hannah Uesugi constatamos entre seus componentes relações de interdependência que, por sua vez, foram examinadas quanto a três dimensões: aproximação/afastamento; coerência/incoerência e subjetividade/objetividade. Consideramos que tais dimensões também estejam presentes nas relações entre linguagens acionadas em outros textos sincréticos verbovisuais. Com isso, pretendemos colaborar tanto para o ensino da arte como para pesquisas que tenham como objeto empírico de estudo manifestações sincréticas verbovisuais. Além de apresentarmos o zine como potente material para experimentação expressiva e conceitual também proporcionamos subsídios teóricos e metodológicos para o aprofundamento da leitura de imagens, trazendo a semiótica discursiva para o contato de professores e pesquisadores. Por outro lado, com o estudo das relações entre linguagens pensadas como dimensões esperamos contribuir para uma sistematização da leitura do plano de expressão de textos sincréticos, ainda em construção na semiótica discursiva. / In the present investigation we continued our studies on verb-visual syncretic texts started in the Master’s course, having as empirical object of study the fanzines, also called zines, alternative publications of small circulation, which are found on the margins, on the interfaces between art, design, literature and visual culture. When choosing the empirical object as well as the limits of corpus of analysis, we took into consideration some features observed in the work of Roland Barthes (1984, 1990, 2004). The growing interest for fanzines, observed in the fields of Education, Communication and Design, the emergence and expansion of zine fests and the lack of publications and academic studies on the topic in Brazil have supported such choice. As a general objective, we studied the sense or the effects of sense resulting from the relations between the languages involved in the zines. To do so, we made use of the theoretical and methodological input of discursive semiotics. Amongst its authors we mention the contributions by Barros (2003), Fiorin (2004, 2009), Teixeira (2004, 2009) and Greimas and Courtés (1991, 2008). In order to think specifically about the relations between the languages in the expression plan, we looked for reports with Louis Hjelmslev (1978, 2006) and José Roberto do Carmo Jr. (2009). Based on analysis of the Pequeno compêndio dos fantasmas interiores, by Ale Kalko; Acordo mal and Em branco, by Hannah Uesugi we noticed, amongst their components, relations of interdependency which, in turn, were examined concerning three dimensions: approximation/distance; coherence/incoherence and subjectivity/objectivity. We consider that such dimensions are also present in the relations between languages used in other verb-visual syncretic texts. Thus, we intend to collaborate both for the teaching of art as well as for researches which have as their empirical object of study, verb-visual syncretic manifestations. Besides presenting the zine as a powerful material for expressive and conceptual experimentation we also provide theoretical and methodological subsidies for the development of image reading, making the discursive semiotics accessible for teachers, professors and researchers. On the other hand, with the study of the relations between the languages seen as dimensions we expect to contribute for a systematization of the reading of the expression plan of syncretic texts, still under construction in the discursive semiotics.

O objetivo central desta dissertação foi mostrar como os judeus messiânicos da sinagoga Beit Sar Shalom vêem a si próprios e como são vistos pelos grupos de fora de suas fronteiras étnicas, no caso, como eles são vistos pelas lideranças judaicas seculares e religiosas da cidade de São Paulo. O judaísmo messiânico é uma religião que mistura elementos do cristianismo, pois acredita que o messias enviado por Deus é Jesus, e do judaísmo, porque mantém parte de seus rituais, festas e tradições. A partir da análise realizada foi possível concluir que se trata de um tipo paradigmático de religião sincrética, em que os elementos ora do cristianismo, ora do judaísmo são cuidadosamente selecionados e aplicados a seu corpo doutrinário. O trabalho foi desenvolvido a partir da etnografia da sinagoga messiânica Beit Sar Shalom localizada em São Paulo no bairro de Higienópolis. Foram analisados aspectos ritualísticos dessa religião, assim como aspectos identitários a exemplo de rituais de iniciação e de passagem comparando-os com rituais judaicos tradicionais. / The central objective of this dissertation was to show how messianic jews from Beit Sar Shalom synagogue see themselves and how they are seen by the groups outside their ethnicity frontiers, in the present case, how they are seen by Jew leadership secular and religious from São Paulo city. Messianic Judaism is a religion that mixes elements of Christianity, because they believe that the messiah sent by God is Jesus and Judaism because maintaining part of the rituals, festivities and traditions. The results of this analyze should be seen as indicators that the religion was concluded as a kind of paradigmatic syncretic one, in which elements of Christianity and Judaism are carefully selected and applied to the doctrinaire body. The study was developed having as starting point the ethnography of the Beit Sar Shalom, messianic synagogue, located in São Paulo in the borough Higienópolis. Ritualistic aspects of this religion were analyzed as were identity aspects such as initiation and passage rituals, comparing them with traditional jewish rites.

L’objectif de cette thèse est d’étudier la singularité de Déméter et de Coré à Cyrène. À travers la personnalité des deux divinités et des rites effectués en leur honneur, on se propose de faire comprendre les modalités de leur vénération et d’en montrer l’originalité. L’expansion rapide de leur culte cyrénéen ainsi que l’attrait populaire qu’il suscitait s’expliquent par la préexistence d’une déesse chtonienne de la fertilité dont la personnalité était assez forte pour ne pas être engloutie littéralement par la déesse grecque des colonisateurs. La Déméter libyenne cache sous le masque d’une divinité canonique, une puissance de la végétation redoutable attachée aux sols et liée au monde des morts. Cet état de fait n’est pas une simple analogie entre deux cultes préexistants et ne peut se produire sans un mouvement de foi profond. Les mutations qu’ont subies les déesses de Cyrène étaient déjà en puissance dans les divinités qu’ont importées les premiers Cyrénéens, mais c’est l’introduction de rites barbares qui leur a permis de s’épanouir en terre libyenne. Il ne s’agit pas là d’une fusion qui calquerait les caractéristiques des divinités libyennes sur des divinités grecques, mais plutôt d’une sorte de cohabitation divine qui permettrait un enrichissement réciproque des déesses. Le contact entre les deux civilisations n’a bouleversé ni les Grecs, ni les indigènes : la Déméter de Cyrène, tout comme les divinités libyennes de la fertilité, était d’une essence assez originale pour perdurer par-delà le phénomène de syncrétisme. / The objective of this thesis is to study Demeter and Persephone’s singularity at Cyrene. Throught the personnality of the two deities and the rites performed in their honour, we explain how they worship and how original they were. The rapid expansion of their worship in Cyrene and the popular appeal that it raised were due to a prior chtonic goddess of fertility whose personality was strong enough not to be literally swallowed up by the Greek goddess of the colonizers. The Libyan Demeter hides under the mask of a canonical deity, a fantastic green power rooten in the soil and connected to the world of the dead. This is not a simple analogy between two existing cults and cannot occur without a movement of deep faith. The changes undergone by the goddesses of Cyrene existed potentially in the imported deities by the first Cyrenians. But barbaric rituals were introduced to enable them to flourishin Libyan territory. This phenomenon doesn’t merge into a confusion between the characteristics of the Libyan deities and the Greek gods, but rather deities living together and allowing goddesses being richer as they mingle together. Finaly, the contact between the two civilisations did not upset the Greeks and the natives : the Cyrenian Demeter, just like the Libyan deities of fertility, remained totally original even when the syncretism phenomenal took place.

CoordenaÃÃo de AperfeiÃoamento de Pessoal de NÃvel Superior / A SociossemiÃtica, proposta por Eric Landowski, aborda a questÃo do sentido no nÃvel dasprÃticas e das interaÃÃes vividas (LANDOWSKI, 2001b, 2002, 2004, 2014a), considerando anoÃÃo de contÃgio de sensibilidades, de relaÃÃes corporais e estÃsicas, ou seja, alargando os modelos narrativos para explicar uma grande quantidade de fenÃmenos de significaÃÃo tambÃm ligados ao sensÃvel. Considerada um desdobramento da SemiÃtica Francesa, ela propÃe quatro regimes â programaÃÃo, manipulaÃÃo, ajustamento e acidente â capazes de explicar a produÃÃo do sentido nas interaÃÃes. O objetivo principal desta tese à analisar como esses regimes de sentido, que se estabelecem na interaÃÃo entre enunciador e enunciatÃrio em uma determinada situaÃÃo de comunicaÃÃo, determinam diferentes estratÃgias de persuasÃo,fundadas ora na dimensÃo inteligÃvel ora na dimensÃo sensÃvel do discurso. Se na teoria narrativa clÃssica a persuasÃo à concebida como um fazer persuasivo do enunciador que corresponde a um fazer interpretativo do enunciatÃrio ligado à instÃncia da enunciaÃÃo, no quadro teÃrico da SociossemiÃtica, por sua vez, a persuasÃo passa a ser vista nÃo somente como um fazer o outro fazer, mas tambÃm como um fazer o outro sentir. Passa-se, assim, de uma lÃgica da junÃÃo para uma lÃgica da uniÃo, que procura dar conta dos processos de emergÃncia do sentido, de sua natureza sensÃvel e da presenÃa do risco nas interaÃÃes. Embora haja alguns trabalhos que tratem da persuasÃo no sincretismo de linguagens (TORRES, 2013;CIACO, 2014 etc), vimos que ainda à possÃvel explorar a relaÃÃo entre os regimes de sentido e os diferentes modos de presenÃa do sensÃvel como um fator que contribui com o fazer persuasivo em textos sincrÃticos, visto que a persuasÃo pode se realizar por estratÃgias pertinentes a mais de um regime proposto por Landowski. Desse modo, à nosso objetivo central aprofundar o estudo da persuasÃo no texto sincrÃtico nÃo sà como um fazer fazer, mas tambÃm como um fazer sentir, resultante de um efeito de enunciaÃÃo sincrÃtica global. Para cumprirmos nosso objetivo, selecionamos cinco peÃas de catÃlogos da indÃstria da beleza â veiculadas nos ciclos 02, 04 e 10 do ano de 2014 das marcas Avon e Natura â que divulgam perfumes, hidratantes e maquiagens. AlÃm da SociossemiÃtica, sÃo utilizadas a SemiÃtica clÃssica e a SemiÃtica PlÃstica para um estudo mais integrado da persuasÃo no sincretismo de linguagens. Ao final, como contribuiÃÃo teÃrica, conclui-se que a enunciaÃÃo global, responsÃvel pelos efeitos de sentido resultantes da articulaÃÃo de linguagens nos anÃncios, instaura estrategicamente para o enunciatÃrio determinados regimes de sentido que o coloca diante de efeitos de sentido tanto de ordem intelectiva quanto de ordem sensorial, fazendo que sua adesÃo a um determinado ponto de vista, a uma crenÃa ou a um argumento seja o resultado de uma resposta nÃo apenas racional, mas tambÃm sensÃvel. Outra contribuiÃÃo desta tese reside na percepÃÃo de que a estratÃgia persuasiva dos catÃlogos à complexa, visto que nÃo depende somente da relaÃÃo entre as linguagens verbal e nÃo verbal, mas tambÃm da lÃgica de compra e venda entre marca (consultor) e consumidor. / The Sociosemiotics, proposed by Eric Landowski, addresses the issue of meaning in the level of practices and interactions experienced (LANDOWSKI, 2001b, 2002, 2004, 2014a),considering the notion of contagion of sensitivities, of corporal and aesthesic relationships, this is, widening the narrative models to explain a great amount of phenomena of signification also connected to what is sensitive. Considered an unfolding of French Semiotics, it proposes four regimes - programming, manipulation, adjustment, and accident - capable of explaining the production of meaning in interactions. The main objective of this thesis is to analyze how these regimes of meaning, established in the interaction between enunciator and enunciatee in a given situation of communication, determine different strategies of persuasion, based both on the intelligible dimension and on the sensitive dimension of the discourse. If, in classical narrative theory, persuasion is conceived as a persuasive making of the enunciator that corresponds to an interpretative making of the enunciatee connected to the instance of enunciation, in the theoretical framework of the Sociosemiotics, in turn, persuasion is seen not only as a making the other make, but also as a making the other feel. This way one goes from a logic of junction to a logic of union, which seeks to account for the processes of emergence of meaning, its sensitive nature and the presence of risk in interactions. Although there are some works that deal with persuasion in the syncretism of languages (TORRES, 2013,CIACO, 2014 etc.), we have seen that it is still possible to explore the relation between the regimes of meaning and the different modes of presence of sensitive as a contributing factor with persuasive making in syncretic texts, since persuasion can be carried out by strategies pertinent to more than one regime proposed by Landowski. In this way, it is our central objective to deepen the study of persuasion in the syncretic text, not only as a making make, but also as a making feel, resulting from a syncretic global enunciation effect. To fulfill our objective, we selected five pieces of catalogs from the beauty industry â published in the cycles 2, 4 and 10 of the year 2014 of the trademarks Avon and Natura â that divulge perfumes, moisturizers and makeups. In addition to Sociosemiotics, classical Semiotics and Plastic Semiotics are used for a more integrated study of persuasion in the syncretism of languages. At the end, as a theoretical contribution, it concludes that the global enunciation,responsible for the effects of meaning resulting from the articulation of languages in the ads, strategically establishes for the enunciatee certain regimes of meaning that puts him before effects of meaning both of an intellectual and sensory order, making his adherence to a certain point of view, to a belief or to an argument, be the result of a response not only rational, but also sensitive. Another contribution of this thesis lies in the perception that the persuasive strategy of catalogs is complex, since it depends not only on the relationship between verbal and non-verbal languages, but also on the logic of buying and selling between trademark (consultant) and consumer.

A literatura infantil desperta um duplo interesse: a história narrada pelo texto verbal e a depreendida das imagens que ilustram as capas e as páginas. Enquanto o texto verbal pode levar o leitor a uma compreensão do mundo e de valores culturais e morais, o texto visual pode despertar os sentidos pela experiência estésica. Do escrito ao tocado, do lido ao experimentado, o aprendizado é feito sob diferentes materialidades e discursos. Este trabalho delimita-se a analisar cinco livros destinados ao público infanto-juvenil com ilustrações feitas pelo grupo mineiro de bordadeiros Matizes-Dumont: Exercícios de ser criança, de Manoel de Barros; A moça tecelã, de Marina Colasanti; Menino do rio doce, de Ziraldo; A bola e o goleiro, de Jorge Amado; A menina, a gaiola e a bicicleta/Céu de passarinho, de Rubem Alves e Carlos Brandão. A fundamentação teórica adotada para a análise desse corpus é a semiótica francesa, abarcando seus desdobramentos recentes, como a semiótica das paixões, a semiótica plástica, a enunciação e a tensividade. Os desdobramentos tensivos, por sinal, caminham livremente em todas as análises como efeito de sentido. A possibilidade de trabalhar com diferentes linhas de análise, demonstra a riqueza desse corpus que ora mostra sua força no texto verbal, ora ganha status de arte ao oferecer ao enunciatário/leitor uma gama de imagens que despertam o estético e o estésico. Temos, portanto, ao longo dos enunciados infanto-juvenis, a presença de diálogos plurilinguísticos e polissensoriais. A figuratividade, tão presente e marcante neste trabalho, segue as propostas de Denis Bertrand. Outro teórico relevante a esta pesquisa é Jean-Marie Floch, com suas linhas de pesquisa a respeito do visual/pictórico, ao inserir novas categorias (constitucionais e relacionais) de análise para o plano da expressão. Pela própria natureza dos objetos analisados, percorre-se o caminho do estético, já que este se manifesta mediante práticas cotidianas. Esse percurso apresenta um marco importante no livro Da Imperfeição, de Algirdas Julien Greimas, que analisa textos-objeto de valor estético, depreendendo seu sentido e seu caráter sensível, em que o plano da expressão passa a ser a força motriz da obra. As descrições do autor sobre alguns textos literários mostram a elasticidade do discurso, que vai além da superfície do texto. Ainda a respeito da questão plástica, outras fontes teóricas estão presentes com o intuito de enriquecer e expandir as análises, procurando sempre manter o intercâmbio entre a semiótica e outras propostas de análise do pictórico. Diante dessas informações técnicas das artes plásticas, que possuem sua linguagem própria, torna-se possível montar uma grade de leitura dos textos-objeto. Embora este trabalho trilhe pelo caminho da semiótica, tratar de textos infantis nos obriga a ter informações consistentes sobre o universo teórico da literatura. Daí o acréscimo de livros sobre este universo, incluindo obras específicas sobre literatura infantil, ilustração e diagramação. Dessa forma, dentro dos objetivos de examinar os mecanismos de construção do sentido em textos de literatura infanto-juvenis, cada livro é analisado de acordo com a teoria da semiótica discursiva ou a da semiótica plástica. Em A moça tecelã trabalha-se com as paixões no texto verbal com o intuito de apreender os efeitos de sentido de qualificações modais, aspectuais e estruturais que modificam o sujeito patemizado. Pela obra sincrética de Manoel de Barros são descritas as estratégias de enunciação, apontando os recursos utilizados para a construção de sentido nos textos verbais e visuais. A intertextualidade pontua o trabalho de Ziraldo ao dialogar com as obras infanto-juvenis do escritor norteamericano Mark Twain, acrescentando-se, na análise, as experiências estéticas relacionadas com as paixões. O último capítulo trata do imagético, fazendo um contraponto entre as capas dos livros A bola e o goleiro e A menina, a gaiola e a bicicleta/Céu de passarinhos, fundamentando-se em Floch e seus sucessores teóricos. Por meio dessas análises busca-se acrescentar aos estudos dos textos literários e plásticos infanto-juvenis possíveis mecanismos de leitura, tendo como ferramenta teórica a semiótica francesa. / Childrens literature brings two different concerns: the story told by the verbal text, and the one brought by the images of the book cover and of the book. The visual text can awake the senses by an aesthetic experience while what is written on the book can take the reader to a comprehension of the world and of the cultural and moral values. The learning is made possible by different matters and discourses; from whats written to whats touched, from whats read to whats experienced. This essay was delimited to the analyses of five books made specific to children, with illustrations made by a group of embroideress from Minas Gerais called Matizes-Dumont: Exercícios de ser criança, by Manoel de Barros; A moça tecelã, by Marina Colasanti; Menino do rio doce, by Ziraldo; A bola e o goleiro, by Jorge Amado; A menina, a gaiola e a bicicleta/Céu de passarinho, by Rubem Alves and Carlos Brandão. The theoretical basis used for the analyses of this subject is the French Semiotics, also with its deployments such as the Semiotics of Passion, Semiotics of Arts, the Enunciation, and the Tensile Semiotics. In reality, the Tensile Semiotics one goes freely through all the analyses as a sense, or meaning, effect. The possibility of working with different forms of analyses brought up the importance of the material. It shows the strength of the verbal text, and, also, the importance of the material as a work of art since it offers to the readers a number of images that awakes the esthetic and aesthetic. The dialogues are plurilinguistic and polisensorial. The figuratively, well noticed on this essay, follows the developments made by Denis Bertrand. Other important scholar for this research is Jean-Marie Floch, and its ways of working over the visual/pictorial, adding new categories (constitutionals and relational) of analyses for the expression plane. We follow the trails of the esthetic based on the nature of the analyzed objects, since its expressed over ordinary way of working. This course presents an important door on Algidas Julien Greimas book, De l\'imperfection (Of the Imperfection), wich analyses texts-objects of esthetic value, gathering its meaning from the sense, and the expression plane became the main force on the work piece. His descriptions about some literary texts shows us the elasticity of a discourse, going beyond the surface of the text. Yet on the plastic art field, other theoretical sources are present, so it would enrich and enlarge the analyses, always trying to keep the interchange between semiotics, and other forms of analyses of the pictorial. From all these technical information about the plastic art, that contains its own language, its possible for us to show the screen of reading of the text-object. Working with childrens texts forces us to have consistent information about the theoretical universe of this literature, even though the essay goes through the semiotics field. We understand from that the choice of using a book of this field, including specific works about childrens literature, illustration and sketch. This way, each book was analyzed according to a theory of the discursive semiotics or of the plastic art semiotics. On the book A Moça Tecelã, we work with the passions on the verbal text, trying to pay attention to the effects of the sense by the modal, the aspectual, and the structural qualifiers that change the pathetic reaction of the subject. By Manoel de Barros syncretic work we describe the strategies of the enunciation, showing the resources used for the construction of the verbal and visual texts. The intertextuality on Ziraldos work is noticed by his dialog with childrens works made by the north-American author Mark Twain, adding, on the analyses, the esthetic experiences related to the passions. The last chapter talks about the images, creating a counterpoint between the covers of the books A bola e o goleiro, and A menina, a gaiola e a bicicleta/Céu de passarinhos, based on Floch and his theoretical successors. With this essay, weve tried to add possible ways of reading the childrens literature and plastic art using the French Semiotics theoretical tools.

Made available in DSpace on 2016-03-15T19:45:32Z (GMT). No. of bitstreams: 1 Pedro Paulo Bogossian.pdf: 1543314 bytes, checksum: 33c0368c2249c1e243a3831847445707 (MD5) Previous issue date: 2013-02-07 / Universidade Presbiteriana Mackenzie / This dissertation addresses issues related to the syncretization of the musical language to the dramatized scene. Considering the idea that there is a game between the sensory substances, from an act in concert among different expressed plans, we intend to describe, in the expressed plans and in the purport of the drama enunciation, how the music is organized and how it contributes to the construction of the scenic narrative and speech. The corpus of this research is a video recording of a scene chosen among various performances of a theater group from São Paulo, Circo Grafitti. Their work is characterized by musical comedy plays, that have not been performed yet, and they are produced based on a collaborative research, composition or adaptation of scripts and songs. The theoretical framework of the analysis of this dissertation is the French Semiotics by Greimas, because it considers the purport plan of the texts in several planes of expression as well as the syncretization in terms of expression, also it understands the script as an organization which carries the effects of meaning. / A presente dissertação aborda questões referentes à sincretização da linguagem musical à cena teatral. A partir da ideia de jogo entre as substâncias sensoriais, do contracenar entre diversos planos da expressão, visamos a descrever, nos planos da expressão e do conteúdo da enunciação teatral, de que modo a música se organiza e contribui para a construção da narrativa e do discurso cênicos. O corpus desta pesquisa constitui-se da gravação em vídeo de uma cena escolhida dentre vários espetáculos do grupo teatral paulistano Circo Grafitti. O trabalho da companhia se caracteriza por montagens que cultivam o gênero da comédia musical, sempre inéditas, em processo colaborativo no trabalho de pesquisa, composição ou adaptação de textos e canções. O quadro teórico utilizado para proceder à análise é o da Semiótica de linha francesa, greimasiana, por esta trabalhar com o plano de conteúdo dos textos em diversos planos de expressão e com a sincretização no plano da expressão, bem como por entender o texto como uma organização que produz efeitos de sentido.

La présente thèse questionne, sur le fondement des hypothèses de l’interface directe (Scheer 2011, Lowenstamm 1999, Guerssel&Lowenstamm 1990) et du minimalisme non lexicaliste (Halle&Marantz 1993), l’importance de l’information suprasegmentale (Leben 1973) en morphologie. Elle croise, pour ce faire, la phénoménologie de début de mot en bamun (Niger-Congo, EasternGrassfields Bantu, Nun) (Hyman&Voorhoeve 1980), une langue à classes nominales parlée au Cameroun, et la relation d’accord entre affixes de classes nominales et racine.Un fil conducteur, la nasalité, permet de remonter le cours de la dérivation des formes nominales du bamun construites à partir d’une racine postulée a-catégorielle (Acquaviva 2009) et de têtes fonctionnelles (Marantz 1997). Au travers de la sélection allophonique des segments en C1 et de la sélection allomorphique du préfixe nominal, on voit que son mode d’ancrage sur le palier métrique via un pied iambique (Hayes 1985) et la façon dont elle investit la position forte (Ségéral & Scheer 2001) du palier squelettal, déterminent la configuration du gabarit nominal en bamun. Ce qui fait du syncrétisme genre-nombre-diminutif observé dans ces formes nominales plus une conséquence de la dissimilation segmentale, à l’origine de la nature tonale du pluriel morphologique, que le résultat d’une opération d’appauvrissement (Bonet 1991) qui effacerait totalement l’information du genre. Celle-ci peut ne pas être exprimée, et est alors marquée par un diminutif à lecture référentielle, phonétiquement réalisée sur l’unité CV-initiale, posée comme existante et jamais licenciée dans une langue pourtant à groupe consonantique exclusivement de type Sonorant-Obstruante comme se révèle être le bamun. / The following thesis investigates, built on the direct interface hypothesis (Scheer 2011, Lowenstamm 1999, Guerssel & Lowenstamm 1990) and the non-lexicalist minimalist view of the grammar (Halle & Marantz 1993), the importance of suprasegmental information (Leben 1973) in morphology. It crosses, for this purpose, the phenomenology of the left margin of nouns in Bamum (Niger-Congo, Bantu Grassfields, EasternGrassfields Bantu, Nun) (Hyman & Voorhoeve 1980), a noun class language spoken in Cameroon, and the agreement relationship between noun class affixes and the root.Nasality, a peculiar feature in the language, is used to trace the course of the derivation of Bamum nouns constructed from a postulated a-categorial root (Acquaviva 2009) and functional heads (Marantz 1997). Through the allophonic selection of segments in C1 and the allomorphic selection of the nominal prefix, we see that its mode of anchoring on the metrical tier via an iambic foot (Hayes 1985) and the way it invests the strong position (Ségéral & Scheer 2001) on the skeletal tier, determine the configuration of the bamum nominal template. Thus, the observed gender-number-diminutive syncretism in these nominal forms is more a consequence of a segmental dissimilation, at the origin of the tonal nature of the morphological plural, than the result of an operation of impoverishment (Bonet 1991) which will completely delete the information of gender. When not expressed, gender is marked by a diminutive morpheme with referential reading, which occupies the initial CV site, proven existing and never licensed in Bamum, a not so hypothetical language of exclusively Nasal-Obstruent initial clusters.

Ettore "Ted" De Grazia (1909-1982) spent his artistic life painting the Native American stories and peoples of the Arizona Southwest. His art was touted in the popular press and is still admired by tourists and newcomers to Arizona, but he was not taken seriously by academicians and art critics who refused to grant him artistic enfranchisement. Many labeled his work "kitsch," a term made popular by Clement Greenberg in his 1939 essay, " Avant-Garde and Kitsch." De Grazia's popular whimsical paintings of Native American children were considered too cute to have artistic merit.De Grazia, in spite of criticism to the contrary, did create serious paintings worthy of critical evaluation. The paintings are infused with complex layered meanings relating to Southwest hybridity ---a blending of beliefs and cultural practices as a result of Spanish and later, American colonization. De Grazia was part of the hybrid culture; born of Italian immigrants in the Territory of Arizona, he grew up speaking Italian, Spanish and English. Not only was he exposed to different languages, but also to corresponding cultural and religious practices. This thesis examines the social and economic changes in the United States during De Grazia's lifetime, along with the hybridity of the Southwest in relation to his artistic production. Changes in the world of art along with economic prosperity and the growing interest in tourism in the Southwest after World War II intersected with the art of Ted De Grazia. His relationship with Arizona Highways magazine, published by the Arizona Highway Department to entice travelers to visit Arizona, contributed to his success. De Grazia's contribution in the arena of Southwest hybridity can be seen in paintings that are in the formal collection of his work in his Gallery of the Sun in Tucson, Arizona. The blending of religions, or syncretism, that Arizona tribes practice demonstrates a deep mysticism, profoundly influenced by the Spanish, but uniquely practiced in tribal ceremony and tradition. De Grazia's work makes a unique artistic contribution by illustrating the religious syncretism that was, and remains, an integral part of the Native American tribes in the Southwest.