A great number of 475 unofficial and official soccer fields present on the digital cartographical data/2000, in Maceió city, was approached as a phenomenon related to leisure practice, sociability and the most popular sport among Brazilians: soccer. The unofficial soccer fields (campos de pelada) appear on urban scenery due to the need of free leisure places for communities, mainly, the poorer ones. This research goal is to understand the dynamic of unofficial soccer fields as places for sociability that compose the city free places system. Unofficial soccer fields as urban free places directed to leisure and social living, characterized by non-professional use, unprofessional soccer players, and without refinement in its physical structure, and that, in some aspects, contribute for urban environment quality. Before the diversity of observed aspects, physical, social, judicial and cultural, it was necessary to classify them in 8 categories, making possible thus the analysis and the definition of the diferences between unofficial and official soccer fields. Soccer is a collective sport which requires competitive and cooperative spirit, considering that cooperation, in this research, is used as a word and action intensely experienced into the daily of poor communities, among them, the one in the popular Benedito Bentes sector. In this place, the deepening of the study about the 3 unofficial soccer fields made possible the perception of the importance degree that they have for the community and the city, several times assuming the function of a square. The extinction of these urban places may cause a qualitative loss in the community daily life because they are free leisure and social living places. / Fundação de Amparo a Pesquisa do Estado de Alagoas / A expressiva quantidade de 475 campos de pelada e campos de futebol constatada sobre a base cartográfica digital/2000 da cidade de Maceió foi abordada como um fenômeno relacionado com a prática do lazer, da sociabilidade e do esporte mais popular entre os brasileiros, o futebol. Os campos de pelada surgem na malha urbana devido a necessidade de espaços gratuitos de lazer pelas comunidades, sobretudo, as menos favorecidas. O objetivo desta pesquisa é o entendimento da dinâmica dos campos de pelada como espaços de sociabilidade constituintes do sistema de espaços livres da cidade. Campos de pelada são espaços livres urbanos destinados ao lazer e convívio social, caracterizado pelo uso não profissional, de peladeiros e amadores, e pela ausência de requinte na sua estrutura física, e que, em alguns aspectos, contribuem para a qualidade ambiental urbana. Diante da diversidade dos aspectos observados, físicos, sociais, jurídicos e culturais, sentiu-se a necessidade de classificá-los segundo 8 categorias, possibilitando assim a análise e definição das diferenças entre campo de futebol e campo de pelada. O futebol é um esporte coletivo que exige espírito competitivo e cooperativo, haja vista que cooperação, nessa pesquisa, é decifrada como palavra e ação intensamente vivenciada no cotidiano das comunidades carentes, entre elas, aquela situada no bairro popular Benedito Bentes. Nessa localidade, o aprofundamento do estudo dos 3 campos de pelada permitiu a percepção do grau de importância que estes exercem para a comunidade e para a cidade, muitas vezes assumindo a função de praça. A extinção destes ambientes urbanos pode gerar uma perda qualitativa no cotidiano da comunidade porque são espaços de lazer e convívio social gratuitos.

Made available in DSpace on 2016-06-02T20:25:07Z (GMT). No. of bitstreams: 1 3383.pdf: 18250312 bytes, checksum: 8c87d4b3d0764467fde3c1dd6cf81238 (MD5) Previous issue date: 2010-12-16 / In this work we purpose a study of the relationships and discursive struggles that are established on material bases of society, the infrastructure, through the discourses that are produced about the economical activities linked to agribusiness. We are interested in understanding how the actions of the concrete base are prepared, justified and modified through discourses, through word, through signs. Thus, by the study of various discourses collected in the most varied spheres of human activity, of many different genres, we intend to build a comprehension of the tense ideological and discursive struggles that are waged in the materiality of the enunciations, according to divergent conceptions, values and positions related to agricultural and livestock activities on a large scale - agribusiness. That's if we consider that there are discourses that construct this economic activity as the key to the economic development of our country, and to sustain this position, struggle to maintain and strengthen the present order of things; and, by the other hand, there are conceptions that link all these efforts and investments to reinforce the historical Brazilian position as a supplier of raw materials to the international market. The discursive differences are ideological differences, which constitute a clash between stability and instability, a discursive struggle, which is an ideological struggle, since that ideological signs that constitute the discourses refract e reflect the same reality in different ways, since they are grounded on class interests. / Com este trabalho pretendemos traçar um estudo das relações e lutas discursivas que se estabelecem nas bases materiais da sociedade, a infraestrutura, por meio dos discursos que se produzem sobre as atividades econômicas ligadas ao agronegócio. Interessa-nos compreender de que maneira as ações da base concreta são preparadas, justificadas e modificadas por meio de discursos, via palavra, via signo. Assim, tomando discursos coletados nas mais diversas esferas de atividade humana, dos mais variados gêneros, buscamos construir compreensões das tensas lutas discursivas e ideológicas que se travam na concretude dos enunciados, em função de concepções, valorações e tomadas de posição divergentes em relação às atividades agrícolas e pecuárias em larga escala, o agronegócio. Isso porque consideramos que há discursos que constroem essa atividade econômica como a chave para o desenvolvimento econômico de nosso país e, para sustentar tal posicionamento, luta pela manutenção e fortalecimento da atual ordem das coisas; e, por outro lado, há concepções que apontam todos esses esforços e investimentos como a consolidação da já histórica posição do Brasil de fornecedor de matéria-prima ao mercado internacional. As divergências discursivas são divergências ideológicas, que constituem um embate entre a estabilidade e a instabilidade, uma luta discursiva, que é uma luta ideológica, posto que os signos ideológicos que constituem os discursos refratam e refletem uma mesma realidade de maneiras distintas, uma vez que são pautados nos interesses de classes.

The thesis Between Picture and Word,The Life and Work of Viktor Pivovarov explores the life and art of one of the leading personalities of Russian unofficial art. Viktor Pivovarov is considered one of the founders of The Moscow Conceptual School. He has been living and working in Prague, Czech Republic since 1982. His works are represented in major world collections, e.g. in The Tate Gallery in London, Centre Georges Pompidou in Paris, in The Tretyakov State Gallery in Moscow, The Russian Museum in Saint Petersburg and The National Gallery in Prague. The thesis is divided into three parts: 1) Life, time, contexts, 2) Work and 3) Timeline. The first part covers the artist's biography, the period context and the so-called unofficial Russian art of the 1950s- 70s. It also deals with his influence on the Czech cultural scene. The second part analyzes selected works by Pivovarov and tries to present an overall characterization of his art. It also attempts to place his work in the Russian, Czech and the West art contexts. The third part, the timeline, focuses on the important dates in Pivovarov's life and work and on crucial political and cultural events.

No description available.

In the current contemporary Chinese context, still caught up with a governmental censorship of the media productions as well as information circulation, creators must find diverse ways to express themselves freely. Several styles of cinemas cohabit in this country hustled by political ideologies. Two main categories are divided, opposed and intermingled, the “mainstream” cinema and the “independent” cinema. It is via the medium of cinema and more particularly that of the present generation of Chinese directors that will be highlighted the emergence of new creative subjectivities. These subjectivities are in a constant dance with the State in the reaching of professional achievement while maintaining the status of artistic independence. The author will look into the evolution of the notion of Chinese identity from the 1990s until today. Rising from an opposition between tradition and modernism, the formation of new subjectivities is founded on a constant negotiation with the imposing forces of globalization but also in relation with the Chinese State. One currently speaks about an easing of communist rigidity and even the emergence of neoliberal tendencies. This would lead to the creation of a Chinese identity, brought up to date in tune with the assertion of individual desires at the expense of the community. The collective experiment is set aside to make room for the subjectivity of creative individuals, who create while positioning themselves as a unit in interrelationship with society. / Dans le contexte actuel d’une Chine contemporaine encore aux prises avec une censure gouvernementale des productions médiatiques ainsi que de la diffusion de l’information, les créateurs doivent trouver des voies détournées afin de s’exprimer librement. Plusieurs styles de cinémas cohabitent dans ce continent bousculé par les idéologies politiques. Deux grandes catégories se distinguent, s’opposent, s’entremêlent et se côtoient, c’est-à-dire, le cinéma « mainstream » et le cinéma « indépendant ». C’est via le médium du septième art et plus particulièrement celui de la génération actuelle de réalisateurs chinois que sera mise en relief l’émergence de nouvelles subjectivités créatives. Ces subjectivités sont engagées dans une danse constante avec l’État dans l’atteinte de l’accomplissement professionnel tout en maintenant le statut d’indépendance artistique. L’auteure tentera d’approfondir l’évolution de la notion de l’identité chinoise des années 1990 à aujourd’hui. Découlant d’une opposition entre tradition et modernisme, la formation de nouvelles subjectivités est fondée sur une négociation constante avec les forces imposantes de la globalisation mais aussi avec l’État chinois. On parle actuellement d’un assouplissement de la rigidité communiste, voire même l’émergence de tendances néolibérales, qui auraient pour effet de mener à la création d’une identité chinoise actualisée en diapason avec l’assertion des désirs individuels, et ce, au profit de la collectivité. L’expérience collective est mise de côté pour faire place à la subjectivité d’individus créateurs qui créent en se positionnant en tant qu’unité en interrelation avec la société.

In the current contemporary Chinese context, still caught up with a governmental censorship of the media productions as well as information circulation, creators must find diverse ways to express themselves freely. Several styles of cinemas cohabit in this country hustled by political ideologies. Two main categories are divided, opposed and intermingled, the “mainstream” cinema and the “independent” cinema. It is via the medium of cinema and more particularly that of the present generation of Chinese directors that will be highlighted the emergence of new creative subjectivities. These subjectivities are in a constant dance with the State in the reaching of professional achievement while maintaining the status of artistic independence. The author will look into the evolution of the notion of Chinese identity from the 1990s until today. Rising from an opposition between tradition and modernism, the formation of new subjectivities is founded on a constant negotiation with the imposing forces of globalization but also in relation with the Chinese State. One currently speaks about an easing of communist rigidity and even the emergence of neoliberal tendencies. This would lead to the creation of a Chinese identity, brought up to date in tune with the assertion of individual desires at the expense of the community. The collective experiment is set aside to make room for the subjectivity of creative individuals, who create while positioning themselves as a unit in interrelationship with society. / Dans le contexte actuel d’une Chine contemporaine encore aux prises avec une censure gouvernementale des productions médiatiques ainsi que de la diffusion de l’information, les créateurs doivent trouver des voies détournées afin de s’exprimer librement. Plusieurs styles de cinémas cohabitent dans ce continent bousculé par les idéologies politiques. Deux grandes catégories se distinguent, s’opposent, s’entremêlent et se côtoient, c’est-à-dire, le cinéma « mainstream » et le cinéma « indépendant ». C’est via le médium du septième art et plus particulièrement celui de la génération actuelle de réalisateurs chinois que sera mise en relief l’émergence de nouvelles subjectivités créatives. Ces subjectivités sont engagées dans une danse constante avec l’État dans l’atteinte de l’accomplissement professionnel tout en maintenant le statut d’indépendance artistique. L’auteure tentera d’approfondir l’évolution de la notion de l’identité chinoise des années 1990 à aujourd’hui. Découlant d’une opposition entre tradition et modernisme, la formation de nouvelles subjectivités est fondée sur une négociation constante avec les forces imposantes de la globalisation mais aussi avec l’État chinois. On parle actuellement d’un assouplissement de la rigidité communiste, voire même l’émergence de tendances néolibérales, qui auraient pour effet de mener à la création d’une identité chinoise actualisée en diapason avec l’assertion des désirs individuels, et ce, au profit de la collectivité. L’expérience collective est mise de côté pour faire place à la subjectivité d’individus créateurs qui créent en se positionnant en tant qu’unité en interrelation avec la société.

The present study focusses on the theatre audience, and on its’ role in the maintenance of the theatrical situation. Using video-recorded performances of relatively naturalistic, modern dramas, the study examines the behaviour of the audience in relation to the unfolding of stage events. Such behaviour is described through close inspection of the sounds the audience produces, consisting primarily of coughing, throat-clearing, and laughter. The study contributes to the growing body of research surrounding ethnomethodological conversation analysis (CA). CA methods are used to analyse not only an audience’s overt reactions to stage events, but also the actions occurring outside these relatively short-lived phenomena in the context of a theatre performance. It is demonstrated that members of the audience refrain from making « vocal noise » during the verbal interaction of actors, and some of the resources used to achieve this end are described. These include the interpretation of the emerging dialogue, of the relative positioning of actors and of the actors’ use of gesture. Members of the audience are observed making vocal noise around possible completions in the sequence of ongoing stage actions, a placing which seems to make it maximally unobtrusive. Furthermore, the audience’s laughter is described. It is argued that members of the audience negociate collective moments of laughter with each other and with the actors. In doing so, the audience displays a sensitive awareness of the other members of the audience and the performers on stage. It is finally suggested that vocal noise on one hand and laughter on the other are differently placed in relation to an emerging action. This relative placing seems to indicate their producers’ different orientations to these actions, according to which vocal noise is to be hidden and laughter to be taken as an overt reaction.

Данная магистерсĸая диссертация посвящена изучению эргонимов-реплиĸ с точĸи зрения их фунĸционирования в современной городсĸой среде. В первой главе работы описаны фунĸции эргонимов, выделены способы их образования. Особое внимание аĸцентируется на леĸсиĸо-синтаĸсичесĸом способе, на базе ĸоторого образуются эргонимы-реплиĸи, таĸже рассматриваются специфичесĸие особенности разговорной речи, единицы ĸоторой легли в основу номинаций. Во второй главе на материале исследуемой группы номинаций различных городов России, Уĸраины, Беларуси и Казахстана (192 единицы) представлена многоаспеĸтная ĸлассифиĸация эргонимов-реплиĸ, проведенная по разным основаниям. В третьей главе диссертации анализируются результаты опроса, выполненного методом лингвистичесĸого интервьюирования (13730 ответов-реаĸций). Опрос проведен с целью оценĸи прагматичесĸого потенциала эргонимов-реплиĸ, а таĸже выявления неофициальных вариантов их употребления в речи. В работе выделены приемы создания неофициальных эргонимов, отмечен широĸий потенциал создания вторичных номинаций. / This master‘s thesis devoted to the study of conversational ergonym with respect to their functioning in the modern urban space. In the first Chapter the functions of ergonyms are described, and the ways of their formation are highlighted. Special attention is focused on the lexico-syntactic method, on the basis of which conversational ergonyms are formed, and the specific features of colloquial speech, the units of which formed the basis of the nominations, are also considered. In the second chapter, based on the material of the studied group of nominations of various cities of Russia, Ukraine, Belarus and Kazakhstan (192 units), a multidimensional classification of conversational ergonyms is presented, conducted on different grounds. The third chapter of the dissertation analyzes the results of a survey conducted by the method of linguistic interviewing (13730 responses-reactions). The survey was conducted to assess the pragmatic potential of conversational ergonyms, as well as to identify informal variants of the use of them in speech. The study identified the methods of creating unofficial ergonyms, and there was broad the vast potential of the creation of derivative nominations.

This dissertation falls in line with work produced during the past fifteen years or so, aimed at improving our appreciation of late medieval/early Tudor English Drama. The approach is based especially on looking at the rapport likely to be achieved between audience and players (and via the players, with the playwrights), in actual performance. Attention is given to the permanent modes of human thought, that are unaffected by the ephemeralities of a particular period; attention is therefore drawn to the traps that may mislead the unwary twentieth-century critic, and some new insights are offered into the purposes of the playwrights. Several cycle plays are treated, together with two of the moralities and two interludes. The point is made that these playwrights showed a considerable mastery of the possibilities inherent in drama, as is demonstrated by the provision for achieving rapport with the audience / The reformed churches have theological and musicological criteria for their hymns, which, however, are not always unambiguous. After the introduction of the Jeugsangbundel (1984) an informal song, with informal accompaniment, entered the worship and forms a prominent part of the singing in Dutch Reformed Churches today. Some congregations compile their own volumes of songs. This study set out to identify these congregations by means of a questionnaire and evaluate the songs. Other relevant information was also required from congregations. 21 % of the respondent congregations sing unapproved songs. They have a larger percentage of young people than those singing official songs. Congregations prefer a balance of formal and informal hymns and both are sung with equal enthusiasm. The melody is the strongest characteristic of the informal song and edification the strongest of the formal hymn. The evaluation, however, shows that a considerable number of songs do not meet the required standard / Art History, Visual Arts & Musicology / M.A. (Musicology)

This dissertation falls in line with work produced during the past fifteen years or so, aimed at improving our appreciation of late medieval/early Tudor English Drama. The approach is based especially on looking at the rapport likely to be achieved between audience and players (and via the players, with the playwrights), in actual performance. Attention is given to the permanent modes of human thought, that are unaffected by the ephemeralities of a particular period; attention is therefore drawn to the traps that may mislead the unwary twentieth-century critic, and some new insights are offered into the purposes of the playwrights. Several cycle plays are treated, together with two of the moralities and two interludes. The point is made that these playwrights showed a considerable mastery of the possibilities inherent in drama, as is demonstrated by the provision for achieving rapport with the audience / The reformed churches have theological and musicological criteria for their hymns, which, however, are not always unambiguous. After the introduction of the Jeugsangbundel (1984) an informal song, with informal accompaniment, entered the worship and forms a prominent part of the singing in Dutch Reformed Churches today. Some congregations compile their own volumes of songs. This study set out to identify these congregations by means of a questionnaire and evaluate the songs. Other relevant information was also required from congregations. 21 % of the respondent congregations sing unapproved songs. They have a larger percentage of young people than those singing official songs. Congregations prefer a balance of formal and informal hymns and both are sung with equal enthusiasm. The melody is the strongest characteristic of the informal song and edification the strongest of the formal hymn. The evaluation, however, shows that a considerable number of songs do not meet the required standard / Art History, Visual Arts and Musicology / M.A. (Musicology)