Thesis (Ph. D.)--University of Oregon, 2007. / Typescript. Includes vita and abstract. Includes bibliographical references (leaves 262-279). Also available for download via the World Wide Web; free to University of Oregon users.

<p> &ldquo;Heartbreak and Precipitation&rdquo; confronts an affective position that in its articulation and representation defeats and defines the limits of its possibility. Performing a theoretical ethnographic position, voice, and imagination, the work/labour of the project is trying to navigate itself successfully (ethically) through the affective, class, and aesthetic registers it crosses in the cities its finds itself in as it makes sense of them as spaces and has them come to be as objects of knowledge. As cartographic method, it tries to find itself from the inside by marking out a range of texts &ndash; from Benjamin&rsquo;s &ldquo;The Arcades Project&rdquo;, Marx&rsquo;s &ldquo;Capital&rdquo;, to C. W. Mills &ldquo;On Intellectual Craftsmanship&rdquo; &ndash; these knotted up with fields of artifacts such as Red Wing boots, Dial liquid hand soap, non-dairy coffee creamer, and a roomful of palm trees; together a speculative mapping of affective territories with well contained limits of potential and possibility.</p>

<p> This dissertation explores the nature of the anthropological writings of Georg Forster (1754-94), the German world-traveler (who accompanied Captain Cook on his second voyage in the South-Seas 1772-75), cultural-historian and translator in the late eighteenth century, showing how his anthropology proposes an "ironic" or "sentimental" (in the Schillerian sense) mode of narration. Although many others at the time were exploring what it is to be human, my dissertation argues that Forster's anthropology concerned itself primarily with what it means to <i>write</i> about humanity when one supplements the empirical-rational method of observation with an emphasis on "self-reflexive" and "ironic" (&agrave; la Hayden White) modes of writing anthropology, or the story of humanity. This study therefore focuses on those writings gathered around three salient concepts in his anthropological understanding, to which he returns frequently: observation, narration, and translation, presented in three chapters. The thesis not only undertakes close readings of Forster's texts centering on observation, narration, and translation but, crucially, places them within the historical context of late eighteenth century aesthetic and anthropological discourses in Germany. This study ultimately underscores the manner in which Forster's concepts of "sentimental" &ndash; i.e. self-reflexive, ironic, and striving towards the goal of perfectibility &ndash; observation and narration allow him to accept the fragmentary, exploratory, and temporary nature of knowledge about humanity. At the same time, his "aesthetic" &ndash; sentient and open to testing &ndash; translation allows him to engage and educate his readers' tolerance towards a provisional, composite and temporal truth in anthropology. In highlighting the self-reflexive as well as an open-to-testing attitude of Forster's anthropology, this dissertation underscores the mutual interaction between eighteenth century aesthetic and anthropological modes of thought.</p>

Thesis (Ph.D.)--University of Melbourne, Dept. of History and Philosophy of Science, 2000. / Typescript (photocopy). Includes bibliographical references (leaves 294-312).

Zugl.: Bern, Universiẗat, Habil.-Schr., 2004.

The main purpose of the present research is to develop a critical reading of the double identity such as it is expressed in the novels of the North African immigrants living in France. But, and far from proposing another socio-historical analysis on North African immigration in France, the interest of this work is in filling the surprising lack of critical literary works on the subject. It is based on the concept of the wandering, which forms the imaginary identity of the "Beurs". This perspective reactivates older debates about the significance of "us", "the other", the races, the Nation-State and the nature and limit of the concept of national culture. It will also allow us to present some of the main characteristics of the Beurs's identity, and from there, will help us to redefine the myth of the modern stranger. The thesis of this research proposes that the Beurs's identity is mainly built through denunciation and subversion of the Nation State's official discourse and finally produces an original formulation. From the study of the themes, the form the way the story is told, and from the subversive character of the discourse about otherness (which refuses the idea of unity and wholeness that the French national culture is still pushing forward today), this paper shows, finally, how this new discourse on one's identity (coming from the world of the North African immigration, but from within the occidental world), could very well be a modern inversion of the concept of Orientalism. The novelty, which for us is capable of renewing the way the Western world looks at the Stranger, is that the latter is at once subject and object of the discourse, and that this neo-orientalism is itself a production of the western world, with the clear intent of ruining it.

Made available in DSpace on 2016-04-29T14:27:24Z (GMT). No. of bitstreams: 1 Glaucio Alberto Faria de Souza.pdf: 1683893 bytes, checksum: 2d82e500c2f10f0f135f593020f8a55b (MD5) Previous issue date: 2013-10-29 / The aim of this work was to present the importance and possibility of dialogue between theology and literature, based on anthropological reflection from the work A hora da estrela by Clarice Lispector. In this work the author portrays the absence of Macabéa, a human being as a victim of a society marked by a capitalist social structure that dehumanizes and enslaves, it excludes those who cannot join. It is these concerns that lead Clarice writing her last novel full of social protest and waiting for response, so unfinished. More than denounce the tecnocolor model that subjugate, the author awaits new directions, because it is not possible to keep on living this way. As she says: This story takes place in a state of emergency and public calamity . From this reality portrayed by Clarice, I sought to develop a response to questions about the future in a society, as current as society today, marked by consumerism that trivializes and relativizes beliefs and values. I believe the answer can be given from Christology / O objetivo deste trabalho foi apresentar a importância e a possibilidade do diálogo entre a teologia e a literatura, tomando como base de reflexão o elemento antropológico da obra A hora da estrela de Clarice Lispector. Nessa obra, a autora retrata a inexistência de Macabéa, um ser humano vítima de uma sociedade marcada por uma estrutura social capitalista que desumaniza, escraviza e exclui quem dela não consegue fazer parte. São essas inquietações que levam Clarice a compor seu último romance, carregado de denúncia social e à espera de resposta, por isso inacabado. Mais do que denunciar este modelo tecnocolor que subjuga, a autora espera por novos rumos, pois não é possível continuar vivendo desta maneira. Ela mesma diz: esta história acontece em estado de emergência e de calamidade pública . A partir dessa realidade retratada por Clarice é que busquei elaborar uma resposta aos questionamentos sobre o futuro em uma sociedade em nada diferente da construída pela autora, uma sociedade marcada pelo consumismo, pela necessidade do ter , uma sociedade que banaliza e relativiza crenças e valores. Creio que a resposta possa ser dada a partir da Cristologia

<p> "Find Yourself Here" argues that since transmigrants often form profound connections to place, we can develop a nuanced account of transmigrant subjectivity through innovative fiction by migrants who describe their own neighborhoods. The authors studied use their own hometowns as both setting and stylistic inspiration, deploying various formal techniques to mirror the fictional location to the real one, thus literarily enacting the neighborhood. I construct a neighborhood geography from each work, by traveling on foot, interviewing the neighbors and local historians, mapping the text&rsquo;s fictional setting upon the actual spaces it references, and teasing out connections between place, narrative form, and migrancy, to demonstrate how excavating the locale illuminates the text. My methodology is interdisciplinary: it incorporates recent sociological studies of transnationalism by Linda Basch, Patricia Pessar, and Jorge Duany, tenets of Human Geography, and the work of Latino literary theorists including Ra&uacute;l Homero Villa and Mary Pat Bray on space in narrative. My literary neighborhood geographies&mdash;of Salvador Plascencia&rsquo;s El Monte barrio, Junot D&iacute;az&rsquo;s New Jersey housing development, Sandra Cisneros&rsquo; Westside Chicago, and Helena Mar&iacute;a Viramontes&rsquo; East Los Angeles&mdash;sharpen Latino literary criticism&rsquo;s long-standing focus on urban and regional spaces in narrative by zooming in on neighborhood streets, while building on contemporary theories of transnationalism to analyze the broader cultural implications of local migrancy. By grounding the effects of transmigrancy in concrete locations, &ldquo;Find Yourself Here&rdquo; presents a comprehensive vision of the US Latino immigrant experience without generalizing from its myriad versions and numerous sites.</p>

This dissertation examines representations of Muslim women in contemporary Germany and considers them in the context of the intensely gendered politics of cultural difference at work. It particularly addresses how immigrant women are understood as Muslim women. As a consequence, immigrant women are considered primarily as representatives of an essentialized and racialized culture. Such discursive reductions ignore immigrant women's participation in the realms of economy, politics, and knowledge production in Germany. The first part of my dissertation critiques representations of Muslim women by revealing the national and nationalist forces that overdetermine these representations. Utilizing transnational feminist cultural studies and feminist deconstruction as my theoretical and methodological underpinnings, I explore representations of Muslim and immigrant women in Der Spiegel from the time of reunification to the present. I then analyze discourses around Germany's headscarf debates in legal texts, newspapers, and court decisions. In the next section I work to theorize potential alternative discursive fields for representing immigrant women. Drawing in particular on Gayatri Spivak's notion of teleopoeisis, I discuss the need for representations and discourses that also imagine immigrant women as political actors, economic agents, and agents of knowledge. I then perform readings of interviews with Muslim and Turkish women as well as of Feridun Zaimoglu's literary rewritings of interviews with Turkish women to consider what a politics of teleopoeisis and careful listening might mean for literary and cultural studies. I suggest that even in texts that explicitly choose their subjects based on participation in a particular "culture," it is possible to read for subjectivities as agents of politics, economics, and knowledge production. The final chapter performs such an alternate reading through an analysis of the work of Emine Sevgi Özdamar. By reading textual figures for political, worker, and intellectual subjectivities one discovers that Özdamar herself has provided a transnational critique of histories of the political movements of the 1970s. In my concluding chapter I consider the difficulties of interdisciplinary work in relationship to my trainings in Comparative Literature, German Studies and Women's Studies.

Own to a long tradition in Spanish America, the Venezuelan feminine chronicle production takes a greater consideration and interest in the last decades. In this sense we present Elisa Lerner who constitutes an indispensable presence when we need to talk about Venezuelan chronicle. This research is directed to the chronicle corpus of that writer in order to establish a tentative pattern, necessary for its study an analysis. That pattern is conformed by five groups, literary chronicle, mass media chronicle, sexual gender chronicle, cinema chronicle, and autobiographies chronicle. Each one of them can be analysed independently and represent a particular study object. However, we have verified that lernereanas chronicles have an axis which unified them such as the concern for women in the modernization process, which has Hollywood cinema influence. In particular we take cinema chronicles, because in them we have observed that the life in the United States, as it is presented on the screen, is a systematic reference for Lerner when she speaks about women, modernity, and their compulsive conflicts. The cinema then is a metaphor in order to do cultural critic when we refer to more problematical aspects of Venezuelan culture and society. At the same time, she comments, socially and ironically, about the North American society and the strategies related to feminine aspects in that area. We analysed some of this chronicles in a cinema temporal curve in Hollywood from 1920's to 1960's. When Lerner filters her critic through Hollywood, she readapted herself inside the masculine hegemonic speech without using the political speech of their like kind. This cinema mediation allows offering her point of view in the face of modernity, the feminine liberation, the Venezuelan society, and the international politics without being put apart from the circle she belonged at that time. While many of the intellectual people enjoyed a privileged situation own to their hegemonic situation, Lerner's writing continued constantly and secretly emergent in the Venezuelan society.