Turismo rural no Rio Grande do Norte: desafios e perspectivas

The Rural Tourism appears as an economic alternative to the agricultural way, having to base itself on the revaluation of the local resources, as well as must be implemented through the local agents, a tourism of communitarian base. In this perspective the present objective work to analyze of that it forms if configures the tourist activity in the agricultural space of the Rio Grande do Norte, which the challenges and perspectives faced for the development of this activity. On the basis of this approach searched to argue on the deep transformations that the rural space comes suffering, with insertions of activities not-agriculturists, alternative for the effect of the economic reorganization, as well as on the public politics come back toward the Rural Tourism and an analysis concerning the activities of Rural Tourism that the Rio Grande do Norte comes developing and as this if it presents. As it arrives in port theoretical, we use the Concept of Territory, according to Saints, this if it makes pertinent in the conflicting analyses of the agricultural space for inside to embody of its conceptual picture the territorial dynamics substantiated by the relations politics, economic, social and cultural, where in them it made possible one better analysis in this process. As methodology bibliographical survey was used, in periodic, digital books, documents and interviews in some governmental spheres. The Great River of the North was evidenced that, signals for the development of the agricultural Tourism, therefore the state if presents with a gamma of potentialities, identified and developed some already being through some projects, however if it makes necessary a bigger involvement of all the spheres, considered basic so that this activity can be consolidated as plus a tourist segment in the RN.

Um olhar sobre “Água Suja” e o “Moleque”: tradição, fé, cultura e teatralidade

This thesis addresses two spectacles: “Moleque tão Grande Otelo” and “Água Suja”, in which both have had my participation as producer and actress. The spectacle “Moleque tão Grande Otelo” reveals the racial-ethnic questions that surrounds the play and permeates the artist’s life whose name is the same. The play deals how the actor Grande Otelo life events’ had implied in his art, the facts that marked his career and they are shown at the spectacle, the reason why to articulate: art, life, fantasy and reality. Aiming to unveil the actor, I refer it to my history as an actress and the roots’ similarity to Sebastião Bernardes de Souza Prata, who became Grande Otelo to the world. In the staging of “Água Suja”, we also expose familial and religious memories and experiences of a people that overflow faith in a real spectacle, which takes place every year, in August, in our region, more specifically in Romaria – MG. While creating “Água Suja”, we experienced the act of keeping a promise and believing in the saint’s miracle, thus this experience is told in the spectacle and investigated in this study.

TEOLOGIA E TRADIÇÃO NO CONTEXTO DAS RELIGIÕES DE UMBANDA: UMA ANÁLISE DO CONFLITO ENTRE CULTURA ACADÊMICA E POPULAR

A religião de Umbanda ocupa grande espaço na vida e no imaginário religioso brasileiro, e adota as lendas, mitos e folclore da cultura popular brasileira. Desprovida de texto sagrado, a Umbanda rejeita a ideia do entendimento de uma literatura sagrada como pressuposto para uma ligação com o divino, sendo mais preocupada com a experiência religiosa e do sagrado, como ponte entre a dimensão humana e divina. Embora de comum acordo sobre a importância da prática na religião de Umbanda, existe um forte debate teológico na questão do valor principal para as práticas e vida religiosa do filho de santo. De um lado, temos a Doutrina Esotérica que aposta na produção textual e teórica e, de outro, temos a Umbanda de popular, que aposta na experiência pessoal do filho de santo com a tradição oral e as práticas religiosas. De sua fundação até a presente data, a Umbanda Esotérica tem apostado na formação acadêmica como base principal para a instrumentalização do filho de santo para a prática no terreiro, assim como publicação de textos, livros, artigos, oferecimento de cursos e a criação da primeira instituição especializada de ensino, a Faculdade de Teologia Umbandista. Se por um lado, para alguns, isso possa parecer uma abertura para a modernização e melhor aceitação das práticas de origem africanas, para outros, representa uma limitação na prática e na experiência do filho de santo devido à racionalidade do espaço acadêmico. Desse modo, pretendo investigar esse conflito no discurso e nas suas especificidades, estudando literatura especializada e orgânica, tendo como eixo de investigação a seguinte questão: O que é mais importante para as práticas religiosas em Umbanda, a formação prática ou a acadêmica?

Talom Rukbo and the Donyipolo Yelam Kebang: restructuring Adi religious practices in Arunachal Pradesh, Northeast India

The purpose of this dissertation is to examine and contextualize the recent changes in the articulation of Donyipolo faith among the indigenous community of the Adi from the 1980s until the present. This is achieved by documenting both ‘non-formalized’ and ‘formalized’ belief and ritual within this Eastern Himalayan community. Since the mid-1980s, the Adi – led by indigenous activist Talom Rukbo and the Donyipolo Yelam Kebang (Donyipolo Faith Council) – have been restructuring Donyipolo to fit the model of more mainstream religions via a series of processes that could be called ‘formalization’ or ‘institutionalization’, a reformation blueprint that has subsequently spread to neighboring ethnic groups. This ethnography, exploring both folk practice and the modern reformation, is rooted in radical empiricism – in this context, meaning to collect data and allow analysis to arise organically. Radical empiricism is employed alongside vernacular theorizing to allow for the acknowledgement of indigenous theory through which we can trace indigenous agencies and the construction of indigenous lifeworlds. Facilitating this space for the acknowledgement of ‘religious re-imaginings’ as a means of cultural preservation – and as a representation of creativity – is significant particularly when viewed in the context of contemporary research on similar movements in Northeast India, which sometimes tends toward the negation of indigenous innovation by representing such religious revivals as conversion tools attributed to the Hindu right. It is hoped that the reader will come away from this dissertation with an understanding of the ‘constellations of faith’ that comprise ‘traditional’ Donyipolo and a comprehension of the innovative institutionalization processes that have shaped the new Adi praxis. Donyipolo should be viewed as a complex, nuanced, and independent indigenous faith, whether in its forms of folk expressions or in its new structure as expressed through the Donyipolo Yelam Kebang.

Beyond Black and White: The grisaille exterior of the Netherlandish triptych

This thesis is a study of fifteenth- to mid sixteenth-century Netherlandish triptych exteriors, focusing on the so-called ‘grisaille’ technique. During this period, altarpieces produced in the Low Countries were typically constructed in a tripartite format with folding wings. This arrangement created the opportunity for pictorial representations on both sides of the hinged panels. Painters emphasized the distinction between the triptych’s two faces by executing the exteriors in a strikingly more subdued palette than the interiors. Particular iconographic subject matter was favoured for grisailles, which often depict the Annunciation or saints that reflect the triptych’s patronage or intended location. Jan van Eyck was notable for his emphasis on imitating stone statuary and created three important grisailles, one of which would influence triptych exteriors for years to come. Hieronymus Bosch, an artist working at the turn of the sixteenth century, also brought innovation to his grisailles, further expanding the potential of these reduced-palette paintings. This thesis examines the creative process involved in the production of grisailles and compares the underdrawings of triptych exteriors to those of the corresponding polychromatic interiors. In this study, grisailles are situated in their context as part of multifaceted artworks as well as within the broader church environment. New infrared reflectograms were generated using Queen’s OSIRIS infrared camera to document works in Belgium and the Netherlands. While some aspects of underdrawings could indicate that the figure was meant to imitate statuary, this distinction was not directly linked to triptych exteriors and was related instead to efforts at a trompe-l’oeil effect. Such attempts at mimicry can also be found on triptych interiors. Through a close examination of the underdrawing stage of these paintings it appears that this part of the creative process was not distinguished in any significant way from the underdrawings of triptych interiors.

The Gentleman-Scholar at Home: Domesticity, Masculinity, and Civility in Dutch Seventeenth-Century Genre Painting

This dissertation examines the gentleman-scholar depicted at home in Dutch seventeenth-century genre paintings, focusing primarily on art created in the Northern Netherlands from the 1630s through the 1670s. The methodological approach is art historical but also pertains to history of architecture, history of dress, and gender studies. Employing the framework of the 'Ages of Man', this thesis investigates three related pictorial themes: the student, the scholar in his prime, and the aged scholar. Variations of male scholarly figures and the accoutrements of the study have a long history in Europe. Prototypical sources include religious history paintings of learned hermit-saints; artistic interest in the allegorical Saturnine persona; portraits of famous scholars; and the iconography of scholarly melancholy implied through vanitas allusions in portraiture and genre paintings. While the majority of Dutch genre paintings pertain to themes of women, male domestic routines form a small but important subset of this imagery and have not been studied. By the 1640s, this subject is readily identified by his setting, clothing, and actions. The ubiquity of scholarly attributes, such as books and globes, paired with the wearing of scholarly robes suggest the merits of intellectual curiosity and the privileges of studying as a pastime and designating a room as a study (studeerkamer). Distinct themes in genre also imply the challenges and rewards of scholarly activity pursued in concert with masculine civic and familial duty. Central to the development of this pictorial theme were: the innovative treatment of learned men by Rembrandt and his circle; the fijnschilder subjects of Dou; and the practice of amateur study by elite men, as suggested by the art of Vermeer. As this dissertation reveals, this convention did not grow to be consistent across the Northern Netherlands, nor was artistic interest limited to university towns. Rather, the larger relevance of scholars in Dutch society is evident in visual and literary sources. The domesticity of this figure in genre painting suggests that scholars mediated between an active and a contemplative life. Societal respect was garnered for scholars through their balance of familial and social duties with the honorable pastime of scholarly leisure.

Metaphysics of love in the religious philosophy of Pável Florensky

This article focuses on the analysis of the concept of love in the religious philosophy of Pavel Florensky, who shares the ontological approach to the consideration of love with other representatives of Russian religious philosophy (N. berdyaev and S. bulgakov). We pay more careful attention to the understanding of love-άγαπαν by Florensky. We have drawn the conclusion that, in the philosophy of P. Florensky, Love, closely connected with truth and beauty, is considered an ontological basis existence of personality. We develop the ideas of Pavel Florensky, and accordingly assume that it is possible to synthesise love-agape and love-eros around the idea of sacrificial love. Agapelogical and erotical ‘bezels’ of one jewel of love is aspects of united love, which is given by God. this gift of God, the gift of united love, is kept by humans through prayer and deeds of love.

Sweat Lodges in Iron Age Iberian Peninsula: New Data, Typologies and Interpretations

Three questions on the study of NO Iberian Peninsula sweat lodges are posed. First, the new sauna of Monte Ornedo (Cantabria), the review of the one of Armea (Ourense), and the Cantabrian pedra formosa type are discussed. Second, the known types of sweat lodges are reconsidered underlining the differences between the Cantabrian and the Douro - Minho groups as these differences contribute to a better assessment of the saunas located out of those territories, such as those of Monte Ornedo or Ulaca. Third, a richer record demands a more specific terminology, a larger use of archaeometric analysis and the application of landscape archaeology or art history methodologies. In this way the range of interpretation of the sweat lodges is opened, as an example an essay is proposed that digs on some already known proposals and suggests that the saunas are material metaphors of wombs whose rationale derives from ideologies and ritual practices of Indo-European tradition.

Toledo, locus terribilis. Iglesia y milagro en el De viris illustribus de Ildefonso de Toledo

A mediados del siglo VII, el obispo Ildefonso de Toledo (657-667) elaboró su propio catálogo de hombres ilustres, continuando una tradición cuyos orígenes cristianos se remontaban a Jerónimo en el siglo IV. Sin embargo, en lugar de reproducir los modelos de sus antecesores cristianos, entre los que se incluyen además a Genadio de Marsella e Isidoro de Sevilla, el De viris illustribus de Ildefonso incorporaba cambios significativos en el género. Este artículo estudia el tópico del milagro en el opúsculo toledano con el objetivo de indagar qué tipo de relación estableció la Iglesia visigoda de la segunda mitad del siglo VII con este tipo de fenómenos y qué estrategias elaboró en función de él.

Sanctity of Human Life in the Context of Human Genetic Research

The study on the concept of sanctity of human life is a journey in finding out what is it said to be “human” in human life. It is an evaluation of the universal concept and the role it plays in controlling and moulding human conduct and relationships. This concept is a foundational principle of human rights law and the grundnorm of every legal system. However, of late, the challenges by way of certain advances in human genetic research had prompted the need to evaluate the significance and extent of the concept in human endeavours. Scientific advances by way of human genetic research promises significant diagnostic and therapeutic advances but at the same time pose threat to fundamental notions and assumptions on humanity, hence there is a global concern to derive common legal standards, Thus the major challenge is to analyse universal principles which can be a common criteria for evolving legal standards to control certain advances in human genetic research. Hence the relevance of the study. The study aims at analysing the content, scope, extent and limitation of the concept of sanctity of human life. In this attempt it evaluates the extent to which the concept had been accommodated by legal systems and international human rights regimes. The problem which had been undertaken in the study is the extent of intrusion made to the concept by virtue of certain advances in human genetic research.

Saraswati Sings: The Slide-Guitar in India

Thesis (Ph.D.)--University of Washington, 2016-08

Al-Ḥakīm al-Tirmidhī’s Kitāb Ithbāt al-‘Ilal

A paper read at the 1960 annual meeting of the American Oriental Society held in New Haven, Connecticut, and updated in July 2016.

Dançando às avessas: relatos de um processo de criação

The term body without organs is present in a poem by the french writer, actor and director Antonin Artaud, written in 1947 and titled: To Have Done with the Judgement of God. I aim, in this work, from what we call investigative scenic writing, to problematize this term and its possible relations with the theater and also with some aspects of the Hindu myths. I unite the idea of the body without organs with the body in trance present in the stories of an Indian master named Caitanya Mahaprabhu. These ideas, along with the development of practices that come from some principles of Theatre Anthropology, are incentives for a creation process that highlights the work of preparation and creation of corporeal work of the actor. The relationship between the concepts and the practice raise discussions about where I stand as an actor-researcher in process

Crenças e quebranças de um corpo que dança: poéticas do benzimento na criação cênica

This work is a discussion of the artistic process of an artist-researcher made from field research with benzedeiras and benzedores the state of Rio Grande do Norte. This is an investigation on the cultural universe of the popular benzeção as poetic element to the artistic dance. To discuss the different stages of the research and the relationships between the artist-researcher, the benzedeiras/benzedores and the creation/composition scenic, the work takes as reference the triangular relationship created by anthropologist Claude Lévi-Strauss, in his discussion on the effectiveness of symbols of healing, adapted to the context of benzeção . For dialogue between tradition, popular knowledge, scientific and artistic knowledge this work approaches as analytical reference the epistemological model of the type rhizome proposed by Deleuze and Guattari, understanding it as a model that seeks to form a network of relations in different paths of research, to establish connections between elements without target them or subordinating them. In the universe of benzeção , benzedeiras and benzedores carry a symbolic power that issued in whispered prayers, in peculiar gestures that form crosses in space, heal those who seek your prayers and blessing. In this research, the mixture of popular knowledge, artistic and academic knowledge, born an artistic work in the context of Performing Arts, more specifically dance, and between branches, saints, candles and conversations the work allowed other looks poetic for our popular culture, (re)asserting their cultural and human values through the art

Edukacja w/dla wielokulturowości. Casus Singapuru

Singapore brings together representatives of different cultures. Currently, 76% of the Singapore population is Chinese, 14% - Malay, 8% Hindu. All of them (with the rest 2%) have a possibility to participate in one of the best education models in the world. However, education and other political institutions are assessed in an ambivalent way. The article will address these controversies, including the Confucian thought of self-improvement and Peranakan Chinese as an example for the hypothesis.