The Beatles: ensaio sobre a ética do amor

The thesis intends to discuss the ethics by the way of love. So, it uses as a mention the musical work and the set of attitudes of the group that changed the way of thinking across the 20th Century mass-comm, entering a new way of thinking about the World: The Beatles. Analyzing the lyrics and the writing of the songs was searched the comprehension of he intrinsic love message at the Ethics it expresses. At the musical art of The Beatles political messages had been announced in a time that the World sought a Ethic way beyond the several declared war and the Cold War. Taking the Edgar Morin works as a base, O método 6, Ética (2005), it sought to understand the idea who permeates the human relations: the good, the possible, the necessary. Another works used as a cognitive base were Meus demônios (2003), Cultura de massas no Século XX: neurose (2005), Cultura de massas no Século XX (2006), The Beatles Anthology (2000) and Many years from now (2000). Holding the Ethics idea showed by Morin were established imaginary lines that perpass the behavior of the group known in the entire World understood till nowadays as tolerance, comprehension, peace, love and endurance messengers. The Beatles operate during the sixties a musical reborn, which allowed to the people the discussion and the reflexion about the World and the human being new behavior,endurance but acting with tolerance. Permeating the basic study, we find the Beatles way, the group origin, the fast walk till success, the spiritual choice, who guide their behavior and the end of the band. The music used as a masscomp instrument passes by the condition of a simple way of communicating. It deeply action feeds feelings, allows transcendence and is showed as target of human being transformation. The Ethics in music passes by the ideological barriers and becomes to comprehension with a clear synthony for the man, cause the polyphony and the new musical order establish the messages worldwide

O erotismo mítico da ninfeta

This dissertation establishes a viewpoint in the Social Cience Field of the Nymphs image in the romanesque construction of the twentieth century based in modern archaeology. Our literary corpus is constitututed by the book of the russian author callled Wladimir Nabokov entlited Lolita and the book Presença de Anita, from a brazilian author called Mario Donato. Both works had a singular repercussion involving an erotic conception wich was faced as pornographic and baffling. We appeal to Georges Bataille‟s and Foucault‟s discussion in order to observe it through an erotic viewpoint from an inner experience not submitted to normalizations. Such experiences provoke a feeling of something unknown and it reflects wild singularities proposed by Foucault and related with many misunderstanding things presented in institutions and cultures. Furthemore Bataille‟s conception about erotism will give us conditions to analyze nymphs‟ bodies in order to see themselves from their main characteristics, such as seduction and tempting and maligning forces. We still aim to focus the paradigm of mankind and nature in the direction presented by Edgar Morin. He analyzes some feelings that nymphs provoke and their relation between men and death. In adittion, we present in this issue some questions between culture and biology, focusing on the initial period of larva (wich means the beggining), bringing up what is ready to be born, a mythical and significant body shown in the media. Lolita in the cinema and A Presença de Anita in the TV was disturbing in society and it projected the possibility of a syntaxes of desire. It can has a symbolic purpose or it can be a kind of social and cultural phenomenon, wich is an object of representation. Our purpose is to immersion/emerge in the Nimphs‟s body with adventure and its risks at the same time in wich we are crossing frontiers

Campo e contracampo : o encontro com o outro no filme Lavoura Arcaica

This dissertation aims to comprehend how we meet with the other at cinema. For this, it receives the doubt, the uncertainty, the way that the human being is unfinished as stance of observation. It takes into consideration the multiples social vectors, historical, subjective, temporal and cultural which constitute these phenomena. The cinema is used as a cognitive resource in order to incorporate the poetic and the imaginary, making possible not forgetting gestures and knowledge that hatch from sounds, colours, remembrances, images, words, social exchanges, cognitive reciprocity that allow us to think about the culture, the society and the communication. For this, it has as theoretical prerequisites ideas of double (myselfthe other) and effective participation (projection-identification) developed by Edgar Morin, as well as the idea of communication as possibility/impossibility of constructions of bonds with the other through the body, our primary media, concepts developed by Harry Pross and Norval Baitello Jr. The chosen film to analysis is Lavoura Arcaica, it is an emblematic movie in the discussion of the human condition and in the relationship between the man and its body, its desires, with its nature/culture ambivalence. About this film are made reflections about the process of activation of the double (myself-the other) in the searching for the other through cinematographically elements of construction, as: montage, direction, screenplay, actors, scenography, costumes and soundtrack. In conclusion, the cinema, when it allows the effective participation and provides t e experiment of the double, becomes a gateway line in the path to development of the alterity

A dimensão ética do cinema de Walter Salles: hospitalidade, religação e perdão

Soulignant l´importance des transformations du discours politique du cinéma brésilien actuel, cet étude entreprend une analyse de la dimension éthique du cinéma de Walter Salles. Pour cela, nous avons parti de trois films long-métrages du directeur: Terra Estrangeira, Central do Brasil et Abril Despedaçado. Les films sélectionnés constituent les trois diférents chapitres de cette mémoire de maîtrise, qui s´articulent a des diférentes dimensions de l´éthique - l´hospitalité, la réliaison, et le pardon- et se présentent em format essayistique. Au texte, ces dimensions éthiques émergent à partir des récits, surtout des expériences existencielles des protagonistes et de ses singulières rencontres avec l´altérité. Comme tel, dialoguent avec des réflétions d´auteurs comme Edgar Morin, Zigmunt Bauman, Julia Kristeva, Paul Ricoeur et Hannah Arendt. Des diférents régistres de la connaissance -artistique, scientifique, religieuse- s´articulent donc dans le travail, et dialoguent en condition d´égalité. La recherche fait usage de matériels multiples qui incluent, au-delà des films mentionnés, et de ses respectifs scripts, des références à d´autres long-métrages et documentaires du directeur, ainsi que, des makingoffs, entretiens, et interprétations de commentaristes comme Lucia Nagib, Luiz Zanin Oricchio, Ivana Bentes, Pedro Butcher e Jurandir Freire Costa

Tecendo Papéis:viagem pelos saberes e práticas do ensino de arte

Nowdays, recycling became a relevant social and educational aim among many other factors, which involve balance between man and nature. This study relates the experiences with the production of recycled handmade paper directed at the teaching in Universidade Federal do Rio Grande do Norte UFRN, and through workshops of carnauba recycled handcrafts papers as a pioneer activity accomplished at the Felix Rodrigues Foundation, in the city of Pendências, Açu Valley, Rio Grande do Norte. A bibliographic review was done about the history of handmade paper and a discussion about carnauba´s paper artistic possibilities in art-education. Analyses within the context of art teaching, accordingly to Ana Mae Barbosa´s triangle propose and, also, Buoro, Ostrower and Nachmanovitch´s pedagogy of art. It deals with a group of artisans in order to establish the nature of their relationship and the possibilities of achieving more ecological awareness. Finally, we intend to realize a dialogue with Morin and other authors

Percursos para novas imagens: a produção audiovisual por não videntes

The purpose is to write a reflection on the audiovisual production by the visually impaired. The starting point for this research was a documentary video production workshop offered by the Instituto de Educação e Reabilitação de Cegos do Rio Grande do Norte - IERC / RN, with the participation of blind people with low vision and sighted employees of the institution. The research approach follows the precepts of complex thinking, where work is woven into the network, along with the researched. The theoretical framework is based on the theory of French sociologist Edgar Morin, and other important thinkers for this work, namely: Erving Goffman, Paulo Freire, Michel Foucault, Edward Said, Jacques Aumont, Phillpe Dubois, as well as scholars who think and theorize about his own condition and conduct discussions on the issue of blindness: Francisco Jose de Lima, Evgen Bavcar Jacques Lusseyran and Joana Belarmino. The research was formulated based on the statement in the interest of respondents to understand and produce visual images using video as a tool. In this sense, the methodology adopted approaches of action research in constructing the text and dialogue with the participation of those involved in the project. The technique of gathering the information was based on ethnographic description describing the dynamics of the workshop, the relationships between participants, relationship to the other that sees and the manner of operation of equipment. The main focus is the relationship based on dialogue of information, attitudes and ways of knowing from experience and capacity developed and obstacles for blind people to produce visual images using other benchmarks, such as touch, smell and time dimension and space, and add references that give new meaning to the guidelines based on visuality of ministering to the workshop. It is also held to discuss aspects related to the concept of image with sociological reflection about the audiovisual production made by blind people socially constructed and perpetuated by what Edgar Morin called cultural imprinting. Thus we attempted to walk the route with its obstacles and achievements in the production of new images that were seen

Informação fluida e conhecimento no ciberespaço : uma análise do Portal Infonet-SE

The internet is a transbordering and potentializing environment for the information, since it makes possible the sheering, distribution and interaction of the contents available in it. However, this information system may generate an opposing move when it produces an avalanche of superficial information which difficult the absorption criticism by the user. This modern-liquid society, which is characterized by short living fashionisms, creates a fluid subject on which its habits do not become concrete, since they are so temporary that they don t shape up. The information also reproduces the same scenario, since the user is inserted into a logic based on supplying information and so it is conditioned to consume, not absorb or transform them into knowledge, since the flow of content production does not allow it. It is in his context that the publishing of cultural expressions come to be questioned, since they follow a liquid society trend. This discussion will take on topics that approach diverse cultural expressions in Sergipe, such as cinema, theater, craftsmanship, events, memory spaces(museums, art galleries, memorials, files, libraries, history institutes, science academies), amongst others and will analyze the content production of the Infonet Portal, from the reports published during April, May and June of 2008, period considered to be of cultural turbulence in the state, due to the June Festivals (Saint john, Saint Joseph and Saint Peter). To do so, Zigmunt Bauman s, Pierre Levy s, Edgar Morin s and Dominique Wolton s ideas were discussed. Besides, were analyzed the characteristics of the internet and its applicability within the portal hereby discussed in order to perceive the way the information is produced in the cyber culture, a movement that allows memorization, potentialization, interaction , besides other criteria inherent to the cyberspace

Diálogos com o homem imaginário: pensando o uso de imagens no ensino de sociologia

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior

A experiência humana como estratégia : a comunicação como jogo & o jogo como comunicação

En la interface de las Ciencias Sociales y de la Comunicación, la tesis expone una discusión sobre la Comunicación Social como área de conocimiento y discute las bases fenomenológicas de la producción de significado utilitario sobre el mundo. Para dar cuenta de esa reflexión se tiene como referencia la película Slumdog Millionaire? del director Danny Boyle. La experiencia vivida por el personaje principal llamado Jamal Malik sirve de apoyo a su éxito en un programa de TV cuyos desafíos consigue vencer uno a uno y transformarse en un millonario. El film, y en consecuencia la trayectoria de Jamal, es el operador cognitivo para que se presente la estrategia del personaje que transforma su conocimiento experimental en conocimiento pertinente, objetivo. La investigación sirve de base para ofrecer el argumento central de que solo existe conocimiento por medio de la experiencia vivida. A partir de esa concepción, la comunicación es vista en este ensayo como entrecruzamiento de caminos y nudos que se asemejan a un rizoma donde cada construcción de sentido, cada palabra que gana significación representa diversos enlaces de esos nudos sistémicos. Aseguramos que la comunicación es una condición sine qua non a los humanos y puede ser comprendida por la paradoja natural-artificial. Es de esta paradoja, que presentamos una contribución de la complejidad de la comunicación creyendo de forma dialógica que sí, hay una condición innata de la comunicación (y así mismo post humana) concomitantemente con la hipótesis de la artificialidad comunicacional. Corroboramos así, la idea de que el conocimiento fenomenológico de la comunicación es un juego de la construcción científica y, por lo tanto, un juego de la humanidad. En este mismo juego podemos comprender la comunicación por intermedio de algunos macro conceptos de la compleja actividad de comunicar (retroalimentación, recursividad y holograma) constelando así una estrategia de ligazón/estímulo/respuesta que nos permite conocer bien y saber organizar mejor el conocimiento adquirido en la práctica. La tesis tiene como interlocutores principales Claude Lévi-Strauss, Edgar Morin, Jean-Marie Pelt, Norval Baitello Junior y Vilém Flusser, entre otros

Feiras livres : cidades de um só dia, aprendizados para a vida inteira

La tesis problematiza constelaciones creativas de saberes marcados por múltiples subjetividades en un espacio singular de las ciudades: la feria libre. Lugar de cambios financieros, pero también afectivos, simbólicos y míticos, ese espacio se mantiene al lado de los lugares comerciales asépticos y climatizados como son los supermercados e hipermercados de los espacios urbanos y de las metrópolis. Las ferias, por su carácter itinerante y sus personajes nómades modernos, son capaces de suscitar múltiples observaciones, divagaciones, afecciones y construcción de conocimientos. En la feria libre del barrio de Alecrim en la ciudad de Natal-RN/Brasil, principal contexto de referencia de esta investigación, en medio de tantos estímulos movilizadores de los órganos de los sentidos, salta a los ojos el elevado contingente de niños y adolescentes ejerciendo las múltiples actividades laborales. En Brasil el trabajo infantil es encajado en prohibiciones prescritas por leyes que recubren singularidades. Sin la pretensión de negar la importancia de tales convenciones y reglas, las reflexiones aquí puestas ultrapasan las amarras homogeneizantes del discurso oficial instituido de prohibición, problematizando a partir de la feria la idea de una caótica y pulsante aula al aire libre en la cual se construyen saberes más próximos de una lógica del sensible (Claude Lévi-Strauss). La feria es un laboratorio de construcción de conocimientos pertinentes (Edgar Morin), aquellos que religan fenómeno y contexto sin oponer manipulación y tiempo real de aplicabilidad de los saberes construidos. En esa escuela sin paredes, puertas, ventanas, cuadros negros o programas, los saberes de la tradición (Conceição Almeida) son probados y compartidos por niños y adolescentes que viven constantemente con un tipo de cambio de bienes y palabras en permanente construcción. En los puestos de la feria y para más allá de ellos encontramos sujetos híbridos (Bruno Latour) que se estructuran por medio de mecanismos creativos capaces de hacerlos navegar en las incertidumbres caóticas de sus vidas. Los aprendizajes de la feria fueron o son la pulsión de reinvención de esos sujetos aparentemente encarcelados en el conformismo como fatalidad última, portadores de historias embarazadas de simbologías tristes y felices que exponen la cara de un humano en permanente combustión, construcción e incertidumbre

A noção de acontecimento na experiência do DOCTV RN IV Sangue do Barro

This dissertation presents a reflection upon the notion of event, inspired by the contributions of Edgar Morin to the thinking of the present. The research analysis this notion particularly from the experience of the documentary titled Sangue do Barro, which was the winner of the 4th edition of DOCTV, in the federal state of Rio Grande do Norte in 2008. The study focuses on how facts from daily life can be approached by the documentary making process, and how in this process the questioning of facts leads to the questioning of social realities. In this perspective, through the illustrative case of Sangue do Barro, the research develops the hypothesis of how in the documentary process, which aims at revealing a particular history, is the revealing of the particular able to reflect the universal. The dissertation thus assumes this situation as precisely the configuration of the sociology of present, proposed by Edgar Morin. Furthermore, along with the theoretical premises of the sociology of the present, the research performs a brief historical analysis of documentary practices, Brazilian audiovisual public policies, and it also discusses the technical contributions of several contemporary film makers and contemporary thinkers, such as Jean Rouch, Bill Nichols, Ismail Xavier, Consuelo Lins, Gilles Lipovetsky, Jean Serroy, Michel Foucault, Alfredo Pena-Vega, Nicole Lapierre, etc

Ciência como montagem, montagem como ciência

The thesis describes parallel possibilities between the knowledge built in theatre and in Science. The narrative is constructed through a reflexive observation of the process of making a threatical play, specifically O Tempo da Chuva by Grupo Beira de Teatro , in analogy to the process of making a scientific theory, specifically the one described by Werner Heisenberg in his book Physics and Beyond: encounters and conversations . It sets a dialog with authors/actors from various areas of knowledge, such as Edgar Morin, Werner Heisenberg, René Descartes, Paul Feyerabend, Paul Caro, Juremir Machado da Silva, Maria da Conceição de Almeida, Renato Ferracini, among others. It discusses the hypothesis that Science is the process of building and the theatrical process of building a play can also be systematized, likewise science. The thesis defends, as the complexities science may suggest, a method as a strategy. Developed throughout the process, such method could only be verified at the end, when the elements of the setting of atomic physics theories and theatre were correlated. Questions such as: the place of theatre and science in our contemporary society and the political and ethical role of artists and scientists are at the episthemological basis of this narrative which we have started, but it is not even close to a conclusion

Bandas de música, escolas de vida

The focus of this dissertation is to understand the child and youth musical learning trajectory by using two philharmonic orchestras from Seridó, an area in the interior of Rio Grande do Norte. One is called the Hermann Gmeiner Philharmonic Orchestra of Aldeias Infantis SOS Project from Caicó, and the other is the 24 de Outubro Philharmonic Orchestra from Cruzeta. It emphasizes the singular relationship between the band s master and his students, based on a permanent interaction with tradition, creativity and change, resulting from a shared educational process. The idea that unites the work of these two communities is the gamble about the individual's formation as a complex human being, which it is not just concerned with the learning of a musical instrument, but is, more importantly, an educational process capable of facilitating the discovery of the self, others and society. The history and the course of the musical education of these two experiences were facilitated using a base of semi-structured interviews of the bands masters, students and people from two municipal districts. Their history is understood through analysis of the band s pictures and the theoretical-social approach is governed by the complexity idea expressed by Edgar Morin. For the author, complex means to `weave together`; therefore it is multidimensional, and it creates a dialogue about several domains and aspects that occur on the same phenomenon. The complex always supposes creativity and the relationship between the subject s reason and affectivity

A etnopoética de Iracema: diálogo, ciência e literatura

Literary works are thought provokers that make it possible to access several forms to view the world and reality. They provide diversified points of view and infinite connections. In a particular way, among all the other forms of art expression literature is considered to be the closest to life, once it is able to reconnect all human dimensions emotional, rational, mystic, personal, universal, corporal, historic, mythical. This thesis aims at offering some reflections about the frontiers and bridges between science and literature aiming at understanding the complexity that guides them. It presents a new reading of Iracema novel: Ceará tale of José de Alencar from a meticulous incursion through new ways and natural spaces interwoven by Alencar. It tries to hear the echoes of this indianist novel in the university students today. In a broader context, it creates arguments that question the multiple threadsthat join science and literature so that a science of complexity arises distinguishing but not separating the innumerous narratives about the world. For this purpose, this thesis has as interlocutors: Antonio Candido, Charles P. Snow, Edgar Morin, Emilio Ciurana, Fritjof Capra, George Steiner, Ilya Prigogine, Isabelle Stengers, Roger Chartier, Roland Barthes. The plot presented here does not limit the novel to science, but makes it a rereading of the word, of life, once this is the raw material of books. As a methodological strategy, we rebuilt Iracema´s character trips in a way to update the novel, resulting in the video documentary Iracema ways: the arid and remote interior, the plateau, the sea. Iracema novel and character enhancing dialogs that allow the dichotomy rupture between two cultures (Charles P. Snow), recognizing they are not incommunicable and revealing the core argument of the thesis: Iracema belongs to a complex category. It is a hybrid novel that is far, far away from that bluish plateau in the horizon

Escrever o movimento: o cinema itinerante como reinvenção de uma estética do viver

La tesis parte del presupuesto que el cine ofrece la imensa capacidad de entretejer de forma compleja realidad e imaginación. Con eso sugerimos que tal cual una "escuela de vida", según la definición de Edgar Morin (2003), el cine, por medio de sus producciones y exibiciones, pude ser capaz de operar un movimiento de reinvención de una estética del vivir en el espacio de lo improbable. De ahi surge la pregunta: ¿Cómo un fenómeno artístico, estético e imagético puede realizar tal movimiento? Tomando como referencia el guión de vida del personaje de la vida real José Isaias de Lucena Filho, más conocido por Zezeco, encontramos pistas de esa reinvención. Residente de una pequeña ciudad del interior de la província de Rio Grande do Norte, llamada Ouro Branco, en la década del 1960, se desplazó hacia el centro-sur de Brasil y retornó a su lugar de partida con la idea de trabajar proyectando peliculas. De manera singular y plural, este sujeto asumió el riesgo y la incertidumbre de enfrentar determinismos sociales, climáticos y culturales para proponer nuevas simbolizaciones por medio del cine itinerante. La presencia del séptimo arte en pequeñas ciudades de hábitos rurales marcadas por la miséria, el hambre, la negligéncia, el coronelismo político y los problemas climáticos, alteró escenários, actualizó mitos y proporcionó nuevas interacciones entre los sujetos. Zezeco entró en las cifras del éxodo rural y emigró hacia Rio de Janeiro, pero su éxodo fue cinematográfico, porque le sirvió como base para la inserción de efectos especiales fantásticos y poéticos en guiones de vidas inmersas en lo trivial y lo contingente. Tal cual un cinematógrafo vivo, capturó el escenário cultural efervescente de Rio de Janeiro y lo proyectó en la pequeña ciudad de Ouro Branco y en otras ciudades del interior de las províncias de Rio Grande do Norte y Paraiba. Con ello le atribuyó un nuevo uso a la vida de su lugar de partida y de retorno. Actuó en la ambiguedad, la ambivalencia y la complejidad entre el sapiens e el demens; real e imaginario; prosa y poesia de la vida; razón y pasión; racional y simbólico; lógico y mítico. El alcance de la investigación contempla entrevistas, memória, registros manuscritos y fotografías de colección particular de habitantes de la ciudad de Ouro Branco-RN. Como referenciales teóricos principales, tenemos las obras de Edgar Morin sobre el cine y de otros autores como Giorgio Agamben y Maria da Conceição de Almeida que expanden la comprensión sobre el entreejido de realidad e imaginación, vida e ideas