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.

W stronę radykalnego pluralizmu religijnego

Książka stanowi poszerzoną i uzupełnioną wersję pracy magisterskiej, napisanej pod kierunkiem prof. Tadeusza Buksińskiego w Instytucie Filozofii im. Adama Mickiewicza w Poznaniu.

The Shrine of ʿAbd al-Qādir al-Jīlānī in Baghdad & the Shrine of ʿAbd al-ʿAzīz al-Jīlānī in ʿAqra: Mapping the multiple orientations of two Qādirī Sufi shrines in Iraq

This thesis charts the stakeholder communities, physical environment and daily life of two little studied Qādiriyya Sufi shrines associated with Shaikh ʿAbd al-Qādir al-Jīlānī (1077 – 1165 AD), a 12th century Ḥanbalī Muslim theologian and the posthumous founder of one of the oldest Sufi orders in Islam. The first shrine is based in Baghdad and houses his burial chamber; and the second shrine, on the outskirts of the city of ‘Aqra in the Kurdish region of northern Iraq, is that of his son Shaikh ʿAbd al-ʿAzīz (died 1206 AD). The latter was also known for lecturing in Ḥanbalī theology in the region, and venerated for this as well as his association with Shaikh ʿAbd al-Qādir. Driven by the research question “What shapes the identity orientations of these two Qādiriyya Sufi shrines in modern times?” the findings presented here are the result of field research carried out between November 2009 and February 2014. This field research revealed a complex context in which the two shrines existed and interacted, influenced by both Sufi and non-Sufi stakeholders who identified with and accessed these shrines to satisfy a variety of spiritual and practical needs, which in turn influenced the way each considered and viewed the two shrines from a number of orientations. These overlapping orientations include the Qādirī Sufi entity and the resting place of its patron saint; the orthodox Sunnī mosque with its muftī-imams, who are employed by the Iraqi government; the local Shīʿa community’s neighbourhood saint’s shrine and its destination for spiritual and practical aid; and the local provider of welfare to the poor of the city (soup kitchen, funeral parlour and electricity-generation amongst other services). The research findings also revealed a continuously changing and adapting Qādirī Sufi scene not immune from the national and regional socio-religio-political environments in which the two shrines exist: a non-Sufi national political class vying to influence and manipulate these shrines for their own purposes; and powerful national sectarian factions jostling to do the same. The mixture of stakeholders using and associating with the two shrines were found to be influential shapers of these entities, both physically and spiritually. Through encountering and interacting with each other, most stakeholders contributed to maintaining and rejuvenating the two shrines, but some also sought to adapt and change them driven by their particular orientation’s perspective.

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

Autopsia, embalsamamiento y signos de santidad en el cuerpo de Ignacio de Loyola

Las numerosas biografías que han venido apareciendo en estos últimos años sobre Ignacio de Loyola han abordado en contadas ocasiones el tratamiento post mortem que recibió el cuerpo del santo jesuita. No obstante, aquellas que sí han tratado este capítulo de la vida del Santo, no han tenido presente la riqueza descriptiva e interpretativa que proporciona la Historia de la Medicina. Estos motivos nos han llevado a confeccionar un artículo en el que se pretende reconstruir la manipulación post mortem que recibió su cuerpo. Al mismo tiempo, el presente texto pretende aventurar algunas nociones sobre los profesionales sanitarios que realizaron la autopsia y el posterior embalsamamiento del cadáver, los “signos de santidad” hallados en el organismo y los lugares en los que se conservó el cuerpo del azpeitiarra.

Devotional reading and dissolving the self: a critical reading of the late medieval Scottish Legendary using Kristevan theory

The Scottish Legendary is a fourteenth century collection of saints’ lives in Older Scots. The prologue describes the lives as ‘merroure’ (mirror) to readers from which ‘men ma ensample ta’ (people may take example). Thus, the Legendary sets out to reveal how the reader is (mirror) thereby moving her to wish to become how she should be (exemplarity). This dissertation argues that, rather than encouraging devotion to saints along purely dogmatic lines, the Legendary transforms the reader’s selfhood by engaging her affectively, i.e. on an emotional and somatic level. By provoking the reader affectively, the text puts the reader into what Julia Kristeva has described as a ‘semiotic state’ which harks back to the reader’s or listener’s pre-cultural, pre-subjective self (Kristeva, 1984). Thus, the text disrupts the reader’s conception of herself as a complete, hermetic subjectivity, thereby dissolving the boundaries of the reader’s self. The Legendary most powerfully infiltrates the reader’s sense of self along these lines in the moments in which female saints’ bodies are tortured and dismembered. These scenes foreground the permeability of human flesh as well as its powerful influence over selfhood. Such images of abjection are, in Kristeva’s words, ‘opposed to I’; by confronting the reader with the disintegration of subjectivity in abjection, the text incites the reader to likewise experience herself as abject, i.e. disintegrable and permeable (Kristeva 1982). As I shall demonstrate, Kristeva’s psychoanalytic theory of the formation of the self offers a fruitful framework for understanding the processes of self-knowledge through reading that these saints’ lives inspire.

Análisis del cambio de las relaciones políticas entre India y Pakistán, a la luz de la cultura de anarquía hobbesiana, como consecuencia de los atentados de Mumbai 2008

Esta investigación busca analizar como se modificaron las relaciones entre India y Pakistán luego de los atentados de Mumbai 2008, a la luz de la cultura de anarquía hobbesiana. Para ello, se explicará como la estructura de anarquía ha sido un catalizador en la modificación de la toma de decisiones de los Estados, sobretodo teniendo en cuenta la característica de Pakistán como un Estado predador. Se demostrará si gracias a estos atentados la actuación de India en el conflicto ha cambiado y percibe a su par como un ente violento y predispuesto a la agresión. Para ello se entrará a explicar el devenir histórico de la relación, la intensidad del grupo perpetrador (Lashkar-e-Taiba) y las posiciones de ambos Estados frente a los atentados.

Memoires de Soie en Inde: La Ville de Kanchipuram et son art de Tissage

A cidade de Kanchipuram, no Estado de Tamilnadu, sul da Índia, é sinónimo de templos hindus, mas também do sari em seda. A migração de comunidades de tecelão para esta cidade começou durante o reinado da Dinastia Chola nos Séculos 8-13 d. C. Anteriormente, o pano de seda foi considerado como tecido dos Deuses e os tecelões satisfizeram as necessidades religiosas do templo da cidade. Paulatinamente, um tecido de seda torna-se, tanto um tecido dos "mortais", como dos Deuses, e houve um aumento da procura dos têxteis em seda, especialmente, do sari em seda. A particularidade dos tecelões de Kanchipuram reside na sua técnica complicada de tecelagem e nos ricos motivos que são uma expressão da paixão do tecelão. Nosso trabalho de investigação centra-se nas técnicas de tecelagem e no seu produto final - o sari - para destacar a sua singularidade. Neste contexto, quero propor um projecto de documentação dos motivos do sari, para ilustrar um dos principais meios de valorização desta tradição de tecelagem que remonta a vários séculos. RÉSUMÉ: La ville de Kanchipuram, située dans l'état du Tamilnadu, dans le sud de l'Inde, fait souvent écho aux temples hindous mais également au sari en soie. Les tisserands ont migré à l'époque Chola (850- 1279 ap.J.C.) pour répondre aux besoins religieux de la ville car au départ, la soie était un tissu destiné à I 'usage des dieux. Au fur et à mesure, la soie est devenue aussi bien un tissu destiné aux 'mortels' qu'aux dieux. Ces tisserands ont connu par la suite, une forte demande, plus particulierement, pour les saris en soie. La particularité des tisserands de la ville de Kanchipuram réside dans sa technique laborieuse de tissage et dans les motifs élaborés parle billet desquels s'exprime la passion du tisserand dans sa tâche. Le présent mémoire s'attache à la technique de tissage et à son produit final - le sari - pour mettre en valeur son unicité. Dans ce cadre, je propose un projet de documentation des motifs des saris pour illustrer un des vecteurs clés de valorisation de cette tradition de tissage qui remonte à plusieurs siecles. ABSTRACT: The city of Kanchipuram, located in the State of Tamilnadu in southern India, is synonymous with Hindu temples and silk saris. The migration of weaver communities to the city started during the Chola reign (81 131 centuries A.D). Early on, silk was considered the cloth of the gods and these weavers met the needs of the temple city by producing silk textiles for religious use. Gradually, silk became a cloth as much for the 'mortais' as for the gods and demand increased for silk textiles, especially saris. The importance of Kanchipuram weaving lies in its complex techniques and rich motifs as expressions of the. weaver’s passion. This text examines the weaving techniques popularly known as the korvai technique, as well as the saris produced using this technique. ln addition, it attempts to catalogue certain motifs woven into the saris as a first step in promoting and valorizing the cultural richness of an art dating back several centuries.

La participación de la iglesia católica en el control del espacio en medio de la creación de un país llamado Costa Rica, 1850-1920

La Iglesia católica desde que llegó al continente americano de la mano de los conquistadores y colonizadores europeos, desempeñó tareas vinculadas con el control y vigilancia de la población que aquí habitaba. Esta labor la siguió desempeñando luego de la independencia de las colonias españolas. El presente artículo pretende dilucidar cómo se estableció la colaboración brindada al estado por parte de la jerarquía del catolicismo costarricense luego de erigida la Diócesis de San José hasta el fin del obispado josefino en 1920 en las tareas de controlar, vigilar y apropiarse tanto -del espacio geográfico considerado como costarricense, como de los habitantes que residían en dichos territorios. Por ello se analizará cuáles fueron y como utilizó la jerarquía de la Iglesia católica costarricense los mecanismos de control que tenía a su disposición para alcanzar tales objetivos.Abstract This essay analyzes the collaboration of the Catholic Church with the Costa Rican State between the foundations of the Diocese of San José until 1920. lt shows how the Church helped to control, watch and take over the geographical space of Costa Rica and individual living in that land. It also studies mechanisms of control the Catholic Church carried out in this process.

Les Femmes Fortes de la Scene Medievale : Martyres entre Ciel et Terre Etude comparative des heroines du theatre francais des XIVe-XVIe siecles

Le travail offre une vision d’ensemble des représentations du Moyen Âge tardif (XIVe-XVIe siècles), consacrées à des héroïnes féminines, en vue d’une étude de synthèse encore manquante sur le sujet. Le domaine culturel examiné est français, mais le panorama est élargi aux représentations provençales et toscanes quand on a de traces de représentation en France, même si le texte original est perdu. Les protagonistes des drames conservés sont des héroïnes de la foi : l’étude se focalise en particulier sur les drames qui mettent en scène des martyres. En outre, sont analysés d’un côté deux dialogues dramatiques latins de Hrotsvita (Xe siècle), qui constituent l’exemple le plus ancien d’un drame médiéval consacré à une sainte martyre, dans une perspective comparatiste qui prend aussi en compte la diachronie ; de l’autre côté, sont proposés des excursus sur le culte et l’iconographie ainsi qu’une comparaison avec les légendes hagiographiques. Le commentaire des textes du corpus révèle non seulement leurs qualités poétiques et leurs potentialités performatives, mais il présente aussi les constantes dramaturgiques qui les relient ainsi que les singularités qui les distinguent. Enfin, la comparaison avec deux exemples de drames européens de la même époque qui mettent en scène respectivement une héroïne historique et une figure légendaire, placées dans un horizon mondain et non saint, vient enrichir la lecture de l’héroïne martyre. La thèse se donne pour perspective de montrer que les problèmes posés par les textes (la stigmatisation du sujet féminin libre, la répression de la résistance au pouvoir, la contradiction entre un corps vulnérable et une parole puissante) sont d’un intérêt considérable non seulement pour le lecteur expert, mais aussi pour un spectateur et un metteur en scène potentiels, de sorte que se trouve justifiée la redécouverte de ces représentations médiévales par et sur les scènes d’aujourd’hui.

La performance rituale delle Nava Durgā: musica e danza tra i Banmālā di Bhaktapur, Nepal

Il presente lavoro è il risultato di cinque anni di ricerca sulla performance rituale delle Nava Durgā del popolo newar a Bhaktapur (Nepal). Dal 1512, per circa nove mesi all'anno, gli uomini della casta inferiore Banmālā reincarnano le nove manifestazioni femminili della dea Durgā ed eseguono le danze in maschera. La performance della Nava Durgā è una pratica culturale molto complessa, composta da suoni, danze, processioni, momenti di venerazione (pūjā), rituali tantrici e momenti sacrificali. Gli aspetti musicali e teatrali della performance costituiscono il focus dell’indagine di questo studio. Dopo una descrizione analitica degli strumenti musicali utilizzati nella performance, alcuni elementi sonori vengono trascritti e analizzati mettendo in luce le caratteristiche tipiche della musica newar. I contenuti narrativi delle danze e il ciclo vitale delle Nava Durgā rispecchiano la vita hindu. La loro interpretazione viene realizzata in base alle osservazioni etnografiche; alcuni temi che costituiscono gli obiettivi dei devoti hindu (puruṣārtha) vengono esaminati attraverso l’approccio storico e quello etnografico, anche al fine di sottolineare il ruolo didascalico e formativo della performance. Un altro argomento discusso in questo lavoro consiste nell'identità dei danzatori Banmālā e quella del popolo newar in generale; questo aspetto è emerso in modo rilevante anche durante le fasi di mediatizzazione della performance delle Nava Durgā avvenute nel periodo del COVID-19. Da questo punto di vista, il presente lavoro costituisce un contributo alla diffusione della conoscenza della tradizione delle Nava Durgā; questo converge con l'obiettivo dei Banmālā di aumentare la visibilità della performance al fine di affermare la propria identità sia nel contesto nazionale che in quello internazionale.