Geografia emocional d'un exode: La retirada republicana de 1939

This thesis proposes to trace and explore an emotional geography and cartography of the republican withdrawal at the end of the Spanish Civil War in Catalonia during the months of January and February 1939. Thus, it complements existing historiographical scholarship on the Spanish Civil War and Spanish Republican Exile, especially with regard to what was experienced in Catalan territory. However, its main purpose is not that of the historian, to reveal and explain unexplored stories, but to locate existing narratives, memoirs, journals and testimonies carefully in the landscape in which they took place, exposing their emotional bonds with the places and spaces of the withdrawal of the protagonists of the Republican exodus of 1939. Whilst there has been significant work in recent years to “recover” spaces associated with violent of traumatic memories of conflict and displacement, including the creation of a network of “Democratic Memory” places in Catalonia, the spaces explored in this thesis have not so far been construed as places of memory. In part, this is because of the diversity of emotions and affective responses they provoked and continue to evoke, but also because the geography of the Retirada is characterized by mobility and multiplicity. So instead of an historical approach, despite being influenced by Walter Benjamin's concept of history, this thesis draws on existing methods and approaches related to cultural geography, in particular, the emerging interdisciplinary field known as emotional geographies. In order to create a vision of La Retirada that is sensitive to its mobility and multiplicity, the primary methodology used has been that of interdisciplinary assemblage, juxtaposing images, documents and stories of past and present, in a process redolent of that which Marianne Hirsch calls "post-memory".

Dança em cadeira de rodas : Reflexões sobre corpo e movimento

Neste estudo, propoem-se uma reflexao acerca do "corpo substancial" e "corpo relacional", o movimento humano e suas decorrências na Dança em Cadeira de Rodas (DCR). Compreendemos a DCR enquanto uma manifestaçao/vivência recente que carece de desvendamentos, é relevante pensar na pessoa com deficiência física e seus meios de comunicaçao e interaçao com o mundo. Acreditamos que nao convêm estudar, pesquisar e escrever sobre a Dança seguindo um método pré-definido, alicerçado em pressupostos determinados. Deste modo, consideramos pertinente utilizar-se da Pesquisa Teórica, privilegiandouma leitura teórica sobre a Dança

Dança em cadeira de rodas : Reflexões sobre corpo e movimento

Neste estudo, propoem-se uma reflexao acerca do "corpo substancial" e "corpo relacional", o movimento humano e suas decorrências na Dança em Cadeira de Rodas (DCR). Compreendemos a DCR enquanto uma manifestaçao/vivência recente que carece de desvendamentos, é relevante pensar na pessoa com deficiência física e seus meios de comunicaçao e interaçao com o mundo. Acreditamos que nao convêm estudar, pesquisar e escrever sobre a Dança seguindo um método pré-definido, alicerçado em pressupostos determinados. Deste modo, consideramos pertinente utilizar-se da Pesquisa Teórica, privilegiandouma leitura teórica sobre a Dança

Dança em cadeira de rodas : Reflexões sobre corpo e movimento

Neste estudo, propoem-se uma reflexao acerca do "corpo substancial" e "corpo relacional", o movimento humano e suas decorrências na Dança em Cadeira de Rodas (DCR). Compreendemos a DCR enquanto uma manifestaçao/vivência recente que carece de desvendamentos, é relevante pensar na pessoa com deficiência física e seus meios de comunicaçao e interaçao com o mundo. Acreditamos que nao convêm estudar, pesquisar e escrever sobre a Dança seguindo um método pré-definido, alicerçado em pressupostos determinados. Deste modo, consideramos pertinente utilizar-se da Pesquisa Teórica, privilegiandouma leitura teórica sobre a Dança

A relação entre os jovens e o corpo em Natal

O presente estudo resulta de uma pesquisa em desenvolvimento na Universidade Federal do Rio Grande do Norte que busca estabelecer relações entre o papel do corpo, em um contexto midiático, na construção e constituição da subjetividade de jovens em Natal, capital norte-riograndense. Expressões dessa subjetividade indicam que o corpo, a mídia eletrônica e a Internet são referências importantes que permitem perceber traços ao mesmo tempo singulares e universais de uma cultura juvenil, que é complexa e ambivalente por natureza

Analisi del corpo franoso in località "Rudella" Chiampo tramite sismica passiva

Le tecniche di sismica passiva, possono rivelarsi un'ottimo strumento per migliorare l'analisi e la comprensione di svariati contesti geologici. Tramite il metodo H/V, è stato possibile restituire alcuni parametri ed elaborati grafici, riguardanti un caso di dissesto da frana localizzato nei pressi della borgata "Rudella",Chiampo (VI). Lo scopo proncipale di questo studio è quello di mappare, con buona precisione, il presunto piano di scollamento della frana, così da avere un quadro generale sullo sviluppo tridimensionale del dissesto.

Natureza de mulher, nome de mãe, marca de negra: identidades em trânsito e políticas do corpo na comunidade quilombola de Boa Vista dos Negros

Las políticas de salud destinadas a las mulheres de la comunidad quilombola de Boa Vista son, de manera general, las mismas políticas destinadas al resto de las mujeres de la región rural del Seridó norterriograndense y también las que se corresponden con regiones marginales del Brasil entero. Aquí, el cuerpo femenino es concebido bajo parámetros universalizantes que lo toman como una entidad homogénea y comparable con otros cuerpos femeninos a partir de su traducción en índices, tasas y estadísticas. En este sentido, decimos que son cuerpos desnudos, cuya intervención no considera los rasgos exteriores, aquellos llamados de culturales, como marcadores de identidad. Por otro lado, la noción de Salud de la Mujer Negra propuesta por recientes políticas de Estado a nivel nacional, se muestra inexistente en la comunidad. El cuerpo que se se exalta hoy a partir de los parámetros de reivindicación étnica es un cuerpo negro, pero también bello, jovem e sobre todo, fuerte; donde la noción de salud no penetra. De esta forma, las dos políticas conciben sujetos sociales diferentes. Sin embargo, existe otro espacio, que es el espacio de las prácticas vernáculas, en el que las mujeres experimentan la articulación entre feminilidad y negritud, pero a partir de otros parámetros local e históricamente delineados. Aquí, tanto las trayectorias de las mujeres como las redes de parentesco y cuidado locales se muestran especialmente significativas, ayudando a comprender las concepciones particulares sobre el cuerpo que imaginan y practican las mujeres de esta comunidad, y revelando la importancia de la maternidad como principio ordenador de identidades sociales. Para eso, hemos realizado un trabajo de observación participante, una serie de 30 entrevista com mujeres de Boa Vista y un estudio de las redes de parentesco organizadas alrededor del término mãe. Con esto, demostramos que existe un espacio cargado de significados sobre el cuerpo femenino y la feminilidad que es construido a partir de una interpretación local de la triple condición de mulher, de mãe y de negra

A relação entre os jovens e o corpo em Natal

O presente estudo resulta de uma pesquisa em desenvolvimento na Universidade Federal do Rio Grande do Norte que busca estabelecer relações entre o papel do corpo, em um contexto midiático, na construção e constituição da subjetividade de jovens em Natal, capital norte-riograndense. Expressões dessa subjetividade indicam que o corpo, a mídia eletrônica e a Internet são referências importantes que permitem perceber traços ao mesmo tempo singulares e universais de uma cultura juvenil, que é complexa e ambivalente por natureza

Uma intensa presença do corpo: a dança em Portugal no contexto de uma democracia recente

O documento integral está disponível através do link que se encontra no campo Versão do Editor.

A experiência no Tai Chi: possibilidades para pensar o corpo sem órgãos e a preparação do ator

Although research in the field of performing arts has substantially advanced over the last century, the actor, in general, still needs a repertoire of specific references to guide or support his practice. But how the actor must work the material foundation of his art that is his own body? Starting from a prerogative of a idiosyncrasy that is part of theater, this study intend, from the description and reflection about one physical experience with the Tai Chi, to weave relations between this experience and the possible developments of acting preparation. This research is also aimed to highlight the elements of connection between the principles that rules Tai Chi and the body without organs, idealized by Artaud, with the perspective of pointing possible contributions for actors work. The work presented here refers to a qualitative study that considers the body experience in practice of Tai Chi as a reference to dialogue and reflect about the acting preparation. The process of acting preparation presupposes a constant redoing of the body by certain practices. My experience with Tai Chi within this research allowed me verify that the work from established body techniques could be a way of technical preparation for the actor. As the body conscience expands, Tai Chi promotes a greater freedom of creation and expression, giving the actor the possibility of experience the body without organs, the artistic equivalent of the daily body, present, conscious, the organic foundation of emotions, in wich it is possible the materiality of ideas

O entre do carvão ao corpo - em - arte de ator-brincante

I propose with this paper a reflection on the experiences contained in the creation of the body- in-art (FERRACINI, 2006a, b) that originated the show Rosmaninhos... This process was developed within the coletivo UZUME teatro from João Pessoa PB, through recreations and resignifications of the corporeity and physicality contained in the steps, loas, aboios, songs and choreography observed in the manners that Mestre Zequinha plays in his group of Cavalo Marinho (Sea Horse), resident in the city of Bayeux - PB, and starting from the appropriation of the text Hamlet of William Shakespeare. The body-in-art is understood in this work as a vectorial body that dilates its daily functionality, recognizing a potential learning area capable to generate creative escape lines that destabilize the "subject centered in an individuality and identity" (FOUCAULT apud FERRACINI, 2006b, p.14), being open to the differentiation of itself, indicating the possible existence of an itself-other and of the exchange-in-art space. This process of construction of the body-in-art based on Master Zequinha s ways of playing the Cavalo Marinho was methodically guided by the appropriation of the coletivo UZUME teatro of the stages of Observation, Codification and Theatricalization contained in the technique of corporal mimeses proposed by the LUME Teatro (Campinas - SP). That use resulted in two phases: Active Observation and Composition of the body-in-art. Through the repetition of these aesthetic matrixes of the Cavalo Marinho, the actors discovered actions that when, codified and organized, can configure their body-in-art, which created a vectorial exchange-in-art space to what was found in the Cavalo Marinho party. This search proposed the means of potentiating the actors' work when it comes to a preparation that allowed to dilate the scenic presence and stimulated the production of actions, which culminated in the mounting of the show Rosmaninhos...

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

Dramaturgia do aqui e agora: presença, recepção e sentido no corpo do ator

The actor is an actor during all the phases of creation and development of his character. (S) He goes beyond the moment of interpreting. In this sense, in her (his) daily life, the actor may use her (his) potential to extract from reality the necessary elements for the work of creation. This is a theoretical research which focus on the concept of presence in the actor s work, stretching the concept beyond the scene, encompassing different components such as the body, the word, the silence, the technique and the acting as the actor s stance in regards to his own reality. The objective of such stance is to integrate him (her) self in the environment, balancing his (hers) inner life with the outside life flow. To reach this objective, the research drew theoretical resources from the concept of presence in the actor s work according to BROOK, BARBA, GROTOWSKI and MNOUCHKINE and the studies on reception theory in ISER, 1996; GUMBRECHT, 2010. Thus, the dialogue between reader and actor high lights both as receivers in this work. A practical description of a street theater Kamchàtka show, featured by the Kamchàtka Company is used as an example of the research on the presence. The elements localized in this show are: play, listening, word, silence, meaning, relationship with here and now and the effects of the said presence