Os exus em casa de catiço : etnografia, representações, magia

This dissertation is the result of an ethnographic journey undertaken in three spiritual centers of Umbanda , located in different districts of Natal/RN. The aim of the study was to understand how the representations of exus (spirit category) are established in the studied religious environment. In order to study this, mythical narratives of songs and of people were analyzed. In addition, the incorporated spirit entities, loaded with codes and values, were possible to be read and understood. The present work was developed according to a theoretical and methodological approach that interprets culture as a constant construction process, with representations and significations. The empirical research focuses on the ethnographic observations and the narratives; providing the experimentation of the models of discursive dialogues and polyphony. It was observed that the studied empirical field is marked by the cult of the Jurema which influences the mythical construction of exus . Therefore, this study enabled a reflection on the meeting of notions of two distinct worlds ( Umbanda and Jurema ). This reflection is crucial to the understanding of the position that exus occupy in the local umbandista system

A magia do cinema na praça:apropriação do espaço e sociabilidade em Salvador-BA

It s in the city spaces, molded from the uses and daily appropriations, that life is woven, as a product of the social relationships from the accumulation of history along with the present day fabric. Within this relationship, the old and the new are elements which make up this tapestry, as a result of the contribution of successive generations. The public square is seen as an example of this relationship, since it consists of a fertile space for opportunities of urban life coexistence. It is within the trace of these considerations that the present study emerges regarding the appropriation and sociability of the Tomé de Sousa Square, located in the city of Salvador, BA, having as its main focus the special relation between the cinema and the public square, as it relates to the space of the exhibition of cinematographic art. The showing of films in public squares makes possible a distinctive means of appropriation which has occurred ever since the beginning of the cinema. Today in Brazil, projects of this nature abound, which aim at presenting the seventh art to a great portion of the population which doesn t have access to conventional movie theater projection rooms. This particular Projeto Cinema na Praça Cinema in the Square Project carried out in Salvador, has become the empirical reference point for such work. This journey reveals the fascination that this great art has woven through time, attracting and charming multitudes. The cinema touches people in a special way, stirring up affectionate feelings, which are reflected in multiple social practices. Regarding this work, what stands out above all are the projections in the squares, initiatives which make it possible for the films to be watched collectively. What was taken into account in order to carry out this work were the reports of those who came regularly to watch the cinema in the Square sessions, those involved with the cinema projects team, and the film makers. To do the work, besides a bibliographical revision, observations were made of participants in the Tomé de Sousa Square, taken from semi-structured interviews with people involved with the film projection projects and those who came regularly to the cinema in the Square sessions. Also investigations were made in newspapers, printed magazines and the internet, from document and iconographic sources. The photographic documentation proved to be an important contribution to the field work. The research therefore develops from the understanding that the social practices are what make possible the uses of and the appropriation of the spaces. Within this perspective the public square emerges as a privileged locus where possibilities flourish for multiple manifestations that social practices can generate

Bricolagem e magia das imagens em movimento: o cinema de Moustapha Alassane

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior

A magia das vanguardas em Walter Benjamin: arte, política ou revolução

Pós-graduação em Filosofia - FFC

Relações de poder em uma acusação de magia no século II d.C: uma análise do discurso Apologia de Apuleio

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)

A criança e a magia da linguagem: um estudo sobre o discurso humorístico

Alessandra Del Ré discute nesta obra a importância de se desenvolver um trabalho com o humor na escola, a partir da constatação de que crianças pequenas, de 3 a 5 anos de idade, têm no humor um elemento importante no processo de aquisição da linguagem. Partindo da hipótese de Garitte e Legrande, de que as crianças que fazem uso do humor têm melhores competências sociais, Del Ré critica a imposição sem nuances, pela escola, de padrões de linguagem, à medida que as crianças crescem. Tal imposição - necessariamente acrítica - minaria aos poucos a capacidade de produção linguística criativa e natural das crianças até seu desaparecimento, para prejuízo de futuras conceituações e efabulações oriundas do Imaginário. O trabalho defende que impor à criança cedo demais padrões transmitidos como sérios e indiscutíveis é como colocar uma venda em seus olhos e privá-la de se tornar mais ativa e principalmente mais criativa, capaz de manipular e reutilizar o humor cotidiano - algo que a escola deveria estimular, e não coibir.

A religião, a magia e o canto de Orfeu na Argonáutica de Apolônio de Rodes

Conselho Nacional de Desenvolvimento Científico e Tecnológico (CNPq)

A magia em um texto técnico agronômico da antiguidade romana: o 'Opus agriculturae', de Paládio

This work analyses the chapter 35, book I, of the agricultural treatise Opus agriculturæ, written by Rutilius Taurus Aemilianus Palladius (V C.E.). In that chapter the author presents some recipes, called remedia, to protect the farm and the garden against weeds and weather phenomena, as blight and fogs. The magical practices are identified according to both the fundamental principles of magic (similarity, contiguity, contrariety), which rule magical thought, and some elements of magical symbology. As the author seems not to distinguish magic and science, for he brings together both kinds of recipes, the analysis of some remedia emphasizes a specific study on the materials and substances employed in those recipes and their value in Science today. This leads to the discussions of how magical thought works, what are the limits (if they actually exist) between Magic and Science and between Magic and Religion. This work covers the subjects above and it has the following pourposes: demonstrate the characteristics that authorize the remedia described by Palladius to be classified as folk magic; identify the relations between this kind of practice with more complex forms of magic, as with religion, with science; demonstrate the contribution of the folk magic in ancient Rome farming for the formulation of more apropriated criteria of evaluating magic in comparison to religious and scientific thought.

Ericto, a feiticeira: a magia nas tramas da tradução castilhiana (Pharsalia, VI, 438-569)

Fundação de Amparo à Pesquisa do Estado de São Paulo (FAPESP)

Inesgotável fonte de magia: o poder encantatório da palavra em um conjuro anglo-saxônico

This work aims to analyze the Wið Færstice, a charm from the anglo-saxon literature, translated as Charm for a sudden Stich. Inside of the imaginarium in this context, the refered pain is assigned to a dart shooted by an elf, witch or pagan god. This charm is included in the anglo-saxon medicine manuscripts andwas wrtitten in form of poetry, presenting characteristics of the poetic work, presenting aspects of the poetic do that once considered historical, cultural and artistic issues concerning the people and the Anglo-Saxon culture, indicate a close relationship between poetry as a form of thought and knowledge and magic as a way of interpreting the world. At this respect we call here, for methodological purposes, incantatory power of the word. From the analysis of this referred enchantment, as well as of the elements in the text, is intended to demonstrate how articulates this incantatory power of words and how to give, within the Anglo-Saxon conception of the Sacred, the transformation of reality through the pronouncement of words

Inesgotável fonte de magia: o poder encantatório da palavra em um conjuro anglo-saxônico

This work aims to analyze the Wið Færstice, a charm from the anglo-saxon literature, translated as Charm for a sudden Stich. Inside of the imaginarium in this context, the refered pain is assigned to a dart shooted by an elf, witch or pagan god. This charm is included in the anglo-saxon medicine manuscripts andwas wrtitten in form of poetry, presenting characteristics of the poetic work, presenting aspects of the poetic do that once considered historical, cultural and artistic issues concerning the people and the Anglo-Saxon culture, indicate a close relationship between poetry as a form of thought and knowledge and magic as a way of interpreting the world. At this respect we call here, for methodological purposes, incantatory power of the word. From the analysis of this referred enchantment, as well as of the elements in the text, is intended to demonstrate how articulates this incantatory power of words and how to give, within the Anglo-Saxon conception of the Sacred, the transformation of reality through the pronouncement of words

A magia desencantada: Henry James e o caso de "Os amigos dos amigos"

Por meio do exame do conto "Os amigos dos amigos" ("The friends of the friends"), de Henry James, bem como de seu processo de criação, este trabalho investiga a categoria do duplo confrontando as suas fontes primitivas com sua adoção na narrativa moderna - um confronto que nos permite sugerir uma chave de interpretação para a ficção jamesiana, e ainda discutir a presença do sobrenatural numa sociedade que privilegia o espetáculo, a publicidade, a novidade, o consumo e o progresso.