In this paper, we aim to understand how the social actors of a community on the outskirts of Aracaju, Sergipe, and sighted policy practiced in their daily lives. These analyzes are guided by research on memory, enunciated through the narratives tessitura, which emerged through interviews by former residents. From these statements, it was possible to identify the direction of the trajectory of these subjects in a time and space that is configured through preterit symbolic procedurals that therefore allowed us to understand how to have relationships between the discourses, identities, self representation, engagement and communication. Given the above, we chose to use as anthropological analysis method, Photoethnography and ethnography of cyberspace, added the collection and comparison of the information obtained from the filtering of documentary sources. / No presente trabalho, visamos compreender como os atores sociais de uma comunidade da periferia de Aracaju, Sergipe, enxergavam e praticavam a política em seu cotidiano. Essas análises, são pautadas pela investigação acerca da memória, enunciada através das tessituras narrativas, que emergiam por intermédio de entrevistas concedidas pelos antigos moradores. A partir desses depoimentos, foi possível identificar o sentido da trajetória desses sujeitos em um tempo e espaço que se configurou por meio de processualidades simbólicas pretéritas que, por conseguinte, nos permitiram entender como se deram as relações entre os discursos, as identidades, a auto representação, o engajamento e a comunicação. Dado o exposto, optamos por utilizar como método de análise antropológica, a fotoetnografia e a etnografia do ciberespaço, somados a coleta e o cruzamento das informações obtidas a partir da filtragem das fontes documentais.

Submitted by Franciele Moreira (francielemoreyra@gmail.com) on 2017-10-20T15:06:41Z No. of bitstreams: 2 Dissertação - Sophia Ferreira Pinheiro - 2017.pdf: 56698362 bytes, checksum: 896097b17235ef4914a076d87608381d (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Approved for entry into archive by Luciana Ferreira (lucgeral@gmail.com) on 2017-10-23T10:03:07Z (GMT) No. of bitstreams: 2 Dissertação - Sophia Ferreira Pinheiro - 2017.pdf: 56698362 bytes, checksum: 896097b17235ef4914a076d87608381d (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Made available in DSpace on 2017-10-23T10:03:07Z (GMT). No. of bitstreams: 2 Dissertação - Sophia Ferreira Pinheiro - 2017.pdf: 56698362 bytes, checksum: 896097b17235ef4914a076d87608381d (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Previous issue date: 2017-08-25 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / This research study aims to outline the trajectory of indigenous film-maker Patrícia Ferreira Pará Yxapy. Patrícia belongs to the Mbyá-Guarani ethnic group and is currently regarded as the most relevant female figure in Brazilian indigenous filmmaking. I attempt to understand her trajectory from the standpoint of the relations she establishes with images to contribute with research on indigenous women and filmmakers and, hence, to understand the paths available for a female indigenous filmmaker in Brazil. I employ audiovisual methods to verify the passage from the representation of an ‘indian image’ – in view of representations brought forth by stereotypical non-indigenous policies – towards the ‘indigenous gaze’. In other words, by focusing on a self-represented and political image as well as on filmmaking from the standpoint of a shared gaze, repertoires, and her own experiences, Patrícia becomes the leading figure of her claims. Therefore, her work opposes the apparent passiveness which is often assigned to the imagery production relation active/man and passive/woman. She distances herself from a romanticized and exotic view (‘of the other’) through appropriations of her discourses, hence performing her own artistic agency in the production of a female indigenous cinematography. There is a tension between borders and their discursive possibilities which have originated from the appropriation of audiovisual technologies that make up hegemonic stances. It is based on this rupture that I carry out an ethnographic experience of video letters, i.e. exchanged videographic messages about a wide range of topics. In this project, they exist between the two of us to show our relationship through images and sounds. In Patrícia’s own words: ‘what I put out used to be inside me’. / Esta pesquisa procura traçar a trajetória da cineasta indígena Patrícia Ferreira Pará Yxapy. Patrícia é Mbyá-Guarani e é atualmente tida como a mulher mais relevante para o cinema indígena brasileiro. Procuro entender sua trajetória a partir das relações que ela estabelece com as imagens a fim de contribuir com os estudos sobre mulheres e cineastas indígenas e, a partir daí, compreender os caminhos de uma mulher indígena cineasta no Brasil. Utilizo métodos audiovisuais para verificar a passagem da representação da “imagem do índio” – diante das representações realizadas por políticas não indígenas estereotipadas – para “o olhar indígena”. Ou seja, com a imagem autorrepresentada e política e o dispositivo cinematográfico a partir do olhar compartilhado, de repertórios e suas experiências, Patrícia torna-se protagonista de suas reivindicações. Portanto, sua obra contrapõe-se ao pressuposto lugar de passividade que é atribuído, frequentemente, à relação de produção imagética ativa/homem e passiva/mulher. Ela afasta-se da visão romantizada e exótica (“do outro”) por meio das apropriações de seus discursos, empreendendo sua própria agência artística na produção de uma cinematografia indígena feminina. Desse modo, deparamo-nos com uma tensão entre fronteiras e suas possibilidades discursivas abertas pela apropriação de tecnologias audiovisuais constitutivas das posições hegemônicas. É a partir dessa fissura que fazemos uma experiência etnográfica de vídeo-cartas, que constituem trocas de mensagens videográficas dos mais diversos temas. Neste projeto, elas existem entre nós duas a fim de mostrar com imagens e sons nossa relação. Como afirma Patrícia: “o que pus para fora estava dentro de mim”.

Orientador: Etienne Ghislain Samain / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-22T21:04:38Z (GMT). No. of bitstreams: 1 Senatore_PaulaMarchini_M.pdf: 5270970 bytes, checksum: 5f5ea6784140e1b19c455abb1c27aece (MD5) Previous issue date: 2013 / Gloriosa, de Arthur Omar, que nos apresenta 161 imagens de rostos brasileiros em situação de êxtase carnavalesco, as quais correspondem a um projeto muito particular de execução de uma nova ciência, marcada por uma forte presença do sujeito. Tal presença é visível no método bastante subjetivo de criação dessa antropologia, que satura não apenas a imagem quanto o discurso. Para entender os procedimentos de composição dessa proposição estético-científica, estudam-se, primeiramente, conceitos relativos à percepção dionisíaca do mundo e sua relação com a percepção apolínea e, num segundo momento, conceitos artísticos e antropológicos que se relacionam com o carnaval enquanto manifestação estética e cultural. Esse percurso teórico ampara a interpretação de que a matéria discursiva e fotográfica é moldada em harmonia com relação ao aspecto temático abordado na Antropologia da Face Gloriosa, em que Apolo e Dionísio tramam, entre luz e sombras, a expressão do ethos brasileiro / Abstract: The aim of this research is to make an interpretation of the book Anthropology of the Glorious Face, written by Arthur Omar. This book presents 161 images of faces in a situation of Brazilian Carnival Ecstasy, which correspond to a very special project for the implementation of a new science, marked by a strong presence of the subjectivity. Such a presence is visible in the method of creating this very subjective anthropology, which saturates the image and the discourse. To understand the compositional procedures of this aesthetic-scientific method, it will be studied Dionysian concepts related to the perception of the world and its relation to Apollonian concepts. It will be studied as well artistic and anthropological concepts that are related to the carnival as a cultural and aesthetic expression. This theoretical path supports the interpretation that the image and the discourse levels are made in harmony with the thematic aspect addressed in the Anthropology of the Glorious Face, in which Apollo and Dionysus plot, between light and shadows, the expression of brazilian ethos / Mestrado / Multimeios / Mestra em Multimeios

Submitted by Simone Maisonave (simonemaisonave@hotmail.com) on 2016-09-21T13:48:29Z No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Leando Barbosa dos Santos_Dissertação.pdf: 11757528 bytes, checksum: 74d956a635e997273e022e3cdbb944c1 (MD5) / Approved for entry into archive by Aline Batista (alinehb.ufpel@gmail.com) on 2016-09-21T16:33:59Z (GMT) No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Leando Barbosa dos Santos_Dissertação.pdf: 11757528 bytes, checksum: 74d956a635e997273e022e3cdbb944c1 (MD5) / Approved for entry into archive by Aline Batista (alinehb.ufpel@gmail.com) on 2016-09-21T16:35:18Z (GMT) No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Leando Barbosa dos Santos_Dissertação.pdf: 11757528 bytes, checksum: 74d956a635e997273e022e3cdbb944c1 (MD5) / Made available in DSpace on 2016-09-21T16:35:31Z (GMT). No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Leando Barbosa dos Santos_Dissertação.pdf: 11757528 bytes, checksum: 74d956a635e997273e022e3cdbb944c1 (MD5) Previous issue date: 2016-05-31 / Sem bolsa / Esta pesquisa versa sobre as memórias coletivas e práticas cotidianas de habitantes do Bairro Guajuviras, Canoas, Rio Grande do Sul, considerando-se os arranjos temporais que ritmam o viver cotidiano dos moradores de cidades brasileiras, configurados em suas expressões, imagens e narrativas. A partir de uma abordagem antropológica visual, utilizou-se, como método, a etnografia em contextos urbanos, atentando-se à linha de estudos relativos às sociedades complexas, e, como objetivo a análise do fenômeno da memória e da duração, entendido como cerne das afinidades sociais dos habitantes do espaço urbano contemporâneo. Com base nos estudos concernentes à narrativa biográfica e à trajetória social, buscou-se compreender o fenômeno da duração e da memória do lugar, tendo como princípio as interpretações das formas de negociação dos habitantes locais. Diante do caráter inacabado do viver urbano, o destaque se encontra nas estruturas espaço temporais que evidenciam o fenômeno da alteridade e da experiência humana com a cidade. Investigou-se como esses habitantes se identificam reciprocamente, incluindo a perspectiva solidária local, revelando nas narrativas o traçado que transcende o tempo, conduzindo muitos dos modos de estabelecer vínculos no espaço. / This research turns on the collective memories and everyday practices of inhabitants of neighborhood Guajuviras, Canoas, Rio Grande do Sul, considering the temporary arrangements that rhythm the daily lives of the dwellers of Brazilian cities, set in their expressions, images and narratives. From a visual anthropological approach it was used as method ethnography in urban contexts, paying attention to the line studies on complex societies, and as objective to analyze the phenomenon of memory and duration, understood as the core of social affinities of the inhabitants of contemporary urban space. Based on studies concerning to the biographical narrative and social trajectory, it aims to understand the phenomenon of life and memory of the place, with the principle interpretations of forms of negociation of the locals. Faced the unfinished character of urban living, the highlight is the temporal space structures that evidence the phenomenon of alterity and human experience with the city. It was examined how these people identify with each other, including local solidarity perspective, revealing the narratives tracing that transcends time, leading many ways to establish links in space.

Grounded in multi-sited fieldwork within an agro-pastoralist highland village in Southwest Angola and in ethnology museums in Europe, Angola and Namibia, my research interweaves an ethnographic and a historical approach to better understand the meanings and social relationships generated by what I call “elusive dolls”: dolls that are difficult to find and slippery when encountered. The study explores postcolonial significances of African dolls, made by agro-pastoralist people, which have been sparsely collected for display in museums since colonial times. Using multiple field methods such as participant observation, archival research, photo-elicitation, and filmmaking, I trace the social relationships involved in the making of dolls in Southwest Angola and in the housing of the same kind of dolls in ethnology museums, paying particular attention to the material and social networks established around the practices of making and collecting them. Following the logic of local languages (olunyaneka, oshikwanyama), I use the notion of “crafted ‘children’” to define handcrafted dolls made of different materials, and address the meanings these dolls embody for makers, collectors and museum curators. I take a historical perspective to examine the dimensions of storage, research and display and address contrasting curatorial approaches to dolls in museums. While most curators have tended to focus on dolls and their supposed functions, a few have engaged with dolls in relation to other domains of the lifeworlds of rural makers and their skilled practices. Examining the limits of historical ethnographic research about local doll-usage, I build upon these alternative approaches by curators and ethnographically explore the relational dimensions of these dolls in two worlds in which they have material and social lives: Southwest Angola and ethnology museums. Firstly, I examine the regional diversity of these dolls, as crafted “children”, in the rural context through a situated understanding of ethnic and ecological diversity and rural-urban relations. Secondly, I explore the twofold notion of labour – that is, the labour in crafting and the labour in making a living - in the regional domestic economy of agro-pastoralist populations, showing how a resilient rural lifestyle, local and urban resources, seasonal demands, and personal skills linked to age and sociality generate and shape the practices of doll-making. Finally, I examine drawing and photography in published and unpublished material about dolls and show how the visual connects the worlds of curators, field-collectors, makers and ethnographers. A large part of the literature on ethnology museum collections tends to focus on “repatriation”, discussing relations between museums and “source communities”. By contrast, an analytical framework connecting doll-making and collecting, the regional conditions of a crafting practice and its local immersion in rural everyday life, appears only marginally in the literature - this is where my research makes a significant contribution. My thesis contributes to critical museology research, Africanist studies, and visual anthropology and engages with debates on materiality and skill. The film that accompanies the thesis, Making a Living in the Dry Season, is grounded in a long-term stay in a village, and examines the twofold notion of labour mentioned above through the practice of doll-making. I recommend first reading the thesis up until Chapter three, followed by watching the film, and then turning to the remaining chapters.

Souvent considérée comme une « discipline de mots », l’ethnologie française a vu naître dans ses rangs une véritable culture de l’image photographique à partir des années 1930. Cette thèse se propose de mettre en perspective ce moment fécond des rapports de l’ethnologie à la photographie,en envisageant l’évolution de la place et du statut des images dans la discipline jusqu’aux années1960. Elle prend pour cela comme point d’ancrage les discours portés sur l’image photographique et les politiques institutionnelles en matière de photographie – au musée d’Ethnographie du Trocadéro,au musée de l’Homme puis à l’Institut Français d’Afrique Noire – qu’elle met en dialogue avec l’analyse des supports de diffusion et des pratiques de terrain.Ce travail révèle alors qu’un ambitieux projet visuel s’élabore dans les années 1930 autour du Trocadéro, qui contribue à la naissance d’un public de l’ethnologie. Il s’exacerbe dans les décennies suivantes, autour du succès de la photothèque du musée de l’Homme et face à l’engouement renouvelé pour l’exotisme et l’exploration. Néanmoins, les mutations du paysage institutionnel et les tensions coloniales des années 1950 viennent mettre en question cette adhésion aux images : l’intérêt d’avoir recours aux photographies, de les accumuler et de les diffuser ne fait plus l’unanimité. / Often looked upon as a « discipline of words », French anthropology saw the birth of a real photographic image culture within its ranks from the 1930’s onward. The present dissertation wants to contrast this fruitful moment in the relationships between anthropology and photography, and to consider the evolution of the place and the status of pictures until the 1960’s. In this end, its draws on discourses dealing with photography and on photographic institutional policies – at the muséed’Ethnographie du Trocadéro, the musée de l’Homme and the Institut Français d’Afrique Noire – and open up this in dialogue with an analysis of distribution medium and field practices.Thus, this work reveals that an ambitious visual project is developed in the 1930’s from theTrocadéro, which contributes to the creation of an anthropological audience. It heightens throughout the following decades, with the success of the musée de l’Homme’s photo library and the renewed craze for exoticism and exploration. However, the mutations of the institutional landscape together with the colonial tensions of the 1950’s put into question this predilection for pictures: the interestfor using photographs, for collecting and spreading them is no longer agreed upon unanimously.

English Summary This dissertation primarily aims to synoptically place the theme of audiovisual representations of indigenous cultures within the context of cultural studies. With its interdisciplinary overlapping, the cultural studies approach is well suited to understanding the complex significance of visual representations of culture, which are both cultural artefacts and cultural interpretations and have an impact that is as artistic as it is scientific and political. The first part of the work describes the manner in which native cultures are audio-visually represented, especially in ethnographic photographs and films which emerged in the North American and European context. The mapping of "exotic others" intensified with the first modern overseas discoveries, first by means of exhibitions of living natives, illustrations and figurines, later through photographs, films and videos. These representations were significantly influenced by the socio-cultural conditions in which they arose. As late as the turn of the 20th century, there was a dominating conviction about the capability of photographs to present an objective record of reality. This technology was therefore used as an instrument for recording and classifying physical and cultural differences. The widespread acceptance of the doctrine of...

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Ce projet analyse le rôle des images – photographies, films, dessins – produites dans le cadre des recherches ethnographiques « interdisciplinaires » menées par l’anthropologue italien Ernesto De Martino en Italie méridionale dans les années 1950. Ces expéditions ont donné lieu à des documents multiformes puisqu’elles regroupent des chercheurs de formations différentes : historien des religions, ethnomusicologue, psychiatre, photographe, et occasionnellement cinéaste. Plus spécifiquement, il s’agit d’étudier le rôle des matériaux visuels dans la recherche sur le tarentisme, rituel de possession observé dans les Pouilles en 1959 par De Martino et son équipe, matériaux dont une partie constitue l’annexe photographique de son œuvre célèbre La terra del rimorso (1961). Nous portons également attention à l’atlas iconographique de son ouvrage sur la lamentation funèbre, Morte e pianto rituale nel mondo antico. Dal lamento pagano al pianto di Maria (1958), fruit d’une étude de terrain dans la région sud italienne de la Lucania (Basilicata). Tout en considérant les relations intermédiales entre les images, le texte, le son et le corps, ce mémoire identifie les rapports dialectiques entre les techniques d’enregistrement et les logiques répétitives, rythmiques et performatives des rituels en question. Chez De Martino, l’image est point de tension en matière de temporalité et de ressemblance : elle suggère une anthropologie de la « survivance » nous permettant de relever plusieurs correspondances avec l'oeuvre de l’historien de l’art Aby Warburg. / This project deals with the production of images in Italian anthropologist Ernesto De Martino’s 1950s “interdisciplinary ethnographies” in southern Italy. These expeditions, innovative for their time, involved a team of researchers (including a religious historian, ethnomusicologist, psychiatrist, photographer and, at times, a filmmaker) and gave rise to mixed-media documents. While the textual aspects of De Martino’s work have been studied in depth, my approach focuses on image-making practices: photography, film, drawings. Building largely on his famous work La terra del rimorso (1961) on tarantism – a possession ritual observed by De Martino’s team in Puglia in 1959 – as well as on the iconographic atlas of Morte e pianto rituale nel mondo antico. Dal lamento pagano al pianto di Maria (1958) – his study on mourning rituals led in the southern Italian region of Lucania (Basilicata) –, this thesis suggests that images, despite their ancillary status, formed a major part of De Martino’s fieldwork and transmitted much more than documentary knowledge. Not only does the visual haunt De Martino’s own text as a literary device, but it is also tightly connected to a series of intermedial elements (sound, objects, bodies) inherent to the ritual “apparatus” itself and its documentation process. It was thus possible to perceive a dialectical relationship between technological imagistic devices such as photography and film, which “reproduced” possession rituals, and those practices’ own repetition processes, temporal rhythms, and performativity. Lastly, these images also suggest an anthropology of “afterlife” by means of visual analogies passed through bodily gesture, reminiscent of Aby Warburg’s work.