Para um cinema da crueldade em Antonin Artaud

Antonin Artaud (1896-1948) est un poète, acteur, dramaturge et écrivain français né à Marseille, mais dont la vie artistique se développe principalement à Paris. Artaud est l'auteur de la notion bien connue de Théâtre de cruauté, qui inspire encore aujourd'hui de nombreux groupes de théâtre dans différents coins du monde. Il a écrit sur le théâtre, la poésie, l'art, la philosophie, entre autres. De 1924-1935 est également dédié au cinéma, à la fois dans son théorique et pratique. Une étape un peu inconnu et peu exploré dans sa vie. Elle a joué dans 22 films avec certains des réalisateurs les plus importants dans le monde, et a laissé huit scénarios, dont un seul a été realizé, et huit écrits théoriques sur le cinéma. Cette thèse cherche à examiner précisément cette période insuffisamment étudié dans sa carrière, à partir de trois questions initiales: Artaud développé un sens de la cruauté au-delà du théâtre? Nous pouvons penser à la culture de la cruauté envers les films, en d‘autres termes, un cinéma de la cruauté ? Nous pouvons penser sur le sujet contemporain de cette culture? La réponse à ces trois questions est oui. L'idée de la pensée de la cruauté au cinéma est intervenue concomitamment à leurs expériences et élaborations de ce qu'il a appelé Théâtre de la cruauté. Les deux réflexions sont donnés concomitamment et de manière récursive. Plus que cela, toutes ses productions artistiques, dont la poésie et la peinture, ont été traversés par la notion de cruauté. Nous concluons que leurs élaborations sur un cinéma de la cruauté a eté interrompu au moment même que le développement technique a souligné la possibilité de sa réalisation. De plus, à l'enquête de son travail, nous pouvons voir que presque toute sa pensée a été préparé sous les images, de sorte que nous pouvons même parler d'une pensée cinématographique d‘Antonin Artaud. En conséquence, nous ne concevons pas sa théorie au septième art comme secondaire à leurs intérêts, comme le rapporte la plupart de ses commentateurs, mais absolument essentiel dans le développement de ses écrits, qui jusqu'à maintenant accumulé plus de deux mille pages. En outre, Artaud ne pense pas l'art pour l'art, mais seulement comme un dialogue fructueux et intensif avec l'homme et la culture. L‘art était l'instrument privilégié de proposer un diagnostic et une nouvelle façon de voir la société contemporaine. À travers le film il a imaginé la possibilité d'une reprise de forces éthico-esthétique-politiques perdus sous les décombres de la civilisation occidentale. L'établissement d'une nouvelle relation avec l'image, le sujet de la (post-) modernité pourrait sauver une puissance esthétique du corps et de la pensée que, réinterprété, agiraient envers eux-mêmes et le monde à réinventer.

Imaginários da morte: poética das imagens em cemitérios brasileiros

The thesis presented is committed to a poetic reading that results in the creation of meaning and images of the death from the various cultural practices and symbolic representations exposed in urban cemeteries in some Brazilian cities, aiming to give visibility to new understandings about the imaginary of the in the contemporary scene. Death, therefore, will be seen as a imagining condition of anthroposwhen starts itself from the prerogative of the human consciousness of death (MORIN, 1970), in other words, this awareness that man has he will die and that triggers reflections about their existence allows the emergence of a number of practices such as: mourning, funeral rituals and the creation of several impregnated representations of human emotions emerged from the death facing the man and present, in a more evident form in cemeterial spaces. For this, it focuses on the conflictuous dimension that man establishes with death, because the cultural practices and symbolic representations observed in the research field are the result of this conflict and allow the expansion of the senses about this issue, to the extent that these are coated with a fantastic aura, mystical, secret, spooky, fearful, religious, building a complex imagination. The general plan of this study is to discuss and create, from a phenomenology of imagination and materials / dynamics imagination, as well as along the lines treated by Gaston Bachelard, images of death, from a field experience in cemeteries in Brazil. For this, it is assumed, to observe the cultural practices and symbolic representations in these spaces, a posture able to make the experience into the search field a moment of symbolic exchanges and creation. Thus, it was used observation, conversations with visitors and employees of the cemeteries and the capture of photographic records. The data produced as a fragment of a conversation, a tearful outburst about the loss of a relative, a melancholic epitaph, a flower on the grave or a cry captured by photography were seen as detonators of meanings and a poetic of the imagination.

Imaginários da morte: poética das imagens em cemitérios brasileiros

The thesis presented is committed to a poetic reading that results in the creation of meaning and images of the death from the various cultural practices and symbolic representations exposed in urban cemeteries in some Brazilian cities, aiming to give visibility to new understandings about the imaginary of the in the contemporary scene. Death, therefore, will be seen as a imagining condition of anthroposwhen starts itself from the prerogative of the human consciousness of death (MORIN, 1970), in other words, this awareness that man has he will die and that triggers reflections about their existence allows the emergence of a number of practices such as: mourning, funeral rituals and the creation of several impregnated representations of human emotions emerged from the death facing the man and present, in a more evident form in cemeterial spaces. For this, it focuses on the conflictuous dimension that man establishes with death, because the cultural practices and symbolic representations observed in the research field are the result of this conflict and allow the expansion of the senses about this issue, to the extent that these are coated with a fantastic aura, mystical, secret, spooky, fearful, religious, building a complex imagination. The general plan of this study is to discuss and create, from a phenomenology of imagination and materials / dynamics imagination, as well as along the lines treated by Gaston Bachelard, images of death, from a field experience in cemeteries in Brazil. For this, it is assumed, to observe the cultural practices and symbolic representations in these spaces, a posture able to make the experience into the search field a moment of symbolic exchanges and creation. Thus, it was used observation, conversations with visitors and employees of the cemeteries and the capture of photographic records. The data produced as a fragment of a conversation, a tearful outburst about the loss of a relative, a melancholic epitaph, a flower on the grave or a cry captured by photography were seen as detonators of meanings and a poetic of the imagination.

Comunidade à mesa: a comensalidade no romance O pai Goriot

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)

Comunidade à mesa: a comensalidade no romance O pai Goriot

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)

Entre elas: políticas públicas e cidadania de travestis e mulheres transexuais de uma ONG em Natal/RN

The core of this research it is anchored in the analysis of the relationship between experiences and experiences of transvestite and transsexual women and citizenship category in Natal. For this, we analyzed, at first, the unfolding instilled in acting from the agenda of a Non Governmental Organization of the city, the Atransparência. In a second, and more importantly, time, reflections of those actions were followed in the daily and transgender women in the city belonging to NGOs. Methodologically, work is characterized as a qualitative research, with ethnographic deployment, made possible through interviews with semi-structured questionnaires. The analysis of the collected material was possible from the discourse analysis (Foucault, 1996), as well as qualitative analysis (Caregnato and Mutti, 2006). Theoretically, it was done the exercise to think queer theory conciliated her with the prospect of criticism of eucorêntrismo of power and knowledge, with fundamental emphasis on the relationship between theoretical national queers - Bento (2014), Miscolci (2014), Pelúcio (2014 ) and Pereira (2012) - authors and descolonial such as Mignolo (2008) Quijano (2005).

Of madness and many-valuedness: an investigation into Suszko's Thesis

Suszko’s Thesis is a philosophical claim regarding the nature of many-valuedness. It was formulated by the Polish logician Roman Suszko during the middle 70s and states the existence of “only but two truth values”. The thesis is a reaction against the notion of many-valuedness conceived by Jan Łukasiewicz. Reputed as one of the modern founders of many-valued logics, Łukasiewicz considered a third undetermined value in addition to the traditional Fregean values of Truth and Falsehood. For Łukasiewicz, his third value could be seen as a step beyond the Aristotelian dichotomy of Being and non-Being. According to Suszko, Łukasiewicz’s ideas rested on a confusion between algebraic values (what sentences describe/denote) and logical values (truth and falsity). Thus, Łukasiewicz’s third undetermined value is no more than an algebraic value, a possible denotation for a sentence, but not a genuine logical value. Suszko’s Thesis is endorsed by a formal result baptized as Suszko’s Reduction, a theorem that states every Tarskian logic may be characterized by a two-valued semantics. The present study is intended as a thorough investigation of Suszko’s thesis and its implications. The first part is devoted to the historical roots of many-valuedness and introduce Suszko’s main motivations in formulating the double character of truth-values by drawing the distinction in between algebraic and logical values. The second part explores Suszko’s Reduction and presents the developments achieved from it; the properties of two-valued semantics in comparison to many-valued semantics are also explored and discussed. Last but not least, the third part investigates the notion of logical values in the context of non-Tarskian notions of entailment; the meaning of Suszko’s thesis within such frameworks is also discussed. Moreover, the philosophical foundations for non-Tarskian notions of entailment are explored in the light of recent debates concerning logical pluralism.

"Ombro a ombro com os mais fracos": a inserção de João Café Filho nos espaços do trabalhador na cidade do Natal 1922 - 1937

The purpose of this thesis is to analyze how João Café Filho constituted a discourse of advocate of the labor movement and workers in different sociability spaces. It is intended to understand, on one hand, how political relations were established between different categories of workers and the ‘middle classes’ and, on the other hand, how places were instituted to house the meeting of these relations. It a ims to understand the insertion of Café Filho in union activities in the urban world. It demonstrates specificities of the political culture in Natal emphasizing the dispute between a city politically ruled by a still reigning rural paternalistic mentality and the rise of a new way to experience the urban conflicts which appeared. Temporally, the work is delimited between 1922 (proclaimed by Café Filho himself as the initial period of his political action) and 1937 (when he broke up with Vargas and went into exile in Argentina). The research was constituted by three main document types: several published newspapers between the decades of 1920 and 1930 in the cities of Natal, Recife, São Paulo, Porto Alegre and Rio de Janeiro; the autobiographical memoirs written by Café Filho himself and memoirs of other people who lived in his time. The main pillars that have supported the work were: the concepts of society and individuals (ELIAS, 1994; 1995), political cultures (BERSTEIN, 1998) and theater of the memory (GOMES, 2004); the sociability spaces category (CERTEAU, 1994; MALATIAN, 2001; RIOX, 1996); the biography notion (DOSSE, 2009; LORIGA, 2011). We demonstrated that Café Filho acted in some sociability spaces as: the Jornal do Norte, the Federação Regional do Trabalho and the Partido Democrático Nacional. In such spaces, Café Filho, gradually, become an important leader of workers and, at the same time, linked to national entities led to the opposition that fight against the power established in the Brazilian First Republic. In Café Filho’s interpretation, workers were individuals who needed to fight against the political structures prevailing at that time because the poor living conditions and the low representativeness of this group were caused by the way the political system in the First Republic was structured. After the 1930 Movement, the 3 de Outubro Club, the Jornal and the Labor Federation of Natal were constituted in spaces where the cafeista critical discourse about the government was changed: workers should follow the official syndicalism and defend the 1930 Movement which put Vargas in the presidency of the Republic.

Quem é o doente? Um estudo sobre as vivências dos acompanhantes de pacientes adultos em hospital público no Rio Grande do Norte

The aim of this research is to reveal how caregivers have lived the experiences from adult patients admitted in a Rio Grande do Norte’s state hospital. This is a study where the use of the participant observation, associated with the use of interviews and informal conversations handled categories such as the mismatch between the prerogatives of Brazilian Health Care Policies (HumanizaSUS) and practices performed in hospitals, the relationships established between the caregivers and the other subjects of the research field, family relationships, permanence of women as caregivers, therapeutic itineraries, dramas, religiosity and secrets. To sew up it appears the role of a caregiver is more than emotional support or help, it is a complex act in several directions.

O sujeito-colagem da estética contemporânea – antimoda jovem na UFRN

Assuming the body as a space of communication and production of subjectivity, we investigate, through the perspective of the contemporary youth at UFRN, the complexity surrounding the act of adorning the body as an act of communication, more precisely a visual communication, filled with symbolism and personality. Using the metaporic method, we seek to follow the communicational act, resulting from the relationship between these unique individuals at UFRN, their adornments and clothing, as an act that produces meaning. Through these narratives and singular expression, observed in these adorned / dressed bodys, we were able to identify seven categories that outlines the collage-individual that we present here: Aesthetic inconsistency and frequent change of style, gender X clothes, spaces regulated by a dominant aesthetic, symbolic connection with garments and / or accessories, the building an authorial image through various aesthetic references, moment of aesthetic rupture with socially established standards, and, parts of the body whose modification or acceptance reflects aesthetic ruptures.

Resumo de dissertações e teses: a estrutura composicional à luz da Análise Textual dos Discursos

This doctoral dissertationproposes the description, interpretation and analysis of the compositional structure of thesis and dissertation abstracts, with regard to the linguistic mechanisms that evidence text zones of different typological sequences, such as those of the text plan. Along these lines, the research problem was developed from the notion of compositional structure (sequences and text plans), as one of the levels or plans of text analysis, according to the theoretical framework proposed by Jean-Michel Adam (2011a). The main objective of this study was to recognize how the compositional structure, of thesis and dissertation abstracts, is achieved, with respect to text units and the global organization of this text category. The hypothesis posed in this research posits that specific informational text composition categories of abstracts are necessary to process the representation of the original text and the way in which it makes its meaning. Subsequently, this study is based on the theoretical and methodological framework of Text Linguistics (TL) and, above all, Textual Discourse Analysis (TDA), as we endeavor to understand the organizational structure of abstracts from both a linguistic and textual perspective. This structure involves the text plan of abstracts, with respect to their communicative purpose, i.e, the sharing of scientific information in its standard textual form. Thus, the development of this study, from a theoretical and methodological perspective, is based on the theoretical and descriptive premises from TDA (ADAM, 2011a, 2012; PASSEGGI et al., 2010), and also from TL (BEAUGRANDE; DRESSLER, (2012 [1981]); COSERIU; LAMAS (2010); MARCUSCHI, 2009 [1983]; FÁVERO; KOCH, 1994;KOCH, 2006; BENTES, 2004; BENTES; LEITE, 2010), within the field of text studies. The methodology of this study relies on empirical, documental research, which is qualitative, and adopts a descriptive and interpretive approach. From the empirical perspective, our objective is to understand the problems pertaining to the textual composition of abstracts, aiming to elucidate them in light of the theoretical and methodological framework previously mentioned. The corpus of the analysis is comprised of seven abstracts designated for systematic data collection. These texts, written between 2004 and 2011,were selected from Master’s theses and Doctoral dissertations in their electronic version, from the graduate program at the Federal University of Rio Grande do Norte. A thorough review of the literature reveals a clear fluctuation in the terminology of the concept, ‘abstract’. The results of the analysis revealed that the abstracts, which comprise the corpus of analysis in this study, in general, present typological heterogeneity, while the text plan remains fixed. Finally, the new knowledge gained in this research contributes both to the understanding of the compositional structure of abstracts as well as their production.

Desenho de deficiência visual: uma experiência no ensino de artes visuais na perspectiva da educação inclusiva

Over the past 30 years, Art Education in interface with disabilities has been a subject of increasing interest in research in academia, especially with regard to Special Education, but still has some shortages in terms of socialization studies to discuss this type of teaching from the perspective of inclusive education. In this scenario, this paper presents an analysis from the field of teaching Visual Arts in the context of school inclusion, with emphasis on teaching drawing to the visually impaired. The conducted literature indicates a number of authors who discuss teaching drawing to people with visual disabilities, who are dedicated primarily to the Special Education context. In this sense, the shortage of research that discuss this teaching from the perspective of inclusive education, this research aimed at the inclusive approach to teaching drawing in the school context. Thus, the aim of this study was to develop a proposal for a pedagogical intervention in Visual Arts, with reference to drawing and its construction process, with the participation of seeing and unseeing students. Therefore, the methodological approach, which was qualitative, was the intervention research, in the light of the Bakhtinian principles of dialogism and otherness, with exploratory study characteristics. The locus of the research was the State School Admiral Newton Braga Faria, which is located in Alecrim, on the East Zone of Natal / RN and is near the Institute for Education and Rehabilitation of the Blind - IERC / RN. The class chosen for intervention was the 7th grade “C” afternoon shift, which had children aged 12 to 16, with 27 students enrolled, three students with disabilities: 02 blind girls and 01 deafblind boy with light hearing and visual loss. As interlocutors of the research, we could also count on the Art teacher who served as a collaborator, as well as teacher in the school’s Multifunction Resource Room. The instruments and research procedures were observation, semi-structured interview, field diary and the photo / video recording. In the development of research, we conducted 10 workshops with multisensory teaching sequences, articulating the physical, tactile and graphical expressions as intrinsic to the reading and production of drawing for both seeing and unseeing students. The process and data built on research allowed for a reflection on cultural experiences with drawing in the school context and on the interactions between seeing and unseeing students in the production and analysis of tactile-visual drawings. They also point out the construction of a teaching approach to drawing, in the context of the common class, from educational workshops that enable artistic and aesthetic interactions from the perspective of school inclusiveness. Thus, we argued that the mobilization of the tactile, physical and graphical expressions can be adopted in a multisensory approach that enables a pedagogical focus that involves all students and is not restricted to the presence of students with visual impairment.

Caminhos de sobrevivência institucional: a gestão do núcleo de oficinas e artes profissionalizantes laís aderne

The object of this study is the organizational management, particularly the relational processenvironment organization focused on the survival of the space Department of the Arts and Crafts Mestre Raimundo Cardoso linked to the structural arrangement of the Liceu do Paracuri.. Aimed to understand the ways of organizational survival, from the actors' perception of the Center for Arts Career Workshops and Lais Aderne, with investments that discuss the theoretical models of management, institutional theory, cultural organization and institutionalization of public education requirement of the municipal light LDB. (1996) used a qualitative approach with a view to RICHARDSON (1985). The data generated were analyzed based on the technique of content analysis, the thematic type [categorical] Bardin (1977). The results indicate that the institutionalization of the arrangement of the Liceu do Paracuri emerges meet the legal requirement of the autonomy of municipal educational administration under the aegis of sustainable development, quality of life and basic education from the municipal Hélio Gueiros (1993-1996 ). More specifically the Center for Arts and Crafts Laís Aderne, the unit of analysis, the subjects said that this space is designed as a link between the demands of school and community searching through interdisciplinary activities educate and train manpower mainly potter. They did mention the existence of institutional factors (history, culture, habits, values) represent a strong socio-cultural element to the actors belonging to the core that guides behavior and actions of these individuals, fueled by a sense of hope, inclusion of future artisans in culture ceramist. It made a shared management, the existence of a unique work through cultural revival. However, over the course of time, the core is faced with dilemmas of managing transitions mainly regarding governmental, technological beyond endurance by the craftsmen for the optimization of their work. The conclusion - that the paths chosen for the organizational survival of the core meaning and guiding their actions in the systematization of conduct, representations, memories and traditions through habits and choices of consensus, the viewpoint of the actors

A estética da Commedia dell Arte: contribuições para o ensino das Artes Cênicas

Theatrical phenomenon borned in the Italy the Comedy dell Art concerned to it climax in the XVI century and spreading itself by the word than can be sight like the theatre base modern. Lasting parallel the conventional theatre since the three hundred years, this gender influenced significativly the making theatrical in the Europe graces the popular character of its simulation turned for the improvise. In spite of treat a theatric manifestation no more existing in the present time, we understand that the Comedy dell Art was constituted in one artistic language whose esthetics centralized in the popular fanciful and in the improvise permitted a rich possibility of verbal and not-verbal communication that today can to be taken again in contemporary productions theatricals. Departing of an approach of esthetics, this work has with purpose concentrate the references esthetics that configure that one artistic manifestation such that one references can contribute for the Arts teaches in the present times. We appeal the text and image of Comedy dell Art, such this historical reference that in context, with fountain investigated that mean and if complementary in one esthetic reflection for the creation of meaning diverse and news interpretations for the purpose investigated if having with base some analysis categories such as: the actor s body, the actuations spaces and the esthetics categories such the ugly, the comic and the absurd. To investigate the Comedy dell Art esthetic in the ambit of the teach of Arts Scenics is a manner of be understand the artistic universe of three century behind that can be meant, revived, in the marking possibilities of an art teach able to incentive the critical, the appreciation, the discussion and the transgression of instituted true. Having investigated the exhibition Comedy dell Art esthetic we rebound four stich that we judge significative for we think the Arts Scenics teach, they are: the articulation between actor s body, the text and the space actuation in the play; statement what it is given between actor s body and the on-looker and the every gesture that did share of scene in a popular scenic space; a conception actor s body that transgress with the true duty socially that is capable the to admit its dimension Dionysian, creative and ambiguous in the to do theatrical; the text conception that get beyond the ambit the word writing by the dramatist and talked by actors, if spreading the other elements significance in the scene like gesture, the parody, the recent news, the gags and the word used in the day-to-day; the scenic space like a statement symbolic between actors and on-looker that make a quality of amusement pact supported by the scenic true of artist that actuate in not usual spaces bid at an auctioning degrees of participation in the building the scenic phenomenon; and the importance of esthetics categories such as the ugly, the comic and the absurd, those categories that foundation like a do scenic transgressor make a possible exchange mutual between actor and appreciator. The statement of esthetics categories in joint continuous between the body, the text and the scenic space evident themselves in doing theatrical and in the its appreciation. We believe that the reflection esthetic about the Comedy dell Art in the arts class, consider the stich detached, can favor possibilities of to share discovery, ideas, feelings and attitudes, and can permit the observation of different stich of view, establishing the statement of individual with the group in a participative and democratic form

O ensino de artes nos anos iniciais do ensino fundamental: (re)pensando a prática docente

This paper aims to investigate the formative needs of Elementary School Arts teachers at municipal public schools in Natal, Rio Grande do Norte, working in the initial grades. The research was developed using the qualitative approach and the investigation can be classified as an action research-inspired collaborative, distinguished by mutual collaboration among all participants, as well as a reflection upon their practice. Conducted with four Arts teachers of Municipal Education de Natal/RN, this work triggered a (re)thinking of teaching practice in Arts, discussing the teachers' formation and encouraging a group reflection about their academic and professional path. Their motivation towards teaching was also discussed, as well as the way their progress as Arts teachers and the contributions and limits of college education, also including experiential knowledge as a possibility of formation. The main formative needs suggested by the research were knowledge on child development and child learning, and the need of an Arts curriculum proposal for the initial grades of Elementary School. From those data, a reflexive context was built with the participant teachers to give a new meaning to Arts teaching practice in the first years of Elementary School. Finally, it was shown that the Arts teacher formation must be broad and involve not only specific knowledge on Arts, but also knowledge about childhood. It was also clearly shown that a curriculum review in education undergraduate courses must be considered, besides the offering of a continual formation to teachers already giving classes. Concerning the Arts curriculum proposal, it should be done based on a work joining officials of Municipal Education, research and formation institutions and teachers working in the first years of Elementary School. Finally, the work highlights the Arts are essential in all levels of Elementary School, since its first years, and it must be taught and learnt since childhood