Tesis sobre el tema "Narrative imaginaries"

Thesis (PhD)--Stellenbosch University, 2014.
ENGLISH ABSTRACT: This thesis examines depictions of disability in selected African films, novels and memoirs. Central to the thesis is the concept of narrative enablement, which is discussed as a property that texts have for enabling the recognition of disability by the reader or viewer. In the thesis, I investigate the ways in which narrative enablement manifests in the texts. The motivation for the study comes from the recognition of several trends in current literary disability studies. Firstly, the study attempts to expand the theoretical base of current literary disability studies, which consists of ideas formed from a narrow epistemic archive. Similarly, the study also recognises that scholarship in the field mostly relies on a limited canon of texts, almost wholly drawn from the Western world. This study therefore allows a glimpse at an under-acknowledged archive of disability representation, which is then used to suggest the possibility of alternative ways of understanding disablement on the African continent and globally. The first chapter is meant as an entry point into some of the complex lives depicted in the thesis. In this chapter, I explore the intersection that the texts draw between disability and masculinity, illustrating the way this intersection evokes questions about how we understand the relationship between the two concepts. In the second chapter, I examine the way socio-political violence on the continent is represented as a cause of both disablement and disenablement. This chapter is an exploration of how disability is enmeshed with other social realities in people’s lives. The term disenablement is employed in order to capture the presentation of disablement amidst various forms of violent oppression. As it is portrayed in the majority of the texts studied in the thesis, disablement is a factor of social attitudes. My third chapter examines how these texts create dis/ability zones, areas where the reader/viewer witnesses the fluidity of socially constructed disablement in particular societies. As it is portrayed in the texts, and discussed in the thesis, this zone is a space where disabled characters encounter the ableist world. It is a space that allows the destabilization of entrenched notions about disability, and consequent recognition of disabled characters. The most explicit manifestation of narrative enablement occurs through creative intervention, which is the focus in the fourth chapter. In this chapter, I examine the role of various forms of creativity as they are enacted by the characters, arguing that they are manifestations of the characters making use of narrative enablement. In the texts, the disabled characters use unique modes of storytelling – not exclusively verbal – to narrate their story, but also to assert their belonging to particular familial, cultural, as well as national worlds.
AFRIKAANSE OPSOMMING: Hierdie tesis ondersoek uitbeeldings van gestremdheid in geselekteerde films, romans en memoirs uit Afrika. Die konsep van narratiewe bemagtiging – ‘n konsep wat ondersoek word as ‘n kapasiteit van tekste wat die erkenning van gestremdheid bemoontlik vir die leser of kyker – staan sentraal in hierdie studie. In my tesis ondersoek ek die maniere waarop narratiewe bemagtiging in die tekste manifesteer. Die beweegrede vir hierdie studie kom uit die realisering van verskeie strominge in kontemporêre letterkundige gestremdheidstudies. In die eerste plek onderneem hierdie studie die taak om die teoretiese basis van huidige literêre gestremdheidstudies, wat bestaan uit idees wat op hul beurt uit ‘n enge epistemiese argief gevorm is, uit te brei. Op soortgelyke wyse erken die studie dat akademiese navorsing binne hierdie studieveld meestal berus op ‘n relatief klein kanon van tekste, feitlik geheel-en-al uit die Westerse wêreld. Hierdie studie bied dus ‘n kyk op ‘n onder-erkende argief van gestremdheidsvoorstellings, wat op sy beurt gebruik word om die moontlikheid van alternatiewe maniere waarop gestremdheid binne Afrika asook wêreldwyd begryp kan word, aan te toon. Die doel van die eerste hoofstuk is om ‘n intreepunt te skep waardeur sommige van die komplekse ervaringswêrelde wat in die tesis ondersoek word, betree kan word. In hierdie hoofstuk ondersoek ek die oorvleuelings tussen gestremdheid en manlikheid wat deur die tekste uitgebeeld word, om sodoende aan te toon dat hierdie oorvleueling vrae oproep in verband met hoe ons die verhouding tussen hierdie twee konsepte kan verstaan. In my tweede hoofstuk ondersoek ek die manier waarop sosio-politieke geweld op die kontinent uitgebeeld word as ‘n oorsaak van gestremdheid sowel as van ontmagtiging. Hierdie hoofstuk ondersoek die wyses waarop gestremdheid verwikkeld is met ander sosiale werklikhede in mense se lewens. Die term disenablement [hier: ‘ontmagtiging’] word gebruik om die uitbeelding van gestremdheid midde-in verskillende vorme van gewelddadige onderdrukking vas te vang. Soos uitgebeeld in die meeste van die tekste wat in die studie ondersoek word, is gestremdheid ‘n aspek van sosiale houdinge. My derde hoofstuk ondersoek hoe die gekose tekste areas van be/ontmagtiging skep; gebiede waar die leser/kyker die vloeibaarheid van sosiaal-gekonstrueerde ontmagtiging in spesifieke gemeenskappe waarneem. Soos uitgebeeld in die tekste en soos wat die studie die saak bespreek, is hierdie zone ‘n gebied waarbinne gestremde persone die bemagtigde wêreld ervaar. Dit is ‘n area waarbinne die versteuring van vasgelegde konsepte van gestremdheid, en gevolglike erkenning van gestremde persone, kan plaasvind. Die mees eksplisiete ontplooiïng van narratiewe bemagtiging gebeur deur middel van skeppende intervensies, wat die fokus vorm van my vierde hoofstuk. In hierdie hoostuk ondersoek ek die rol wat gespeel word deur verskillende vorme van kreatiwiteit soos beoefen deur die karakters, in die loop van my argument dat hiedie skeppingsvorme voorbeeelde is van hoe narratiewe bemagtiging plaasvind. In die tekste gebruik die gestremde karakters unieke metodes van vertelling – nie uitsluitlik verbaal nie – om hulle verhale te vertel, maar ook om aan te toon dat en hoe hulle aan partikuliere familiale, kulturele en nasionale wêrelde behoort.

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Colégio Pedro II, São Cristóvão III, Rio de Janeiro, RJ
O presente trabalho analisa a construção das encenações descritiva e narrativa no mangá Turma da Mônica Jovem, obra de Maurício de Sousa, e os efeitos de sentido decorrentes destas, produzidos por meio da relação verbo-visual. Como diretriz da pesquisa, são empregados, sobretudo, pressupostos da Teoria Semiolinguística de Análise do Discurso, de Patrick Charaudeau, com relação à competência de linguagem, aos modos de organização do discurso – enfatizando os modos descritivo e narrativo – e aos imaginários sociodiscursivos. Além disso, focalizando a relação palavra-imagem, são utilizados alguns preceitos da semiótica peirciana, com o apoio de outros conceitos e aportes teóricos relacionados à relação verbo-visual e às histórias em quadrinhos. Como corpus de análise, são utilizados fragmentos de edições alternadas da revista Turma da Mônica Jovem (entre a edição 1 e a 64) para exemplificar os aspectos elencados, além das edições 41, 48 e 63, para uma análise global e aplicação dos conceitos estudados. Por meio da análise das estratégias discursivas utilizadas no material, é possível concluir que, para adequar a publicação ao novo sujeito destinatário, procurou-se manter o perfil ideológico da Turma da Mônica tradicional, adicionando elementos que programassem um destinatário ideal com o qual o público leitor e consumidor se identificasse. Somando-se a isso, como estratégia de captação, foram utilizadas representações sociais e imaginários sociodiscursivos relativos ao universo adolescente com um papel de espelho identitário, facilitando a adesão do leitor
This paper analyzes the construction of the descriptive and narrative staging in the Monica Teen manga, created by Maurício de Sousa, and the effects of meaning deriving from them, produced by the verb-visual interface. The survey was conducted from the theoreticalmethodological approach of Semiolinguistics Theory, by Patrick Charaudeau, related to the language competence, the discourse organization modes – emphasizing the descriptive and the narrative – and the socio-discursive imaginaries. Furthermore, to focus on the word-image relationship, some precepts of Peirce's semiotics were used, and other concepts and theoretical issues connected to the verb-visual interface, also related to comics. As corpus of analysis, fragments of alternated editions from Monica Teen comic book are used (between editing 1 and 64) to exemplify the listed aspects; in addition, the editions numbers 41, 48 and 63 are used for a global analysis and application of the concepts studied. Throughout the analysis of the discursive strategies used in the material, it can be concluded that, in order to adapt the publication to new subject receiver, they tried to keep the ideological profile of Monica´s Gang, adding elements that could program an ideal receiver with whom the readership and consumers would identify themselves. In addition, as a strategy of captation, social representations and socio-discursive imaginary from the adolescent universe were used, with the role of an identity mirror, facilitating the reader's adherence

Nos objets de recherche sont des paroles. De l'acte linguistique à la parole narrative, ce travail explore les patrimoines narratifs d'expérience de milieux alpins, depuis les Alpes francophones jusqu'aux territoires himalayens du Népal. Les documents narratifs de la collecte de Charles Joisten et les enquêtes que nous avons conduites dans les Alpes valdôtaines et chez les groupes Bahun-Chhetri et Newar du Népal nous ont emmené sur les traces des ontologies fantastiques qui hantent les imaginaires narratifs de ces populations alpines. A partir de ces documents, nous avons développé une analyse transculturelle d'anthropologie neurocognitive comparée, basée sur une approche qui permet de faire le pont entre le domaine de l'ethnographie de la narration (la folkloristique) et les neurosciences cognitives. Par une prise en compte des liens entre les systèmes neurocognitifs des êtres humains producteurs d'imaginaire et leurs inspirations émanant du milieu culturel, nous sommes parvenu à pouvoir dire quelque chose du sensorium cérébral, de ses sources spécifiques (a priori contre-intuitives), auxquelles puise la création de telles ontologies imaginaires. Nous avons inséré notre travail dans le cadre du modèle transculturel d'anthropologie neuro-cognitive BRAINCUBUS (depuis Cathiard et al., 2011). Ajoutée à notre intention, une modalité autre que l'intuition de psychologie intuitive et la contre-intuition scientifique : une sur-intuition limitée aux expériences contre-intuitives non-délusionnelles.En tant qu'interface entre le folklore du surnaturel et les récentes avancées de la neurophysiologie du sommeil, ce modèle nous a permis de construire notre recherche à partir des ontologies imaginaires repérées par la folkloristique internationale, pour la plupart générées dans l'état dissocié du cerveau qu'est la paralysie du sommeil. A partir de ce quatrième état du cerveau, il est possible de dégager l'origine des différentes phénoménologies donnant naissance à l'anthropodiversité des ontologies surnaturelles. Ces corps dits « fantômes » étant neuralement bien réels, notre objectif visait l'unification de tels corps-fantômes de l'imaginaire narratif humain avec les corps physiques par leurs cartographies corticales. Nous avons focalisé notre attention sur les deux types principaux de corps-fantômes issus des deux composantes fondamentales de la paralysie du sommeil : OBE (Out-of-Body Experience) et AP3S (Alien Presence Sensed from Self Shadowing). En partant de la matrice sémantique de cette paralysie, nous avons différencié les fondements corticaux des deux phénoménologies universelles de l'âme-partie-visiter et du dormeur-visité, celles-ci se produisant, latéralisées respectivement à droite (OBE) et à gauche (AP3S), dans la jonction temporo-pariétale (TPJ).En examinant les déplacements hors-du-corps, nous avons pu mettre en évidence le rôle nodal d'une inquiétude partagée transculturellement. Il s'agit de la précaution de ne pas remuer le corps inanimé du sujet en paralysie, pour que le corps-animé s'y réintroduise. Cette sur-intuition physiologique – mémorisée et transmissible en motif narratif – devient un savoir-faire vital : l'action de retourner sur la bouche une personne en paralysie du sommeil reviendrait à la mettre en danger de mourir par suffocation, car elle ne peut reprendre le contrôle de sa respiration volontaire à cause de la paralysie des muscles intercostaux externes. La paralysie du sommeil, dont la prévalence est plutôt importante, nous a permis d'ancrer les récits dans des expériences neuralement indéniables de corps-fantômes. En intégrant ces données dans une forme neurocompatible, nous avons pu unifier les matrices narratives universelles en partant des corps-fantômes fondamentaux OBE et AP3S, dans un modèle de création neurale pour ces ontologies fantastiques, lesquelles, présentes depuis plus de 50.000 ans au moins, vont continuer à hanter nos imaginaires enrichissant le m/patrimoine narratif de l'Humanité
Dedicated to spoken memories, this work explore experience-centered narrative heritage in faraway alpine environments: from French-speaking Alps to the Himalayan Nepal. Starting from the largest French collection of belief narratives by Charles Joisten, we focussed on Valdostan reports, and the same during several consecutive field investigations in Nepal, inside Bahun-Chhetri and Newar groups. Hence we strolled on the trails of fantastic ontologies, the ones that haunt the narrative imaginary of such distant alpine communities. On processing these documents, we developed a cross-cultural analysis in comparative neurocognitive anthropology, elaborating a framework that allowed to bridge field folkloristics and cognitive neuroscience. By taking into account the relationships between the neurocognitive systems of human brains as ontology engines, be they physical or imaginary ontologies, and their inspirations from the cultural environments, we were enabled to tell something about the cerebral sensorium, with its specific sources (a priori counterintuitive), from which the creation of such imaginary ontologies has drawn. For this purpose, we evaluated more explicitly our working hypotheses in the frame of the cross-cultural neurocognitive anthropological model BRAINCUBUS (since 2011 by Cathiard et al.). Notably we had the opportunity to benefit from the last significant improvements concerning psychological modalities of intuition within this framework.As an interface between folklore studies of the supernatural and the latest advances in the neurophysiology of sleep, this model has allowed us to build our research on imaginary ontologies (as landmarked long ago by international folkloristics), by considering that virtually all of which originated in the dissociated brain state called sleep paralysis. Starting from this 4th state of the brain, it was possible to identify the origin of different phenomenologies which spawn the anthropodiversity we meet for supernatural ontologies. Establishing that these so-called “phantom” bodies are clearly neurally real, our purpose was to achieve the unification of main phantom-bodies with physical bodies from their cortical mapping. We focussed mainly on the two main types of phantom-bodies generated by the two fundamental components of sleep paralysis: OBE (Out-of-Body Experience) and AP3S (Alien Sensed Presence from Self Shadowing). In the narrative documents we elicited the semantic matrix of paralysis and we became able to differentiate the cortical sources of the two universal narratives of the “soul leaving the body for visiting” and of “sleeper visited”, both generated in the temporo-parietal junction (TPJ), and lateralized respectively to the right (OBE) and to the left (AP3S).An examination of OBE journeys allowed us to highlight the nodal role played by a cross-culturally shared anxiety. This is an injonctive precaution: do not move the inanimate body of a person in sleep paralysis, to allow the animate body to re-enter. This physiological over-intuition – stored and shared in narrative motifs – became an anti-lethal sapiential care. Actually rolling face down a sleep paralyzed person is at high risk of suffocating to death because s/he can not recover control of voluntary breathing, since external intercostal muscles are paralyzed. This sleep paralysis phenomenology is widespread enough to fuel transmissibility of narratives grounded in neurally undeniable experiences of phantom bodies. When framing these explicanda in a neurocompatible format, we were able to unify narrative matrices, elaborated from universally experienced OBE or AP3S phantom bodies within BRAINCUBUS as a model capable of neural creativity for such fantastic ontologies. Formulated by human wisdom along more than 50,000 years at least, they will continue to haunt our imaginary and enrich the narrative heritage of Humanity

Orientador: Aurea Maria Guimarães
Dissertação (mestrado) - Universidade Estadual de Campinas, Faculdade de Educação
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Resumo: Nesta pesquisa, as memórias e as histórias de uma tribo da Dança do Oriente do Brasil são expostas pelo foco da narrativa. Utilizando a estrutura literária de ¿As Mil e Uma Noites¿ permitiu-se que a memória e a história da personagem-narradora se entrecruzasse com outras memórias e histórias, formando um grande arabesco, onde as imagens ambivalentes apresentadas se enlaçam, sem reduzir a memória pessoal e coletiva, os fios orientais plurais e os fios contemporâneos, as tensões e a sensibilidade expressas nos depoimentos. Por meio da transcriação dissolve-se a dicotomia entre sujeito e objeto, penetrando de maneira profunda na temática, descrevendo o imaginário de uma tribo de Dança do Oriente e as modulações de violências ocultas e manifestas. O alento para a transcriação foi composto por depoimentos colhidos por meio de entrevistas e da participação nos principais eventos brasileiros de Dança do Oriente nos anos de 2004 e 2005. Compreendeu-se que a Dança do Oriente no Brasil encontra-se envolta de imaginários sociais, em que elementos sagrados e profanos dinamicamente associam-se, sempre permeados pelas manifestações de violência
Abstract: In this research, memories and stories about a Brazilian Oriental Dance Tribe are told by the narrative focus. The use of the literary structure from ¿One Thousand And One Nights¿ allowed that the memory and the story of the narrator-protagonist was used in other memories and stories creating a great Arabian world, where ambivalent images could be tied to each other, without reducing individual or collective memory, oriental and contemporary lines, sensibility and tension expressed on the reports. By this transcreation, the differences between subject and objects almost disappears, immerging deeply in the thematic, describing the imagination of a Oriental Dance Tribe and the modulations of their occulted and manifested violence. The base for this transcreation was made through reports gained by interviews and participations on the main Brazilian events of Oriental Dance at 2004 and 2005. It was understood that¿s the Brazilian Oriental Dance was alive through the socials imaginations, where holly and profane elements could be associated, always involved by violent manifestations
Mestrado
Ensino, Avaliação e Formação de Professores
Mestre em Educação

Bajo el paraguas del enfoque construccionista, he buscado tanto comprender los tránsitos que devienen de la provocación del imaginario en una acción social, aunados a la carga simbólica de las representaciones culturales que tenemos asumidas en nuestras historias de vida. Ampliar el conocimiento sobre la construcción de identidad con esta experiencia de movilidad a otra geografía. Un taller de fotografía fue el enlace con los colaboradores para utilizar la tecnología (cámara fotográfica) como herramienta para mostrar su subjetividad, junto con este ejercicio de narrativa visual y su narrativa escrita, para obtener datos que se complementaran usando los dos métodos. El primer capítulo es un viaje a través de la comprensión: la imagen dentro de la investigación, la imagen mental, la influencia de la imagen tecnológica como productora de imaginarios colectivos, la imagen como representación cultural, la imagen como lenguaje y herramienta en educación. El capítulo dos se refiere a lo imaginario, una ontología desde la Escuela de Grenoble, partiendo de Gilbert Durand, además de otros autores tales como Wunenburger, Huizinga, Bachelard, Castoriadis, por mencionar los fundamentales en mi trabajo. En la historia de la humanidad se vislumbra cómo se responde respecto a lo imaginario en cada época de la historia y su función en la producción de símbolos culturales, integración social, instituciones imaginarias. Capítulo tres la identidad, es un recorrido por las diversas influencias en la identidad a nivel personal, cultural, el yo y el influjo de los medios tecnológicos, el Yo saturado de Gergen, las diversas representaciones que confluyen en los colectivos, o poblaciones, para configurarla. Desde varias miradas, se buscó entender cómo las experiencias, los contextos, la historia personal, las representaciones culturales, los sueños, el pasado, las imágenes construidas son parte de las capas que constituyen las diversas identidades, así como colocar en el tejido cultural el panorama de las influencias históricas sincréticas a raíz de la colonización, su influencia en el carácter cultural, la Revolución mexicana, la actualidad de la identidad o mexicanidad, construyéndose a raíz de los legados prehispánicos, la hibridación cultural, los imaginarios de la llamada raza cósmica, para dar lugar a la sociedad actual. La segunda parte corresponde a la metodología, a la aplicación de los métodos narrativa visual y narrativa textual, a partir de pequeñas historias o small stories, un trabajo de campo realizado en una asociación donde, desde mi mirada fotográfica, capté los imaginarios colectivos de las representaciones culturales de coetáneos y, a partir de mi narrativa, expuse la información de la lectura desde mi mirada de investigadora, para obtener los datos que complementaran las lecturas que tendría del análisis de datos de mis colaboradores. Impartí un taller de fotografía en la asociación, donde obtuve la cooperación de algunos participantes del taller, que me otorgaron su tiempo y su confianza para compartirme experiencias escritas y visuales de su proceso personal de movilidad de su Estado en México hacia la ciudad de Barcelona. La tercera parte, el Análisis de Datos, fue el cruce de métodos de análisis para crear conocimiento sobre los procesos imaginarios que mueven a una persona a transitar a otro país. El método de análisis holístico de contenido de Lieblich para entender a través del texto lo que entre líneas podría aportarme. El método de análisis de narrativas visuales para comprender el contexto y los elementos simbólicos usados e implícitos en el lenguaje fotográfico, un panorama desde su subjetividad, motivación, sentimientos, situaciones culturales, y nuevas experiencias combinadas con su identidad mexicana, narrada desde sus nuevas experiencia de vida en otra cultura.
Under the umbrella of the constructionist approach, I have sought to understand the transits that come from the provocation of the imaginary in a social action, that we have assumed in our life stories. A photography workshop was the liaison for collaborators to use technology (camera) as a tool to show their subjectivity, coupled this visual narrative exercise, and their written narrative, in orden to obtain data that will be complemented using the two methods. The first chapter is a journey through understanding: the image within research, the mental image, the influence of the technological image as a producer of collective imaginaries, the image as cultural representation, the image as a language and a tool in education. The second chapter refers to the imaginary, an ontology Gilbert Durand, Wunenburger, Huizinga, Bachelard, Castoriadis, the production of cultural symbols. social integration, and imaginary institutions. The chapter three corresponds to identity, a journey through the diverse influences on personal, cultural identity, the self and the influence of technological means. The actuality of identity or “Mexicanness”, built as a result of pre-Hispanic legacies, cultural hybridization, the imaginaries to give place to today's society. The second part corresponds to the methodology, the use of methods such as, visual narrative and textual narrative, from small stories to carry out a field work in an association in Barcelona, and to obtain the data that complements the readings of the analysis of my collaborators’ data. The third part of data analysis was the crossing of methods of analysis Lieblich's holistic content analysis method, was applied to understand through the text what between lines could provide information of their imaginary and the hybrid construction of their identity. The method of analysis of visual narratives was used to understand the context, its imaginary construction, and the symbolic elements used for this photographic language, showing its panorama from its subjectivity motivations, feelings, cultural situations, to their new experiences combined with his Mexican identity, altogether narrated through his contributions and their new experience of life in a different culture.

A arquitetura, através das imagens produzidas por sua materialidade, pode representar diversos valores de uma sociedade. Nas cidades contemporâneas, as produções arquitetônicas de caráter acadêmico ou comercial mostram-se importantes narrativas de uma dualidade de valores coletivos que se manifesta no espaço das cidades, operando uma acentuada alteração de suas paisagens, desqualificando-as de forma constante e gradual. Para a compreensão dessas transformações urbanas recentemente ocorridas, e a fim de vislumbrar o futuro das cidades através dos indícios apontados pela produção contemporânea de arquitetura, mostra-se importante identificar os valores, aspirações e necessidades envolvidos nos processo de suas distintas e duais concepções. Tais elementos, de ordem imaterial e subjetiva, são essenciais para a formação de imagens mentais e visuais e, por isso, influenciam contínua e decisivamente a produção de arquitetura, e conseqüentemente das cidades. Assim, o referencial teórico e metodológico proposto pelo imaginário social torna-se extremamente pertinente para a investigação da presente conjuntura. Tendo em vista uma análise objetiva e pontual dessas transformações urbanas recentes evidenciadas pela materialidade das construções, adota-se como objeto de estudo a produção arquitetônica do século XXI, representativa dos segmentos acadêmico e comercial da cidade de Porto Alegre. A partir da realidade local é possível compreender como o imaginário social exerce influência nas configurações arquitetônicas e suas imagens e, conseqüentemente, também no espaço das cidades contemporâneas.
The architecture, through the images produced by its materiality, can represent diverse values of a society. In the contemporary cities, the architectural productions of an academic or commercial character reveal themselves as important narratives of a collective values duality, which discloses itself in the space of cities, operating an accented alteration of its landscapes, disqualifying them in a constant and gradual form. For the understanding of these recently occurred urban transformations, and in order to glimpse the future of the cities through the indications pointed by the contemporary architecture production, it is important to identify the values, aspirations and necessities involved in the process of its distinct and dual conceptions. Such elements, of an immaterial and subjective order, are essential for the mental and visual images formation, therefore, they influence continuously and decisively the architecture production, and consequently also of the cities. Thus, the theoretical and methodological referencial proposed by the social imaginary becomes extremely pertinent for the inquiry of the present conjuncture. In view of an objective and prompt analysis of these recent urban transformations, evidenced by the constructions materiality, the architectural production of the twentieth-first century, representative of the academic and commercial segments of the city of Porto Alegre is adopted as study object. From the local reality it is possible to understand how the social imaginary exerts influence in the architectural configurations and its images and, consequently, also in the space of the contemporary cities.

El hedonismo y los Centennials son dos palabras que convergen para crear una actualidad en la que se ha banalizado el sexo y se han creado diversas nuevas formas de comunicación que se basa en características fijas de los adolescentes de hoy. Este trabajo pretende dar a entender la manifestación del hedonismo en la construcción de los personajes Centennial, retratado por la serie Sex Education, y justificada en las bases del imaginario social de sus personajes y la evolución de los mismos. En este sentido los objetivos específicos apuntan, en primer lugar, a la identificación de los personajes centennials y su relación con el hedonismo; en segundo lugar, la identificación de la construcción del personaje con respecto a su identidad y su contexto. La investigación aporta diferentes perspectivas sobre la presencia del hedonismo en la nueva generación y los efectos que genera en sus relaciones sociales y su mundo imaginario. Se analizan 5 de 8 capítulos de la primera temporada de la serie Sex Education, escogidos según los criterios estudiados como la utilización de estereotipos para la construcción de personajes y la evolución de personajes según proceso evolutivo y relación con un problema sexual.
Hedonism and Centennials are two words that converge to create an actuality in which sex has been trivialized and diverse new forms of communication have been created based on fixed characteristics of today's adolescents. This work aims to show the manifestation of hedonism in the construction of the Centennial characters, portrayed by the Sex Education series, and justified on the basis of the social imaginary of characters and their evolution. In this sense, the specific objectives are, firstly, the identification of the centennial characters and their relationship with hedonism; secondly, the identification of the character's construction with respect to its identity and context. The research provides different perspectives on the presence of hedonism in the new generation and the effects it generates in their social relations and their imaginary world. Five out of eight chapters of the first season of the Sex education series are analysed, chosen according to the criteria studied, such as the use of stereotypes for the construction of characters and the evolution of characters according to the evolutionary process and their relationship with a sexual problem.
Trabajo de investigación

Orientador: Italo Arnaldo Tronca
Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas
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Resumo: O presente trabalho objetiva discutir os influxos do imaginário social da Revolução Francesa no processo de construção da narrativa da Guerra de Canudos (1896-1897), em Os Sertões (1902), de Euclides da Cunha (1866-1909). A partir desse escopo, problematizam-se algumas das relações que vinculam as narrativas históricas e os relatos imaginários no corpo da obra citada, destacando a força das imagens relacionadas à Revolução de 1789 na tessitura do enredo euclidiano. Esta Tese apresenta cinco momentos principais. No primeiro capítulo, a partir de um esboço biográfico, abordam-se aspectos considerados relevantes acerca da vida e da obra de Euclides da Cunha. No segundo, discute-se a presença da Revolução Francesa no conjunto da obra euclidiana, argumentando-se que esse processo se constituiu no conjunto de acontecimentos históricos mais relevante no quadro das referências teóricas do escritor, posto que, para o autor, o paradigma francês apresentava-se como um padrão explicativo dos processos ocorridos na sociedade brasileira nas últimas duas décadas do século XIX. No terceiro capítulo, aborda-se a construção da narrativa euclidiana da Guerra de Canudos, mediante uma hipótese de trabalho que postula a existência de três momentos privilegiados desse processo: o primeiro, antes do contato de Euclides com o conflito sertanejo; o segundo, durante a presença do correspondente de O Estado de São Paulo na Bahia; e o terceiro, após o desfecho do conflito, materializado nas páginas de Os Sertões. No último capítulo, discute-se a ontologia discursiva de Os Sertões, problematizando-se as relações entre as categorias de historicidade, ficcionalidade e literariedade na composição narrativa euclidiana, destacando-se, ainda, as contribuições decisivas de uma versão histórico-literária da Revolução Francesa, o romance Quatrevingt-treize [Noventa e Três, 1874], de Victor Hugo (1802-1885), para o consórcio da ciência e da arte intentado por Euclides. Nas Considerações Finais, tomando-se como referência as discussões historiográficas contemporâneas acerca da narrativa, reitera-se que a análise da construção do enredo da obra euclidiana evidenciou um processo complexo, no qual o escritor se valeu tanto de relatos históricos quanto de narrações imaginárias, para comunicar aos futuros historiadores o seu juízo sobre a Guerra de Canudos
Abstract: This thesis at discussing the floods of the social imaginary of the French Revolution in the process of constructing the narrative of Canudos War (1896-1897), in ¿Os Sertões¿ (Rebellion in the Backlands, 1902), by Euclides da Cunha. (1866-1909). From this perspective, some of the relations that link the historical narratives and fictional accounts that are established in the body of the above mentioned work, highlighting the strength of the images related to the 1789 Revolution in the bulk of the Euclidian plot. This thesis presents five main stages. In the first chapter, relevant aspects of the life and work of Euclides da Cunha are dealt with from a biographical outline. In the second chapter, the presence of the French Revolution is discussed in the body of then Euclidian work and it is argued that this process was held in the most relevant set of historical events in the theoretical references of the author; since, for him, the French paradigm was presented as an explanatory pattern of the processes undergone in the Brazilian society in the past two decades in the 19th century. In the third chapter, the construction of the Euclidian narrative of Canudos War is touched on through the hypothesis that postulates the existence of three privileged moments within this process: the first one happens before Euclides contacts the backland conflict. The second one occurs while the correspondent from ¿O Estado de São Paulo¿ newspaper is in Bahia; and the third one after the end of the conflict which is materialized in the pages of ¿Os Sertões¿. In the last chapter, it is discussed the philosophical part concerning the human beings, bringing up the relations among categories of historicity, fiction, and literacy in the construction of the Euclidian narrative, bringing attention to the ultimate contributions of a historical-literary version of the French Revolution, the novel ¿Quatrevingt-treize¿ (Ninety-three, 1874), by Victor Hugo (1802-1885) to the group of science and art created by Euclides. In the final considerations, taking as references the contemporary historiographic discussions about the narrative, it is said that the analysis of the construction of the plot of Euclides work posed a complex process in which the author profited from historical accounts, as well as, imaginary narratives to communicate to future historians his judgments about Canudos War
Doutorado
Politica, Memoria e Cidade
Doutor em História

"Las practicas cotidianas castellanas: hacia el imaginario cartografico de Miguel Delibes" offers a reevaluation of the image of Castilla that informs much of Miguel Delibes's novelistic work. Numerous scholars have examined the fundamental role the author's native region has in developing the thematics of his extensive narrative corpus. What has been missing in these studies is a broadly interdisciplinary optic through which to study the formation and evolution of Delibes's cartographic imaginary--to borrow a term from David Harvey. Applying the ground-breaking work of critical geographers including Harvey, Henry Lefevbre, Michel de Certeau and Sallie Marston to an analysis of the Spanish novelist's production allows for a calibration of his novelistic evolution against the mediating factors of the extensive and fundamental real spatial transformations that Castilla undergoes from the time Delibes started to write in the 1940s to the present. The key element in making this connection is a study of how the practices of everyday life take form in his imaginary. Employing de Certeau's explanation of the ways in which these practices coalesce into tactics and strategies is especially useful in charting the evolution of the author's cartographic imaginary and how it documents, confronts and resists fundamental alterations in the nature of Castillian spaces, both rural and urban.Chapter one of my study lays out the methodology for defining the cartographic imaginary, especially its portrayal of the practices of everyday life, and considers how to connect the study of real spaces and their conceptual articulation by cultural creators. Chapters two and three discuss, in turn, the portrayal of urban and rural spaces in Delibes's fiction, most importantly in Mi idolatrado hijo Sisi­, Cinco horas con Mario, Diario de un jubilado, El camino, Las ratas, and Viejas historias de Castilla la Vieja. My final chapter (four) examines those texts in which Delibes plays rural against urban space--Diario de un cazador, El disputado voto del senor Cayo and Los santos inocentes. My investigation leads me to conclude that while deeply rooted in his own region of Spain, Delibes's work transcends local concerns.

Thesis (PhD)--Stellenbosch University, 2013.
ENGLISH ABSTRACT: This dissertation explores selected Indian narratives that emerge in South Africa and East Africa between 1960 and 2010, focusing on representations of migrations from the late 19th century, with the entrenchment of mercantile capitalism, to the early 21st century entry of immigrants into the metropolises of Europe, the US and Canada as part of the post-1960s upsurge in global migrations. The (post-)colonial and imperial sites that these narratives straddle re-echo Vijay Mishra‘s reading of Indian diasporic narratives as two autonomous archives designated by the terms, "old" and "new" diasporas. The study underscores the role of memory both in quests for legitimation and in making sense of Indian marginality in diasporic sites across the continent and in the global north, drawing together South Asia, Africa and the global north as continuous fields of analysis. Categorising the narratives from the two locations in their order of emergence, I explore how Ansuyah R. Singh‘s Behold the Earth Mourns (1960) and Bahadur Tejani‘s Day After Tomorrow (1971), as the first novels in English to be published by a South African and an East African writer of Indian descent, respectively, grapple with questions of citizenship and legitimation. I categorise subsequent narratives from South Africa into those that emerge during apartheid, namely, Ahmed Essop‘s The Hajji and Other Stories (1978), Agnes Sam‘s Jesus is Indian and Other Stories (1989) and K. Goonam‘s Coolie Doctor: An Autobiography by Dr Goonam (1991); and in the post-apartheid period, including here Imraan Coovadia‘s The Wedding (2001) and Aziz Hassim‘s The Lotus People (2002) and Ronnie Govender‘s Song of the Atman (2006). I explore how narratives under the former category represent tensions between apartheid state – that aimed to reveal and entrench internal divisions within its borders as part of its technology of rule – and the resultant anti-apartheid nationalism that coheres around a unifying ―black‖ identity, drawing attention to how the texts complicate both apartheid and anti-apartheid strategies by simultaneously suggesting and bridging differences or divisions. Post-apartheid narratives, in contrast to the homogenisation of "blackness", celebrate ethnic self-assertion, foregrounding cultural authentication in response to the post-apartheid "rainbow-nation" project. Similarly, I explore subsequent East African narratives under two categories. In the first category I include Peter Nazareth‘s In a Brown Mantle (1972) and M.G. Vassanji‘s The Gunny Sack (1989) as two novels that imagine Asians‘ colonial experience and their entry into the post-independence dispensation, focusing on how this transition complicates notions of home and national belonging. In the second category, I explore Jameela Siddiqi‘s The Feast of the Nine Virgins (1995), Yasmin Alibhai-Brown‘s No Place Like Home (1996) and Shailja Patel‘s Migritude (2010) as post-1990 narratives that grapple with political backlashes that engender migrations and relocations of Asian subjects from East Africa to imperial metropolises. As part of the recognition of the totalising and oppressive capacities of culture, the three authors, writing from both within and without Indianness, invite the diaspora to take stock of its role in the fermentation of political backlashes against its presence in East Africa.
AFRIKAANSE OPSOMMING: Hierdie studie fokus op geselekteerde narratiewe deur skrywers van Indiër-oorsprong wat tussen 1960 en 2010 in Suid-Afrika en Oos-Afrika ontstaan om uitbeeldings van migrerings en verskuiwings vanaf die einde van die 19e eeu, ná die vestiging van handelskapitalisme, immigrasie in die vroeë 21e eeu na die groot stede van Europa, die VS en Kanada, te ondersoek, met die oog op navorsing na die toename in globale migrasies. Die (post-)koloniale en imperial liggings wat in hierdie narratiewe oorvleuel, beam Vijay Mishra se lesing van diasporiese Indiese narratiewe as twee outonome argiewe wat deur die terme "ou" en "nuwe" diasporas aangedui word. Hierdie proefskrif bestudeer die manier waarop herinneringe benut word, nie alleen in die soeke na legitimisering en burgerskap nie, maar ook om tot 'n beter begrip te kom van die omstandighede wat Asiërs na die imperiale wêreldstede loods. Ek kategoriseer die twee narratiewe volgens die twee lokale en in die volgorde waarin hulle verskyn het en bestudeer Ansuyah R Singh se Behold the Earth Mourns (1960) en Bahadur Tejani se Day After Tomorrow (1971) as die eerste roman wat deur 'n Suid-Afrikaanse en 'n Oos-Afrikaanse skrywe van Indiese herkoms in Engels gepubliseer is, en die wyse waarop hulle onderskeidelik die kwessies van burgerskap en legitimisasie benader. In daaropvolgende verhale van Suid-Afrika, onderskei ek tussen narratiewe at hul onstaan in die apartheidsjare gehad het, naamlik The Hajji and Other Stories deur Ahmed Essop, Jesus is Indian and Other Stories (1989) deur Agnes Sam en Coolie Doctor: An Autobiography by Dr. Goonam deur K. Goonam; uit die post-apartheid era kom The Wedding (2001) deur Imraan Covadia en The Lotus People (2002) deur Aziz Hassim, asook Song of the Atman (2006) deur Ronnie Govender. Ek kyk hoe die verhale in die eerste kategorie spanning beskryf tussen die apartheidstaat — en die gevolglike anti-apartheidnasionalisme in 'n eenheidskeppende "swart" identiteit — om die aandag te vestig op die wyse waarop die tekste sowel apartheid- as anti-apartheid strategieë kompliseer deur tegelykertyd versoeningsmoontlikhede en verdeelheid uit te beeld. Post-apartheid verhale, daarenteen, loof eerder etniese selfbemagtiging met die klem op kulturele outentisiteit in reaksie op die post-apartheid bevordering van 'n "reënboognasie", as om 'n homogene "swartheid" voor te staan. Op dieselfde manier bestudeer ek die daaropvolgende Oos-Afrikaanse verhale onder twee kategorieë. In die eerste kategorie sluit ek In an Brown Mantle (1972) deur Peter Nazareth en The Gunny Sack (1989) deur M.G. Vassanjiin, as twee romans wat Asiërs se koloniale geskiedenis en hul toetrede tot die post-onafhanklikheid bedeling uitbeeld (verbeeld) (imagine), met die klem op die wyse waarop hierdie oorgang begrippe van samehorigheid kompliseer. In die tweede kategorie kyk ek na The Feast of the Nine Virgins (1995) deur Jameela Siddiqi, No Place Like Home (1996) deur Yasmin Alibhai en Migritude (2010) deur Shaila Patel as voorbeelde van post-1990 verhale wat probleme met die politieke teenreaksies en verskuiwings van Asiër-onderdane vanuit Oos-Afrika na wêreldstede aanspreek. As deel van die erkenning van die totaliserende en onderdrukkende kapasiteit van kultuur, vra die drie skrywers – as Indiërs en as wêreldburgers – die diaspora om sy rol in die opstook van politieke teenreaksie teen sy teenwoordigheid in Oos-Afrika onder oënskou te neem.

Orientador: Francisco Foot Hardman
Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem
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Resumo: Imaginário, tradição, cultura e modernidade são temas que perspassam esse trabalho para dar o tom e a perspectiva de análise de narrativas gravadas entre habitantes de uma ilha, chamada de Mayandeua, localizada na Amazônia, no litoral paraense. As narrativas selecionadas e analisadas foram antes transcritas e fazem parte de um corpus maior de aproximadamente 590 horas de gravação. Elas foram realizadas entre os nativos dessa ilha, durante os anos de 1994-5. Procura-se ler a relação que esses narradores orais possuem com seu meio-ambiente e o espaço-tempo, e, da mesma foma, o sentido dos motivos mais freqüentes nas narrativas, como o da Princesa, com o intuito de se traduzir um aspecto de seu imaginário. O evento, nessa tradução cultural, é um elemento importante para a leitura da temática trabalhada: ele revela a presença do maravilhoso e da surpresa no conteúdo das narrativas. Entretanto, mesmo com a presença do evento no ato da narração e no interior das narrativas, a criação dos narradores não se faz do nada, ela se inspira nos vertígios deixados pela tradição, a qual é, a todo instante, inventada. A historicidade desse imaginário é também nuançada: descrevemos a presença da ilha nos arquivos escritos, revelando o diálogo entre escritores e narradores orais desde uma crônica sobre a ilha de 1886. Além do mais, ler um aspecto do imaginário de Mayandeua, a saber: o motivo da Princesa e dos "encantados" coloca em evidência o senso estético dos narradores ligado a uma ética: a preocupação com a preservação de seu espaço. Esta inquietude se revela no olhar do narrador como uma crise entre o que podemos chamar de tradição e de modernidade
Abstract: Vision, tradition, eu/ture, and modernity are themes that pass through this work,giving the tone and perspective of the analysis of narratives recorded among the inhabitants of the island of Mayandeua, located in Amazonia on the coast of the Brazilian state of Pará. The narratives selected and analyzed were earlier transcribed, and form part of a greater corpus of approximately 590 hours of recordings made among the natives of this island during 1994 and 1995. This analysis attempts to interpret the relation that these oral narrators have with their environment and with space-time, and to interpret the sense of the images most frequently found in the narratives, for example that of the Princess, with the intention of translating some aspect of the narrators' vision. The coincidental event, in this cultural translation, is an important element for the interpretation of the theme under consideration: it reveals the presence of the marvelous and of surprise in the content of the narratives. Even with the presence of the coincidental event in the act of narration and in the interior of the narratives, the creation of the narrators is not made out of nothing, but is inspired by the vestiges left of tradition, which is at every instant invented. The historicity of this vision is also nuanced: we describe the presence of the island in written archives, revealing the dialogue between writers and oral narrators ever since a chronicle was written about the island in 1886. Above all, this analysis interprets an aspect of the vision of Mayandeua: the recurrent image of the Princess and the "encantados" (spirits) makes evident that the aesthetic sense of the narratives is linked to an ethic, namely, the preoccupation with the preservation of the narrators' space. This inquietude reveals itself in the eyes of the narrator as a crisis between that which we call tradition and that which we call modernity
Mestrado
Mestre em Teoria e História Literária

Aquesta tesi doctoral es centra en l'estudi interdisciplinari del concepte de sharing city (SC). L'objectiu general va ser explorar des de la gestió, els imaginaris que es creen en la SC a partir de les seves pràctiques urbanes i narratives socials. La tesi és un compendi de publicacions. La primera és una revisió sistemàtica de literatura sobre el concepte SC. Un valor important afegit d'aquest article és que es tracta del primer estudi acadèmic que examina i sistematitza les pràctiques del compartir a la SC. Els resultats consoliden la relació entre l'etiqueta sharing city i com utilitza estratègies de place branding i place management per consolidar la seva representació. La segona publicació s'enfoca en la implementació de la SC per l'actor institucional. Mitjançant el frame analysis es va explorar la comunicació estratègica de Barcelona com una SC. Els resultats demostren que el govern local acompanya el creixement urbà des d'una perspectiva social, fomenta narratives per identificar i incloure a més actors dins del procés, i transmet els valors del compartir de forma positiva. La tercera publicació tracta els espais de cotreball a la SC. L'estudi es va realitzar en oficines de Barcelona i Berlín, seguint el mètode de Teoria Fonamentada (Grounded Theory). Els resultats van identificar que es dissenyen atmosferes de lloc (place atmospheres) per promoure el compartir, el compromís dels membres amb l'espai / comunitat, i que la cultura de compartir es reforça amb eines de comunicació corporativa. Aquesta tesi contribueix a la discussió sobre la SC com una etiqueta emergent que enfoca idees i valors comunitaris. A més, situa l'atenció en pràctiques urbanes i narratives socials que promouen la relació permanent entre actors de la ciutat, així com la recerca de consens ciutadà.
Esta tesis doctoral se centra en el estudio interdisciplinar del concepto de sharing city (SC). El objetivo general fue explorar desde la gestión, los imaginarios que se crean en la SC a partir de sus prácticas urbanas y narrativas sociales. La tesis es un compendio de publicaciones. La primera es una revisión sistemática de literatura sobre el concepto SC. Un valor importante añadido de este artículo es que se trata del primer estudio académico que examina y sistematiza las prácticas del compartir en la SC. Los resultados afianzan la relación entre la etiqueta sharing city y cómo utiliza estrategias del place branding y place management para consolidar su representación. La segunda publicación se enfoca en la implementación de la SC por el actor institucional. Mediante el frame analysis se exploró la comunicación estratégica de Barcelona como una SC. Los resultados demuestran que el gobierno local acompaña el crecimiento urbano desde una perspectiva social, fomenta narrativas para identificar e incluir a más actores dentro del proceso, y transmite los valores del compartir de forma positiva. La tercera publicación trata los espacios de coworking en la SC. El estudio se realizó en oficinas de Barcelona y Berlín, siguiendo el método de Teoría Fundamentada. Los resultados identificaron que se diseñan atmósferas de lugar para promover el compartir, el compromiso de los miembros con el espacio/comunidad, y que la cultura de compartir se refuerza con herramientas de comunicación corporativa. Esta tesis contribuye a la discusión sobre la SC como una etiqueta emergente que enfoca ideas y valores comunitarios. Además, sitúa la atención en prácticas urbanas y narrativas sociales que promueven la relación permanente entre actores de la ciudad, así como la búsqueda del consenso ciudadano.
This doctoral thesis focuses on the interdisciplinary study of the concept of sharing city (SC). The general objective was to explore from management, the imaginaries that are created in SC from its urban practices and social narratives. The thesis is a compendium of publications. The first is a systematic literature review on the SC concept. An important added value of this article is that it is the first academic study that examines and systematizes the practices of sharing in SC. The results strengthen the relationship between the sharing city label and how it uses place branding and place management strategies to consolidate its representation. The second publication focuses on the implementation of the SC by the institutional actor. Through the frame analysis, the strategic communication of Barcelona as a SC was explored. The results show that the local government accompanies urban growth from a social perspective, fosters narratives to identify and include more actors in the process, and transmits the values of sharing in a positive way. The third publication deals with coworking spaces in SC. The study was carried out in offices in Barcelona and Berlin, following the Grounded Theory method. The results revealed that atmospheres of place are designed to promote sharing, the commitment of members with the space/community, and that the culture of sharing is reinforced with corporate communication tools. This thesis contributes to the discussion about SC as an emerging label that focuses on community ideas and values. In addition, it places attention on urban practices and social narratives that promote the permanent relationship between city actors, as well as the search for citizen consensus.

El propòsit principal d'aquesta tesi és analitzar críticament l'antropologia filosòfica de Charles Taylor.

A la primera part abordem qüestions preliminars: les fonts, els fonaments teòrics i els elements metodològics del seu pensament.

A la segona part elaborem la seva teoria de la identitat. Això implica: (1) donar compte de la relació inextricable entre el jo de la persona i la seva orientació moral, i (2) per mitjà d'arguments transcendentals, articular una ontologia que determini els trets perennes de la naturalesa humana.

Una ontologia de la identitat exigeix l'articulació de les continuïtats i discontinuïtats entre els animals humans i no humans. És a dir, una filosofia de la biologia que aporti les intuïcions de l'aristotelisme al post-darwinisme. En línia amb Adaslair MacIntyre, intentem completar les aportacions realitzades per Taylor en el context de la seva filosofia de l'acció.

D'altra banda, identifiquem alguns dels trets distintius de l'agent humà (lingüisticitat, propòsit i dialogicitat), i abordem els desafiaments de (1) les versions que radicalitzen les conseqüències de la contingència del subjecte i (2) els reduccionisme que prosperen entre els filòsofs analítics. Per això hem confrontat a les interpretacions de Richard Rorty sobre Nietzsche i Freud, i a la posició quasi-budista de Parfit, l'hermenèutica forta de Charles Taylor i Paul Ricoeur.

A la tercera part, estudiem la dimensió històrica de la identitat humana. Això implica assenyalar les peculiaritats del anthropos modern. Per això, a més de contraposar al jo modern la versió premoderna de la nostra comuna humanitat, hem hagut d'enfrontar a la interpretació de Taylor sobre el sentit de les mutacions cosmovisionales, antropològiques i ètiques de la modernitat, les interpretacions que a aquestes mutacions concedeixen autors com Michel Foucault, Alasdair MacIntyre i Jürgen Habermas.
El propósito principal de esta tesis es analizar críticamente la antropología filosófica de Charles Taylor.

En la primera parte abordamos cuestiones preliminares: las fuentes, los fundamentos teóricos y los elementos metodológicos de su pensamiento.

En la segunda parte elaboramos su teoría de la identidad. Eso implica: (1) dar cuenta de la relación inextricable entre el yo de la persona y su orientación moral; y (2) por medio de argumentos trascendentales, articular una ontología que determine los rasgos perennes de la naturaleza humana.

Una ontología de la identidad exige la articulación de las continuidades y discontinuidades entre los animales humanos y no humanos. Es decir, una filosofía de la biología que aporte las intuiciones del aristotelismo al post-darwinismo. En línea con Adaslair MacIntyre, intentamos completar los aportes realizados por Taylor en el contexto de su filosofía de la acción.

Por otro lado, identificamos algunos de los rasgos distintivos del agente humano (lingüisticidad, propósito y dialogicidad); y abordamos los desafíos de (1) las versiones que radicalizan las consecuencias de la contingencia del sujeto y (2) los reduccionismos que prosperan entre los filósofos analíticos. Para ello hemos confrontado a las interpretaciones de Richard Rorty sobre Nietzsche y Freud, y a la posición cuasi-budista de Parfit, con la hermenéutica fuerte de Charles Taylor y Paul Ricoeur.

En la tercera parte, estudiamos la dimensión histórica de la identidad humana. Eso implica señalar las peculiaridades del anthropos moderno. Para ello, además de contraponer al yo moderno la versión premoderna de nuestra común humanidad, hemos tenido que enfrentar a la interpretación de Taylor sobre el sentido de las mutaciones cosmovisionales, antropológicas y éticas de la modernidad, las interpretaciones que a éstas mutaciones conceden autores como Michel Foucault, Alasdair MacIntyre y Jürgen Habermas.
The main purpose of this thesis is to critically analyze the philosophical anthropology of Charles Taylor.

The first part deals with preliminary issues: the sources, the theoretical and methodological elements of his thought.

In the second part we elaborate his theory of identity. This implies: (1) to account for the inextricable relationship between the self of the person and his moral orientation, and (2) by means of transcendental arguments, to articulate an ontology that determines the perennial features of human nature.

An ontology of identity requires the articulation of the continuities and discontinuities between human and nonhuman animals. That is, a philosophy of biology which provides insights from Aristotelianism to post-Darwinism. In line with Adaslair MacIntyre, we try to complete the contributions made by Taylor in the context of his philosophy of action.

On the other hand, we identify some of the distinctive features of human agency (language, purpose and dialogue) and tackle the challenges of (1) versions that radicalized the consequences of the contingency of the subject and (2) the reductionism that thrive among the analytical philosophers. So we confront the interpretations of Richard Rorty about Nietzsche and Freud, and the quasi-Buddhism of Parfit, with the strong hermeneutics of Charles Taylor and Paul Ricoeur.

In the third part, we study the historical dimension of human identity. That means pointing out the peculiarities of the modern anthropos. Therefore, in addition to contrast the modern self with the premodern version of our common humanity, we confront Taylor's interpretation of the meaning of the cosmological, anthropological and ethical mutations of modernity, with the interpretations that authors as Michel Foucault, Jürgen Habermas and Alasdair MaIntyre offer about these mutations.

Tese (doutorado) - Universidade Federal de Santa Catarina, Centro de Comunicação e Expressão. Programa de Pós-Graduação em Literatura.
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A abertura dos portos brasileiros em 1808, depois de 300 anos de exclusividade lusitana, torna o país um grande atrativo para naturalistas, geógrafos, economistas, artistas, comerciantes e viajantes. É intenso o trânsito de diferentes culturas, nacionalidades e subjetividades que passam a configurar um novo tempo e um novo espaço. A ampla divulgação de imaginários e representações da cultura letrada metropolitana, fundamentados no sólido debate científico setecentista sobre o Novo Mundo, acaba por determinar e interferir no imaginário desse próprio mundo. A situação político-social do Brasil no século XIX, ávido por significados nacionais (uma origem, um povo, um tipo nacional), desperta entre a recente elite letrada nativa a noção das imensas potencialidades da terra e a necessidade de se construir uma nação civilizada. Valendo-se de um contexto de afirmação científica, as correntes imigrantistas parecem atender à emergência de se produzir um povo civilizado pelo branqueamento das raças. Portanto, com o objetivo de refletir sobre um processo de composição de imagens que ajudaram a definir o Brasil, o presente estudo propõe-se a uma leitura cultural de um conjunto de narrativas que partem do espaço da imigração alemã em Santa Catarina em meados do século XIX.

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Este texto aborda as vivências cotidianas de imigrantes residentes em Foz do Iguaçu, município brasileiro que integra a Tríplice Fronteira, em conjunto com Puerto Iguazú, na Argentina e Ciudad del Este, no Paraguai. Compreender melhor a cidade de Foz do Iguaçu, imergir na atmosfera de alteridade narrada por essas pessoas comuns, sujeitos praticantes do cotidiano, e traçar de forma mais nítida contornos das relações interculturais ambientadas nos espaços de fronteira é o interesse central deste estudo. Identidades, memórias, pertencimentos, vínculos de parentesco, amizade e conterraneidade, espacialidades, redes de sociabilidade, estratégias e jogos relacionais são temáticas desenvolvidas no texto a partir dos relatos dos imigrantes participantes da pesquisa argentinos, paraguaios, chilenos, libaneses e taiwaneses e das contribuições teóricas de Michel de Certeau, Michel Maffesoli, Cliffort Geertz, Zigmunt Bauman, Ulf Hannerz, Jacques Derrida e Fredrik Barth, dentre outros autores. A história de vida tópica é a perspectiva metodológica eleita para abordar o episódio da imigração nos contextos específicos das histórias de vida dos sujeitos. A partir das pistas dadas a conhecer nas interações com os saberes-fazeres dos imigrantes, é possível inferir que na experiência de imigração, identidades, sentidos, afetos e práticas culturais transbordam os limites dos territórios de origem. Novos arranjos criam e recriam significados e formas, confrontando ordenamentos inscritos nos imperativos estatutos vigentes no país de destino. São saberes-fazeres que no cotidiano perseguem liberdades intersticiais para nelas cultivar outras racionalidades e sociabilidades.

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CAPES - Coordenação de Aperfeiçoamento de Pessoal de Nível Superior
Este trabalho busca aportar elementos para pensar a construção de uma narrativa visual veiculada por uma emissora televisiva de gestão comunitária. No marco da aprovação da Ley de Servicios de Comunicación Audivisual no Uruguai, e com a incorporação da televisão digital neste país, foi concedido um sinal ao Plenario Intersindical de Trabajadores- Convención Nacional de Trabajadores (PIT-CNT), para o desenvolvimento de um canal comunitário. Entende-se que certas conjunturas sociais e políticas atuais, na América Latina, tem favorecido ações que procuram caminhar para a concretização de uma comunicação mais democrática. O desenvolvimento de determinadas propostas pode-se apresenta propício para a instalação, a nível massivo, de uma comunicação comunitária e alternativa aos modelos tradicionais e hegemônicos. Considera-se, portanto, a importância do aprofundamento das possibilidades das organizações sociais terem seus próprios meios, criando e não apenas consumindo sentidos. Desse modo, o propósito deste trabalho é investigar as possibilidades de desenvolvimento desses setores a fim de instalar novos olhares, entendendo que suas disputas se estabelecem não apenas nas bases das suas necessidades materiais, mas também no espaço da cultura, entendida como formas de fazer, sentir e pensar. Como forma de dar resposta aos objetivos desta investigação tem-se desenvolvido um trabalho de campo através de entrevistas e um grupo de discussão que permitiu colocar em diálogo as reflexões teóricas com o discurso dos trabalhadores, e também com as definições e as políticas regulamentares relacionadas à comunicação. Além disso, realiza-se uma análise do conteúdo dos programas televisivos elaborados por o Sindicato Único Nacional de la Construcción y Anexos, Replanteo TV, abordando a imagem como uma mensagem visual em que interagem signos icônicos, plásticos e simbólicos. A partir da análise e do desenvolvimento teórico realizado, entendemos a importância dos trabalhadores criar modos de expressão próprios, num processo que os cria a si mesmos, individual e coletivamente. Entende-se que há uma dificuldade em estabelecer na prática um meio de gestão comunitária, já que isto coloca em discussão a comunicação como direito, o uso do espaço público e da propriedade privada dos meios de comunicação.
Esta investigación busca aportar elementos para pensar la construcción de una narrativa visual generada en una emisora televisiva de gestión comunitaria. En el marco de la aprobación de la Ley de Servicios de Comunicación Audiovisual en Uruguay, y con la incorporación de la televisión digital en este país, se le ha asignado una señal al Plenario Intersindical de Trabajadores-Convención Nacional de Trabajadores (PIT-CNT) para el desarrollo de un canal comunitario. Se entiende que ciertas coyunturas sociales y políticas en América Latina han favorecido acciones que buscan caminar hacia la concreción de una comunicación más democrática. El desarrollo de determinadas propuestas puede ser propicio para la instalación, a nivel masivo, de una comunicación comunitaria y alternativa a los modelos tradicionales y hegemónicos. Se considera pertinente profundizar, entonces, en cómo las organizaciones sociales elaboran contenidos, siendo creadoras y no sólo consumidoras de sentidos. Investigamos aquí las posibilidades que desarrollan estos sectores para instalar nuevas miradas, entendiendo que sus disputas se configuran no sólo en el terreno de sus necesidades materiales, sino en el espacio de lo cultural; éste entendido como los modos de hacer, sentir y pensar. Como forma de dar respuesta a los objetivos de esta investigación se desarrolla un trabajo de campo a través de entrevistas y un grupo de discusión que permiten poner en diálogo las reflexiones teóricas con el discurso de los trabajadores, y éstas con las definiciones políticas y reglamentares relacionadas a la comunicación. Se realiza, además, un análisis del contenido de los programas televisivos elaborado por el Sindicato Único Nacional de la Construcción y Anexos, Replanteo TV, abordando la imagen como mensaje visual, en el cual interaccionan signos icónicos, plásticos y simbólicos. A partir de los análisis y el desarrollo teórico se observa la importancia de que los trabajadores elaboren modos de expresión propios, en un proceso que los crea a sí mismos, individual y colectivamente. Se entiende aquí que existe una dificultad en la puesta en práctica de un medio de gestión comunitaria, ya que esto coloca a nivel social la discusión sobre el ejercicio de la comunicación como un derecho, el uso del espacio público y la propiedad privada de los medios de comunicación.

Esta pesquisa busca compreender como as narrativas sobre Porto Alegre são construídas na literatura contemporânea do século XXI. A arte e a literatura participam da construção simbólica por meio de processos dinâmicos, despertam os sentidos, qualificam os imaginários e produzem representações sobre a cidade. As representações sociais, a memória e a cultura, o senso comum, o imaginário social e os imaginários urbanos, são elementos fundamentais para compreender as narrativas produzidas e identificar as representações que formam o imaginário da cidade. Este estudo analisa três obras da literatura brasileira contemporânea sobre Porto Alegre: Quarenta Dias, Imóveis Paredes e Meia Noite e Vinte. A partir daí foram construídos “croquis” simbólicos e mapas representacionais sobre a cidade. Os procedimentos metodológicos aplicados são: levantamento e análise de elementos simbólicos que formam os imaginários da cidade por meio de análise temática e de conteúdo; enquadramento histórico-literário; análise e coleta de citações para formulação de mapas representacionais e “croqui” das obras analisadas. Conclui-se que as narrativas literárias sobre Porto Alegre descrevem uma cidade caótica, de temperaturas extremas, insegura, dominada por desigualdades sociais e pela especulação imobiliária; despreza o patrimônio histórico e arquitetônico Em contraponto, discursos nostálgicos de um tempo recente, descrevem uma cidade segura, pacífica e rica em ofertas culturais quando regida por gestões populares. Ideais de bem viver são também evocados por ações simples e significativas como caminhar pelas ruas para ressignificar a cidade. As representações sobre Porto Alegre nas narrativas literárias contemporâneas se aproximam das narrativas sobre a cidade, veiculadas por diferentes meios (rádio, TV, jornal impresso, entre outros).
This research aims to comprehend how stories about Porto Alegre are elaborated in contemporary literature of the 21st century. Art and literature take part in the symbolic construction via dynamic processes, awaken the senses, qualify the imaginaires and produce representations about the city. Social representations, memory and culture, common sense, the social imaginary and urban imaginaries are elements of utmost importance in comprehending the produced stories and identifying the representations which form the city's imaginaire. This study analyzes works of contemporary Brazilian literature about Porto Alegre. From there, symbolic "sketches" and representational maps about the city were constructed. The metodological procedures applied are as follows: surveillance and analysis of symbolic elements which form the city's urban imaginaries via analysis of theme and content; creation of a historic-literary framework; analysis and gathering of quotations for the elaboration of representational maps and a "sketch" of analyzed works. It is therefore concluded that literary stories about Porto Alegre depict a chaotic city, of temperatures in the extremes, unsafe, dominated by social inequiality and real estate speculation; historic and architectural heritage are despised. On the other hand, a nostalgic speech from recent times depicts a city which is safe, pacific and with plenty of cultural offerings while governed by popular administrations. Ideas of well-living are also evoked by simple and significant actions such as walking by the streets to give, once again, a meaning to the city. Representations of Porto Alegre in contemporary literature are similar to those conveyed via different means of communication (radio, TV, newspapers, along with others).

Tesis para optar al grado de Magíster en Antropología y Desarrollo
El presente trabajo de tesis se propone describir e interpretar parte del imaginario socio-cultural de la ciudad petrolera de Cabimas, estado Zulia, Venezuela. Aquí se parte de la premisa de que la marginalidad en esta ciudad se acentúa a partir de los miasmas que dejo el proceso de desarrollo de la explotación petrolera. Asimismo, se reflexiona sobre algunos rasgos de la identidad local como la desesperación, el orgullo, el clamor, la esperanza y la fe, vistos desde el sentido de pertenencia que sus habitantes expresan cotidianamente. Para entender el imaginario popular, y en esencia la identidad local, hemos hecho uso del cancionero, algunos escritos, el testimonio oral y expresiones comunes de la cultura popular. También se hace una aproximación etnográfica a la fiesta popular-religiosa de San Benito, evento que representa el acontecimiento socio-cultural más relevante que tiene lugar cada año en la ciudad, donde la fe, la resistencia simbólica y la esperanza se mezclan para nutrir la identidad cultural cabimera. Por ultimo se ofrece a manera de conclusión algunas propuestas desde una perspectiva socio-cultural que intentan impulsar la historia, la identidad y el desarrollo local.

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Conselho Nacional de Desenvolvimento Científico e Tecnológico (CNPq)
Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)
A dissertação ora apresentada pretende discutir as experiências relatadas pelo viajante Joan Nieuhof, em seu livro: Memorável Viagem Marítima e Terrestre ao Brasil (Gedenkweerdige Brasiliaense Zee - en Lant - Reize). Tentaremos compreender como foi forjado o imaginário de liberdade e tolerância que serviram de suporte para a construção das representações do homem holandês do século XVII. Acreditamos que de forma inconsciente esse explorador levou para as terras distantes do Brasil as representações da nação holandesa, impressas em sua obra. Neste contexto, esse viajante submeter sua cultura a um enfrentamento com um novo sistema de significações totalmente desconhecido e adverso. A narrativa de Nieuhof nos coloca diante do encontro de dois mundos: de um lado, a Holanda - nação mais próspera da Europa neste momento histórico -, e do outro, o exótico Brasil, onde já residiam duas culturas dispares, os portugueses e os indígenas.A cada página que escreve, Nieuhof transporta o leitor para seus oitos anos de permanência no Brasil. Descreve desde os deslumbrantes recursos naturais, até as sangrentas batalhas da guerra luso-holandesas pela disputa das Capitanias Nordestinas. Portanto, procuramos desvendar a mentalidade de um indivíduo através de suas palavras, para compreender e recompor o imaginário e a representação da sociedade em que viveu.
The following dissertation intends to discuss the experiences related by the traveler Joan Nieuhof, in his book: Memorável Viagem Marítima e Terrestre ao Brasil - Gedenkweerdige Brasiliaense Zee - en Lan t- Reize. We will be trying to understand how the liberty and tolerance imaginary were shaped, which were made as a support to the Dutch men's constructions of representations of the XVII century. We believe that, unconsciously, this Explorer took these representations of his home land to the Brazilian far lands, told in his work. In this context, this traveler submitted his culture to a new system ordeal dealing with complete unknown and different signification systems. Nieuhof's narrative place us facing the meeting of two worlds: at one side, Dutch land - Europe most flourishing nation at this historical moment - and on the other side, the exotic Brazil, where two unequal cultures already dwelled together, the Portuguese and the native people. At each written page, Nieuhof transports the reader to his eight years of living in Brazil. He describes since the dazzling natural resources, to the bloody battle of the Portuguese-Dutch war claiming the Northeast administrative divisions of Brazil. Therefore, we will try to reveal the mentality of a person through his words, to also understand and reframe the imaginary and the representation of the society he lived in.

Orientador: José Carlos Barreiro
Banca: Fátima Maria Neves
Banca: Gilmar Arruda
Resumo: A dissertação ora apresentada pretende discutir as experiências relatadas pelo viajante Joan Nieuhof, em seu livro: Memorável Viagem Marítima e Terrestre ao Brasil (Gedenkweerdige Brasiliaense Zee - en Lant - Reize). Tentaremos compreender como foi forjado o imaginário de liberdade e tolerância que serviram de suporte para a construção das representações do homem holandês do século XVII. Acreditamos que de forma inconsciente esse explorador levou para as terras distantes do Brasil as representações da nação holandesa, impressas em sua obra. Neste contexto, esse viajante submeter sua cultura a um enfrentamento com um novo sistema de significações totalmente desconhecido e adverso. A narrativa de Nieuhof nos coloca diante do encontro de dois mundos: de um lado, a Holanda - nação mais próspera da Europa neste momento histórico -, e do outro, o exótico Brasil, onde já residiam duas culturas dispares, os portugueses e os indígenas.A cada página que escreve, Nieuhof transporta o leitor para seus oitos anos de permanência no Brasil. Descreve desde os deslumbrantes recursos naturais, até as sangrentas batalhas da guerra luso-holandesas pela disputa das Capitanias Nordestinas. Portanto, procuramos desvendar a mentalidade de um indivíduo através de suas palavras, para compreender e recompor o imaginário e a representação da sociedade em que viveu.
Abstract: The following dissertation intends to discuss the experiences related by the traveler Joan Nieuhof, in his book: Memorável Viagem Marítima e Terrestre ao Brasil - Gedenkweerdige Brasiliaense Zee - en Lan t- Reize. We will be trying to understand how the liberty and tolerance imaginary were shaped, which were made as a support to the Dutch men's constructions of representations of the XVII century. We believe that, unconsciously, this Explorer took these representations of his home land to the Brazilian far lands, told in his work. In this context, this traveler submitted his culture to a new system ordeal dealing with complete unknown and different signification systems. Nieuhof's narrative place us facing the meeting of two worlds: at one side, Dutch land - Europe most flourishing nation at this historical moment - and on the other side, the exotic Brazil, where two unequal cultures already dwelled together, the Portuguese and the native people. At each written page, Nieuhof transports the reader to his eight years of living in Brazil. He describes since the dazzling natural resources, to the bloody battle of the Portuguese-Dutch war claiming the Northeast administrative divisions of Brazil. Therefore, we will try to reveal the mentality of a person through his words, to also understand and reframe the imaginary and the representation of the society he lived in.
Mestre

L’objet de cette thèse est d’analyser la manière dont, au Venezuela du 19ème siècle, à partir de l’Indépendance, s’est constituée, sur le mode d’une construction narrative, l’idée de nation. Y sont examinés différents aspects de l’édification d’un récit national. Notre approche prend le discours politique comme point de départ, pour ensuite s’appuyer sur les interprétations fournies par l’historiographie, recourant également aux études littéraires et ce, dans le but d’ouvrir de nouvelles perspectives de lecture. Face à l’utilisation politique de l’histoire et à la position dominante d’une version unique du passé, d’autres interprétations se sont fait jour. En nous attachant au caractère narratif de l’histoire, nous en arrivons à cerner un ensemble de signes et de symboles qui ont construit cette représentation synthétique de l’Indépendance, utile et efficace, que nous appelons le Récit National. Qu’en est-il donc de ce récit ? Comment a-t-il été construit ? Qu’est-ce qui, dans cette construction, a été sacrifié ? Pour répondre à de telles questions, nous nous sommes efforcée de croiser plusieurs disciplines. Nous nous sommes également intéressée aux lectures de l’histoire de l’Indépendance que les célébrations officielles de son centenaire et de son bicentenaire ont privilégiées. Nous avons ainsi croisé entre eux différents éléments : la construction narrative de l’histoire, l’imaginaire héroïque, les différents récits qui, durant tout ce temps, ont façonné la nation. Nous nous nous sommes penchée d’une part sur l’importante production textuelle d’époque relative à l’Indépendance et, d’autre part, sur la construction littéraire de son personnage central : Simón Bolívar, le Libertador, le Père de la Patrie.La thèse est structurée en deux parties. Chacune de ces deux parties comporte trois chapitres. Dans la première partie nous traitons de la configuration du territoire vénézuélien et de ses habitants et relatons le processus qui se déroule entre la fin du XVIIIème siècle et les débuts du XIXème. Nous en décrivons le paysage, les personnages, les mentalités ainsi que les représentations, picturales et autres, apparus dans cette période qui, en 1811, voit naître la Première République. Dans la seconde partie, nous nous attachons au processus de construction du récit de la Guerre d’Indépendance et à celle de son personnage central. Nous tentons de comprendre comment le récit de plusieurs a pu devenir celui d’un seul, celui de Bolívar, le héros de la patrie. La première partie traite ainsi de la construction d’un sujet pluriel – « Eux », tandis que la seconde se focalise sur celle d’un sujet singulier - « Lui ». Et nous essayons de comprendre comment le discours du Libertador a pu vouer le pays à diverses formes d’autoritarisme.A côté d’une Histoire qui se voudrait unique, d’autres histoires émergent. Notre travail prend en compte deux catégories discursives entre lesquelles nous tentons d’établir un dialogue : d’une part le Récit National qui propose une seule lecture du passé de la nation et, d’autre part, les ré-interprétations critiques de ce même passé, que nous appelons les Nouvelles Études. Bien que le développement de ces dernières soit récent, puisqu’elles n’ont pas plus de quatre décennies d’ancienneté, nous considérons que les points de vue et les conclusions apportés par ce riche corpus bibliographique fournissent d’utiles clefs de lecture qui vont bien au-delà des frontières nationales
This thesis main’s object is to analyse how the idea of nation was built during the venezuelan 19th. century, since the early Independence period. Various narratives aspects of this construction are examined here. If the 21th. century political discourses may be the starting point, our approach focus in the modern historiography and the literary apports, in order to open up new reading perspectives. Face to a political use of of history and the dominant position of a single version of the past, other interpretations have emerged. By focusing on the narratives elements of history, we can be able to identify a set of signs and symbols that have articulated this useful and effective synthetic representation of Independence, which we call the National Story or Narrative. How this version has been built? What was left out through this construction ? To answer such questions, we work in a multidisciplinary and different timelines crossing approaches. We mostly focus our analysis in the centennial and bicentennial speeches and representations of official celebrations. On the one hand, we look at the important textual production of the Independence period and, on the other hand, at the literary heroique construction of its central character : Simon Bolivar, the Libertador, the Father of the motherland.This thesis is structured in two parts and three chapters each. In the first part we deal with the configuration of the venezuelan territory and its inhabitants and recounts the process that takes place between the end of the 18th. century and the beginning of the 19th. century. We describe the landscape, the characters, the mentalities as well as the representations, pictorial and other, which lead to the fist republicain process. In the second part, we center the attention in the construction of the central character and the narrative of the Independence. We try to understand how the story of many becomes that of oneself, that of Bolivar. The first part deals with the construction of a plural subject, «Them», while the second part recreation of a singular subject, «Him». The main question is try to understand how the Libertador figure and speech could have led the country to various forms of authoritarianism.Alongside a History or a story that would be unique, other versions emerge. We try to establish a dialogue between two categories : on the one hand the National Narrative which proposes a single interpretation of the nation’s past and, on the other hand, critical reinterpretations of that version of the history, which we call the News Studies, which refeares a four decades critical ensemble of approaches on the venezuelan independence past. We consider that the perspectives and conclusions drawn from this rich bibliographic corpus provide useful reading keys that go beyond national borders

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O presente estudo sobre a migração de europeus para a Bahia nas últimas décadas procura explicar um movimento migratório que, não se restringindo ao móvel econômico e ao modelo comunitário, é impulsionado por processos individualizantes e uma consciência de matiz cosmopolita. Tal movimento pode ser visto como resultante da atual globalização cultural, em que a multiplicação das conexões planetárias estimula a imaginação social e incita indivíduos de todas as partes a se desterritorializarem, fazendo da mobilidade um recurso integrado aos seus projetos de vida. Analisando a vinda desses indivíduos ao Nordeste brasileiro para residir, o estudo traz à discussão, por um lado, o imaginário sobre a globalização e a emergência de uma subjetividade contemporânea , e por outro, os imaginários sobre o “outro continente” na interação entre a Europa e a América Latina, que terminam por inserir o Brasil nos projetos de vida de migrantes europeus de perfil aventureiro e cosmopolita, que vivem “lá e cá”. Buscou-se também verificar como o país se construiu como destino para aqueles que optaram por viver sua vida no hemisfério sul, para em seguida contrastar a sua vivência concreta com a “vida imaginada” no sul global. Levando em conta as dimensões subjetivas e objetivas que trazem esses europeus ao Nordeste brasileiro, vemos entrar em operação o imaginário de um mundo interconectado em que alguns países e regiões emergem enquanto outros retrocedem, numa hierarquia das nações em transformação segundo critérios que hoje contemplam a qualidade de vida, a humanização das relações interpessoais e a ampliação do espaço de realização individual, que podemos depreender do discurso dos migrantes estudados. My research on the migration of Europeans to Bahia over the last decades seeks to clarify a migratory movement which , while not restricted to economic motivations or a community pattern , results from rather individualizing processes and a new “cosmopolitan consciousness”. Such movement can be seen as an outcome of present cultural globalization, whereby the multiple planetary connections stimulate social imagination and induce individuals all over the world to deterritorialize themselves making mobility part and parcel of their life projects. This study brings into discussion the imaginaries on globalization and the emergence, on the one hand, of a contemporary subjectivity, and, on the other hand, of new representations on “the other continent” in the interaction between Europe and Latin America, that have inserted Brazil in the plans of migrants with a relatively adventurous and cosmopolitan profile. It was a main purpose to see how the country was built as a destination for those who chose to live in the south hemisphere, for later to contrast their concrete experiences with their “imagined lives” in the global south. Taking into account both the objective and subjective dimensions that bring those Europeans to the Brazilian Northeast , one sees coming into operation the traditional narrative of our interconnected world , wherein some countries and regions emerge while others “submerge”. Such a hierarchy of nations apparently is now undergoing change on account of new subjective criteria that value aspects such as “quality of life”, the humanization of interpersonal relationships and the widening of self-accomplishment perspectives. All this can be drawn from the discourse of the migrants under study.
Salvador

Etapa inicial de uma investigação sobre as cidades imaginárias. A configuração de Macondo em Cem anos de solidão de Gabriel García Márquez; a construção da verossimilhança e o estatuto do imaginário. O conteúdo mítico da narrativa; relações entre a História, a Antropologia e a Literatura. A universalidade de um espaço regional.
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Etapa inicial de una investigación sobre las ciudades imaginarias. La configuración de Macondo en Cien años de soledad de Gabriel García Márquez; la construcción de la verosimilitud y el estatuto del imaginario. El contenido mítico de la narrativa; relaciones entre la Historia, la Antropología y la Literatura. La universalidad de un espacio regional.

Agnès Varda ha deixat empremtes visibles de la seva subjectivitat en una filmografia desenvolupada pràcticament en sis dècades. El propòsit és abordar el conjunt de l’obra cinematogràfica de Varda rastrejant-hi aquestes empremtes subjectives, lligades a una manifestació de l’autoria, a través dels comentaris escrits i dits per la mateixa cineasta inscrits en els films; i també fer atenció a les diverses formes d’autorepresentació en relació amb la projecció de la cineasta en diversos personatges de les seves ficcions i la presència física d’ella mateixa a les imatges. Analitzant aquests elements, el text vol considerar les aportacions de Varda a la modernitat cinematogràfica en la mesura que, amb una gran llibertat creativa, ha inventat noves formes posant en qüestió les convencions genèriques, entre les quals la divisió entre documental i ficció.
Agnès Varda has left visible imprints of her subjectivity in her filmography developed over the last six decades. The objective of this doctoral thesis is to consider her entire cinematograghic work scrutinizing these subjective imprints and, through the filmmaker’s voice on off commentaries, linking them to a manifestation of authorship and the desire to exemplify that the world is represented through a singular point of view. Attention is called to the diverse forms of self-representation in the projection of the filmmaker through diverse characters as well as her physical presence in images. Analizing these elements, this text considers Varda’s contribution to modern cinematography to the extent that, through great creative freedom, she has invented new forms which question generic conventions, amongst them the distinction between documentary and fiction.

Au lendemain de la Seconde Guerre mondiale, dans les plus grands titres de la presse américaine, les nouveaux immeubles équipés de murs rideaux et de l’air climatisé sont présentés comme un « futur déjà arrivé dans le présent ». Le récit médiatique des projets de Mies Van der Rohe, S.O.M. ou Welton Becket est instrumentalisé à des fins de publicité et de divertissement, comme espace de projection dans le futur pour un public en mal d’horizons concrets. Cette thèse interroge la place de l’architecture dans une profonde reconfiguration du régime d’historicité, dans le sillage de l’imaginaire technoscientifique débridé qui caractérise la période – à l’instar de l’Atomic Age, du Space Age ou du Jet Age. Suivant une définition anthropologique de la culture comme production sociale de sens, la thèse met en évidence le rôle des professionnels de l’image (photographes et illustrateurs), de la communication et de l’édition dans le succès de l’architecture ultra-moderne comme proposition culturelle. Le principal cadre méthodologique du projet est la description du contexte de production et de réception du récit de l’architecture ultra-moderne dans la presse grand public. L’analyse conjugue une prise en compte des situations, des processus et des jeux d’acteurs propres au projet d’architecture et à sa médiatisation, avec un appareil interprétatif issu de l’histoire et de la théorie des arts et des images. A l’aune de son récit médiatique, l’architecture ultra-moderne apparaît comme un support de croyances et d’aspirations qui tenaient du mythe, autant que du projet technologique et rationnel revendiqué par les architectes. En tissant l’histoire de l’architecture, l’histoire du récit médiatique, et l’histoire du rapport au temps, cette thèse entend forger un cadre pour l’historiographie des mythes. La mise en œuvre des images d’architecture dans le récit du futur, qui s’appuie sur un imaginaire de la concrétisation, offre un prisme inédit pour revisiter la question de la performance des images, au cœur du champ des études visuelles
In the aftermath of the Second World War, in the headlines of the American press, new buildings equipped with curtain walls and air conditioning were presented as a "future already arrived in the present". The media account of the projects of Mies Van der Rohe, S.O.M. or Welton Becket was used for publicity purposes, as a space for future projections for an audience lacking concrete horizons. This thesis questions the place of architecture in a profound reconfiguration of the regime of historicity, in the wake of the unbridled technoscientific imagination that characterized the period – in the same way as the Atomic Age, the Space Age or the Jet Age. Following an anthropological definition of culture as a social production of meaning, the thesis highlights the role of photographers and illustrators, public relations and publishing profesionnals in the success of ultra-modern architecture as a cultural object. The main methodological framework of the project is the description of the context of production and reception of the narrative of ultra-modern architecture in the mainstream press. The analysis combines a consideration of the situations, processes and agents specific to the architectural project and its publicity, with an interpretative apparatus based on the history and theory of arts and images. In the light of its media narrative, ultra-modern architecture appears to be a support for beliefs and aspirations akin to a myth, as much as the technological and rational project claimed by the architects. By weaving together the history of architecture, the history of media narrative, and the history of the relationship to time, this thesis aims to forge a framework for a historiography of myths. The implementation of architectural images in the narrative of the future, which is based on an imaginary of concretization, offers a new prism to revisit the question of the performativity of images, at the heart of the field of visual studies

Abstract The study explores the narratives on the 1988 death of 28 year old British tourist, Julie Ann Ward in Kenya's Maasai Mara Game Reserve. Julie Ward's death in Kenya attracted widespread attention in Kenya and Britain culminating in at least three true crime books, significant media coverage and rumours in Kenya. The study reflects on the narratives on Julie Ward's death, with particular interest in the discourses that gained expression through, or were inscribed, on Julie Ward's death and the quest for her killers. The study is also interested in the ways in which the Julie Ward case and the discourses it inspired offer a critique of rationality, and the accompanying unity of the subject, expressed through a logocentric impulse as key tenets of a Western modernity that continues to mediate metropolitan readings of postcolonial Africa. The study reveals that Julie Ward's death traversed various discursive sites, which were laden with specific ideas on race, gender, the postcolonial African state, Western modernity, female sexuality and black male sexuality, among a host of other issues; all of which tinted British and Kenyan narratives on the circumstances surrounding the death. The study argues that the authors of the three books on the Ward tragedy rely on colonial archives on Africa, and actively mobilize notions such as the myth of the uncontrollable black male libido and its threat to the vulnerable white woman in understanding the Ward tragedy. While these writers cling to these notions of the black peril, the noble savages, Africa as the tourist's wildlife paradise, and the dysfunctional postcolonial state; Kenyan publics read the murder as another symptom of a criminal political elite's brutal deployment of violence to secure immunity for its criminal activities.However, the two sets of ideas are largely disarticulated, and as the study reveals, the British stakeholders in the case are blinded by a rigid polarization of Kenya and Britain, which presumes a superior British moral and technological integrity. These assumptions blind the Ward family to British complicity in the cover up of the truth in Julie Ward's murder; while at the same time, rendering them illiterate in the local textualities which remain inaccessible to the instruments of Western modernity that are privileged in the quest for truth and justice in the Julie Ward murder. Julie Ward’s presence in Kenya, her death and the subsequent quest for her killers is consistently haunted by neat dichotomies, derived from various masternarratives. The study traces these dichotomies, in a bid to outline their configurations and the outcomes of their deployment, while consistently keeping the grey areas of entanglements between these dichotomies in sight. It is in these grey areas that we see the contradictions, blindspots, critiques, complicities and forms of agency that were at play just under the radar of these neat polarities. From these grey terrains, we catch glimpses of the workings of these dichotomies as discursive masks which conceal the faultlines that rend the masternarratives. The study finds that in many ways, Julie Ward's death in Kenya may be positioned in a transitional space between colonial whiteness and an emergent postcolonial whiteness, which betrays heavy imprints of the grammars of colonial whiteness, including the messianic white male authority, wildlife tourism and conservation. To this end, the study suggests, one of the factors that hampers the quest for truth and justice in the Ward case is the failure to forge viable grammars of whiteness in the postcolonial context. Such viable grammars would be able to access local textualities and retain an awareness of the underlying complicities and faultlines that now rig colonial Manichean binaries, which are largely mediated by the interests of capital. The novel The Constant Gardener and the film Ivory Hunters (1989) - both of which make implicit allusions to the Julie Ward case – eloquently articulate these complicities and faultlines.

abstract: Tucked peacefully into mountains just north of the City of São Paulo, the largest metropolitan area in South America, sits the Cantareira Reservoir System. This massive water catchment network received worldwide coverage in 2014 and 2015 as one of the worst droughts in a century hit the region, threatening to collapse the system. In the years since the peak of the drought, the media has changed its focus, the reservoirs have begun a slow recovery, but the people of the region have had to live with the consequences of this difficult period. Faced with an uncertain future, the people continue to grapple with the historic struggles of rural life, while being faced by new threats to the social, environmental, and technological order that has for a long time stabilized the region. My thesis explores the narrative imaginaries that individuals have pertaining to their personal future and that of the region. It delves into the identity of the Rural Producer, the battle to conserve and preserve native forest, issues surrounding the governance of common resources, and what actors perceive to be the biggest advantages and threats to the sustainable future of the region. Utilizing a set of twenty expert elicitation interviews, data was collected from a variety of actors representing a number of roles and positions within the system. My analysis connects disparate individual narratives, illuminating how they connect together with the narratives of other respondents, creating a regional narrative that illustrates a set of desired outcomes for the region. This paper does not attempt to operationalize solutions for the issues that face the region, it does however serve to provide a context for the historical and contemporary issues that exist, a means by which to consider how they may be approached, and ultimately as a tool for policy makers to make more informed decisions going forward.
Dissertation/Thesis
Masters Thesis Global Technology and Development 2019