Made available in DSpace on 2014-06-11T19:26:52Z (GMT). No. of bitstreams: 0 Previous issue date: 2012-01-27Bitstream added on 2014-06-13T19:55:16Z : No. of bitstreams: 1 yahn_cac_me_assis.pdf: 676578 bytes, checksum: d9e422fd55697a618082f29fa06d7a6c (MD5) / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / Visa-se estudar as cantigas de Capoeira Angola e descobrir um pouco mais sobre seus mitos e ensinamentos que muitas vezes funcionam como instrumento de transmissão de uma tradição ancestral que resiste até hoje, que interage com a cultura e a oralidade brasileiras enriquecendo-as e, que diante dessa interação por meio de conhecimentos que são passados em situações múltiplas de comunicação forma novos capoeiristas angoleiros. Procura-se demonstrar como os cânticos da roda de capoeira denominados “ladainha”, “corrido” e “louvação” podem ser analisados como parte da poesia oral afrobrasileira, pois de antemão já se sabe que os mesmos possuem forma e conteúdo essencialmente enraizados na arte poética. Tais cânticos são providos de ritmo, rimas, musicalidades, gestos, olhares e ambiguidades de vários tipos inerentes ao contexto da roda onde se desenvolve o discurso do canto, revelando uma dupla faceta uma poética e outra dinâmica do mesmo fenômeno. Ainda procura-se ilustrar parte da representação que a Capoeira Angola tem no mundo atualmente. Convém destacar a cotidiana relação que se estabelece com o seu universo por meio de treinamentos e trocas coletivas. Experiências de grandes mestres e mestras da Capoeira Angola contribuíram para o desenvolvimento deste trabalho, pois como aqui tratamos de um saber específico, inevitavelmente em muitas etapas debruçamo-nos diante de seus detentores para então se entender pequenos pedaços de sua magia, que como já se sabe de antemão, é simples, porém reflete sentidos profundos / The aim is to study the songs of Capoeira Angola and discover a little more about their myths and teachings which often act as instrument of transmission of an ancestral tradition that endures until today, that interacts with the Brazilian culture and orality and enriching them, interacting through knowledge that are passed in multiple situations of communication creating new players of capoeira angola. It seeks to demonstrate how the chants of wheel called ladainha, louvação and corridos can be analyzed as part of the oral poetry: struggling, because beforehand is already known that they have the form and content essentially rooted in the poetic art. Such songs are fitted with pace, rhymes, gestures, looks and ambiguities of various types inherent in the context of the wheel where develops the chant speech, revealing a dual facet a poetic and other dynamics of the same phenomenon. It still seeks to illustrate part of the representation that Capoeira Angola has in the world today. Everyday should highlight the relationship that is established with his universe through collective exchanges and trainings. Experiences of grandmasters and master of Capoeira Angola contributed to the development of this work, because here we treat a specific knowledge, inevitably in many steps focusing on their holders to then understand small pieces of their magic, which as already known beforehand, is simple, but reflects deep meanings

This study aims to explore how the imagined Chinese community, as the nation of Taiwan, was created and recreated between 1949 and 2011, to become the Taiwanese community. The theoretical concept of the ‘imagined community’, which is interconnected with the concepts of ‘invented tradition’ and ‘banal nationalism’, has been used to suggest a sociological interpretation of the transformation of people’s self-identification from ‘Chinese’ to ‘Taiwanese’, as a kind of reflection of the changing nation of post-war Taiwan. The social phenomenon of Taiwan residents’ changing self-identification raises a key concern, namely, has the nature of the nation in Taiwan changed? Junior and senior high school history textbooks (1949 to 2011), which can be regarded as representing the officially invented history, were used as resources, and analysed together with data gathered during interviews with twenty-five history teachers, who had not been screened for age or ethnic differences. The history textbooks provided content for a case study, comparable to that of the theoretical concept of the ‘invented tradition’. This could be regarded as ‘banal nationalism’, through which the life environment is subtly shaped and reshaped to become the ‘imagined community’, namely, the ‘national’ environment. The interviews with teachers were intended to help the researchers understand how the content in history textbooks had been taught, in order to explain how, or whether, the society undermined or reinforced the officially structured ‘imagined Taiwanese community’. The two approaches – one of which could be regarded as a top-down power, while the other could be considered as a social force – jointly provided the research framework and a perspective consistent with the changing social phenomenon of the increasing ‘Taiwanese’ identity among members of the population. This study concluded that ‘Taiwan’ has been produced and reproduced from the local identification to the national. The research results show that the meaning of ‘China’ and ‘Taiwan’ changed during three time periods: from the 1950s to the late 1980s, from the 1990s to the 2000s, and from the 2000s to 2010 and later. Through this process, mainland China and Taiwan were identified as one Chinese nation-state, beginning in the 1950s to the late 1980s, as one nation but two states, from the 1990s to the early 2000s, and finally, as two nation-states, from the early 2000s to 2010 and later. This research explored how ‘Taiwan’, an ‘imagined community’, has been shaped over time. Teachers further manifested ‘Taiwan’ as an explicit concept of national identity by providing other examples, in addition to the content in textbooks, and noting distinctions between ‘China’ and ‘Taiwan’. Theoretical logic is coherent with this empirical investigation, and this study provided the perspective to interpret how the state worked as a top-down force cooperating with society’s bottom-up perseverance, to invent ‘Taiwanese’ national history, through which the national identity of Taiwan was manifested.

This thesis deals with Czech translations of English drama titles until 1850, as they are collected in the KAPRADÍ database. It consists mostly of translations of Shakespeare's dramas, but other titles range from medieval moralities and mystery plays to romantic drama. The titles are analysed both from the points of chronology and of genre. The thesis is trying to prove the hypothesis that a translation of a literary title reflects both the epoch of its translation and the genre in which it is written. Not only literary methodology classificating titles is used but also the theory of proper names (onomastics) is applied, which means that a literary title is considered a proper name in its own right.

The Kathmandu Valley’s ancient stone spouts system provides a case study to understand uneven processes of urban modernization. Interviews and archival material from fieldwork in the Lalitpur District of Kathmandu provide evidence to understand the role of traditional infrastructure in modernization efforts. Rather than assuming there is something inherently traditional or modern, my research investigates ways in which people position themselves around ideas of tradition and see infrastructure as more than operational. Findings indicate that the labeling of the stone spout system as traditional through modes of use, management, valorization, and modification point to a dissatisfaction with modern development. This research provides a contemporary example of the traditional, demonstrating that despite dominant urban theorizing, urban modernization and the erasure of tradition are an impossible and incomplete process. These findings extend post-colonial urban scholarship by considering cities beyond limiting and universalizing categories of development. This thesis includes unpublished coauthored material.

DODT, Liana Cristina Vilar. Espedito Seleiro: tradição e ofício de um artesão cearense. 2016. 116f. – Dissertação (Mestrado) – Universidade Federal do Ceará, Instituto de Cultura e Arte, Programa de Pós-graduação em Comunicação Social, Fortaleza (CE), 2016. / Submitted by Márcia Araújo (marcia_m_bezerra@yahoo.com.br) on 2016-08-08T12:32:19Z No. of bitstreams: 1 2016_dis_lcvdodt.pdf: 5191273 bytes, checksum: c4e49096116b4b3cb1cc9090a464dd66 (MD5) / Approved for entry into archive by Márcia Araújo (marcia_m_bezerra@yahoo.com.br) on 2016-08-08T12:33:09Z (GMT) No. of bitstreams: 1 2016_dis_lcvdodt.pdf: 5191273 bytes, checksum: c4e49096116b4b3cb1cc9090a464dd66 (MD5) / Made available in DSpace on 2016-08-08T12:33:09Z (GMT). No. of bitstreams: 1 2016_dis_lcvdodt.pdf: 5191273 bytes, checksum: c4e49096116b4b3cb1cc9090a464dd66 (MD5) Previous issue date: 2016 / This research aims to analyze the craft and the creative process of Espedito Seleiro craftsman. From a historical overview of the northeastern occupation processes of Brazil (Bastide, 1964; Albuquerque Júnior, 2006), from sugarcane to livestock, it became the contextualization “vaqueira” tradition in the state of Ceará and its relationship with the handicraft culture (Cascudo, 1971; Sylvia Porto Alegre, 1994). It was observed the professional trajectory of Espedito Seleiro in the city of Nova Olinda, Ceará, compared with the old craft guilds of the Middle Ages (Santoni Rugiu, 1998; Bardi, 1994). Investigated the creative artisan process, with reference to the aesthetics of the cangaço (Pernambucano de Mello, 2010), in dialogue with some concepts of Semiotics of Culture, such as memory, tradition, translation and border (Lotman, 1996; Ferreira, 2003 Machado, 2003). A lso noted was the appearance of the design in artisan work (Cardoso, 2012) and the use of hands as an essential tool to gesture to make, that reconfigures man's place in nature (Flusser, 1994). As methodology, fieldwork from trips to Nova Olinda during the year 2015 was a methodological tool coupled with readings in the fields of Sociology, Communication and Semiotics of Culture. Being a theme that provokes more questions than answers gives us, we can say that Espedito Seleiro is an artist who is laying on the border between tradition and contemporaneity, updating and translating the craft creative doing. / Esta pesquisa tem por objetivo analisar o ofício e o processo criativo do artesão cearense Espedito Seleiro. A partir de um panorama histórico dos processos de ocupação do Nordeste do Brasil (Bastide, 1964; Albuquerque Junior, 2006), desde a cana-de-açúcar à criação de gado, fez-se a contextualização da tradição vaqueira no estado do Ceará e sua relação com a cultura do artesanato em couro (Cascudo, 1971; Sylvia Porto Alegre, 1994). Foi observada a trajetória profissional de Espedito Seleiro na cidade de Nova Olinda, Ceará, em comparação com as antigas corporações de ofício da Idade Média (Santoni Rugiu, 1998; Bardi, 1994). Investigou-se o processo criativo do artesão, tendo como referência a estética do cangaço (Pernambucano de Mello, 2010), em diálogo com alguns conceitos da Semiótica da Cultura, como memória, tradução da tradição e fronteira (Lotman, 1996; Ferreira, 2003, Machado, 2003). Observou-se ainda o aspecto do design na obra do artesão (Cardoso, 2012) e o uso das mãos como ferramenta essencial ao gesto de fazer que reconfigura o lugar do homem em meio à natureza (Flusser, 1994). Como metodologia, a pesquisa de campo a partir de viagens a Nova Olinda durante o ano de 2015 foi um instrumento metodológico aliado às leituras nos campos da Sociologia, da Comunicação e da Semiótica da Cultura. Sendo uma temática que nos provoca mais questionamentos do que nos fornece respostas, podemos dizer que Espedito Seleiro é um artista que se que coloca na fronteira entre a tradição e a contemporaneidade, atualizando o ofício e traduzindo o fazer criativo.

This study examines the issues of Transnistrian conflict, Transnistrian identity and Transnistrian statehood through the fields of historiography, economic development, language and educational politics, religion, Soviet ideology and the place of memory in two parts of the Republic of Moldova, Bessarabia and Transnistria. The results of this study reveal the influence of the above-listed spheres on identity in both regions, the significant role of the leadership of Transnistria and the Republic of Moldova in shaping peoples' opinion and strengthening the idea of Transnistrian statehood, and the existence of regional identity in Transnistria during a phase of transition.

This thesis examines the expressive culture of urban chicken-keepers in Eugene, Oregon in an attempt to explain why this practice has become so popular in recent years as well as to understand what role it plays in their lives. Data for this project were gathered using ethnographic fieldwork methods such as participant observation in “real life” and in social media outlets, semi-structured interviews with participants encountered at The Eugene Backyard Farmer, and a 54-question anonymous online survey of people who frequented the shop’s social media outlets. Based on an analysis of those data, this thesis contends that this group of people is using urban chicken-keeping as a way to intentionally reframe the future in a more positive light and that this can be seen in the articulation of their values and ideologies and through the way that they are traditionalizing urban chicken-keeping.

This article takes up the challenge of comparative research in Africa by analysing and comparing the oral art of West African griots and Southern African iimbongi or oral poets. Similarities and differences between these performers and their respective societies are highlighted through the use of an ethnographic methodology. A distinction is drawn between the more traditional performers such as Thiam Anchou and D.L.P. Yali-Manisi, and the more modern performers such as M’Bana Diop, Bongani Sitole and Zolani Mkiva. The rich use of genealogy and history in the more traditional performances is highlighted. In comparing the work of the more contemporary, urban poets such as M’bana Diop of Senegal and Zolani Mkiva from Southern Africa, similarities are found in their performances on post-independence leaders such as Senghor and Mandela. Political pressures which have been brought to bear on the performer are also discussed. This article explores the continuity between the past and the present in relation to aspects such as the following: how performers gain recognition, their continued survival, their relationship with politics and religion, the orality- literacy debate, and the stylistic techniques used by these performers. Wherever possible, examples of performers and their work are provided.

Submitted by Elizabete Silva (elizabete.silva@ufes.br) on 2014-10-08T21:59:31Z No. of bitstreams: 2 license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) Dissertacao.texto.Weksley.pdf: 817638 bytes, checksum: d66693d2b1a7c32ab508d8177a7d421e (MD5) / Approved for entry into archive by Elizabete Silva (elizabete.silva@ufes.br) on 2014-11-18T18:38:03Z (GMT) No. of bitstreams: 2 license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) Dissertacao.texto.Weksley.pdf: 817638 bytes, checksum: d66693d2b1a7c32ab508d8177a7d421e (MD5) / Made available in DSpace on 2014-11-18T18:38:03Z (GMT). No. of bitstreams: 2 license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) Dissertacao.texto.Weksley.pdf: 817638 bytes, checksum: d66693d2b1a7c32ab508d8177a7d421e (MD5) Previous issue date: 2013 / Esta dissertação parte das bases da crítica de Gadamer à consciência estética desde o contexto de fundamentação das ciências naturais e decorrente estabelecimento das ciências humanas. Considerando o posicionamento contrário de Gadamer quanto ao predomínio dos métodos das ciências naturais em todos os âmbitos da experiência humana no mundo, nosso esforço será no sentido de abordar a compreensão da experiência estética. Neste sentido, nos voltaremos para a aisthesis com vistas a caminhar focando na problemática em torno da arte a partir de Platão e Aristóteles, culminando no estabelecimento da estética como campo específico do saber filosófico no pensamento iluminista de Baumgarten. Destarte, o presente escrito voltar-se-á para as bases da consciência estética que se encontram na subjetivação decorrente dos efeitos do pensamento crítico de Kant. Com isso, abordaremos as perspectivas de Gadamer com vistas a liberar a experiência da arte do âmbito da consciência estética, o que, segundo este filósofo, pode ocorrer a partir da assunção de um tipo de experiência que pode ser tomado como verdade mesmo não estando restrito aos métodos das ciências naturais. Partindo desta prerrogativa,Gadamer lança mão da noção de jogo como experiência fora da centralidade subjetiva. Com o redirecionamento da experiência, o fenômeno artístico pode aparecer como parte constitutiva da experiência existencial humana sem estar restrito às faculdades subjetivas. / This dissertation starts with the basis of Gadamer's critique of the aesthetic consciousness on the context of the natural sciences grounding and due to the establishment of natural sciences. Considering Gadamer's opposition on the prevalence of natural sciences' methods in all spheres of human experience in the world, our effort will be towards understanding of the aesthetic experience. In this sense, we approach aisthesis focusing the problem around art from Plato and Aristotle’s perspective, reaching the aesthetic establishment as a specific field of the philosophical knowledge in Baumgarten’s illuminist thought. Additionally, this study intends to approach the aesthetic consciousness basis, which lies in the subjection derived from Kant’s critical thought. After that, we will approximate Gadamer’s perspectives in order to liberate the experience of art from the aesthetic consciousness field, which according to this philosopher, might be considered as a truth, even if not being restricted to the natural sciences methods. From this prerogative, Gadamer uses the notion of game as experience, outside the subjective centrality. By redirecting the experience, the artistic phenomenon may be seen as a constitutive part of the human existential experience not being restricted to subjective faculties.

Submitted by Laís Midori da Silva null (midori.lais.lm@gmail.com) on 2016-03-17T13:53:08Z No. of bitstreams: 1 Finismundo a última viagem e o périplo haroldiano - Laís Midori da Silva.pdf: 1521452 bytes, checksum: b75b44cdcc79b333eb3458fa7bc80c1d (MD5) / Approved for entry into archive by Sandra Manzano de Almeida (smanzano@marilia.unesp.br) on 2016-03-17T14:31:24Z (GMT) No. of bitstreams: 1 silva_lm_me_sjrp.pdf: 1521452 bytes, checksum: b75b44cdcc79b333eb3458fa7bc80c1d (MD5) / Made available in DSpace on 2016-03-17T14:31:24Z (GMT). No. of bitstreams: 1 silva_lm_me_sjrp.pdf: 1521452 bytes, checksum: b75b44cdcc79b333eb3458fa7bc80c1d (MD5) Previous issue date: 2016-02-26 / Conselho Nacional de Desenvolvimento Científico e Tecnológico (CNPq) / O presente trabalho realiza uma leitura do poema Finismundo a última viagem (CAMPOS, 1990), do brasileiro Haroldo de Campos. Ocorre que, ao investigarmos os diálogos do poeta com a tradição literária, cuja influência é explicitamente citada no corpo do texto, e a (re)significação contemporânea do mito de Ulisses, empreendida por Haroldo de Campos por meio de uma leitura calcada na poética sincrônica, que atua na obra haroldiana como provocação ao leitor, que é desafiado a reler as obras clássicas no espaço contemporâneo de Finismundo; chamou-nos atenção o processo composicional do poema (estrutura com traços concretistas e utópicos), que se contrapõe à proposta apresentada pelo próprio Haroldo de Campos em Depoimentos de Oficina (2002), onde ele afirma ter imaginado Finismundo como poema “pós-utópico”. Dessa maneira, nossa proposta é investigar a composição do poema (atentando-nos à sua estrutura formal e, a nosso ver, utópica), associando-a ao estudo crítico publicado por Haroldo de Campos em 1997, Poesia e Modernidade: Da Morte do Verso à Constelação. O Poema Pós-Utópico, no qual ele afirma que não há mais espaço para as utopias, associando-o ainda ao texto Sobre Finismundo: A Última Viagem (1997). A nosso ver, Finismundo, o poema transgressor de formas, sincrônico, com traços concretistas, deixa entrever que talvez haja no mínimo uma contradição, posto que utopia e não-utopia são coexistentes no poema analisado. / This work performs a reading of the poem Finismundo the last voyage (CAMPOS, 1990), by the Brazilian Haroldo de Campos. It happens that, to investigate the poet dialogues with literary tradition, whose influence is explicitly mentioned in the text, and contemporary reinterpretation of Ulysses myth, undertaken by Haroldo de Campos, through a based reading on the synchronic poetic, engaged in haroldiana work as a provocation to the reader, who is challenged to re-read the classic works in Finismundo’s contemporary space; what called our attention was the compositional process of the poem (structure with concretists and Utopian features), which is opposed to the proposal by Haroldo de Campos himself in Workshop Testimonials (2002), where he claims to to have imagined Finismundo as a “post-utopian” põem. Thus, our proposal is to investigate the poem composition (paying attention to its formal structure and, in our view, utopian), associating it with the critical study by Haroldo de Campos in 1997, Poetry and Modernity: From the Back of Death the Constellation. The Post-Utopian poem, in which he states that there is no more place for utopias, associating it still with the text About Finismundo: The Last Journey (1997). In our view, Finismundo, the forms transgressor poem, synchronic, with concretists features, allows us to glimpse that there may be at least a contradiction, since utopia and non-utopia are coexisting in the analyzed poem. / CNPq:131185/2014-4