The men’s rights movement (MRM) is a loosely affiliated collection of primarily online communities that together form a substantial component of a broader constellation of online men’s groups known as the “manosphere”. Though the specific ideologies that comprise the core of the modern MRM have existed since the mid-1970s, it was not until the advent of modern online communications that the movement was able to iterate into the form it is today. This research project examines the MRM as a form of reactionary countermovement, rooted in a collective sense of grievance, which directs knowledge producers and movement participants alike to engage in collective identity construction and in-group boundary maintenance through a shared, collaboratively developed countermemory. The research, composed of a qualitative analysis of MRM-produced texts found across more than thirty websites and online communities, indicates that the bulk of MRM literature and online activity facilitates the maintenance of this countermemory and to enable the movement to challenge its ideological opponents. Additionally, through a limited number of narrative interviews with members of pro-feminist men’s groups, this research contrasts the inward-facing orientation of MRM knowledge production and activity against that of pro-feminist men’s organizations, which engage in outward-facing, community-focused activism rooted in a shared sense of responsibility. This dissertation contributes to social movement theory by illustrating how online movements make use of virtual space through the construction of what I term virtual geographies to facilitate identity construction and knowledge transmission. The MRM makes use of these spaces to construct alternative discursive frameworks – countermemory – which allow for a reconceptualization of men’s social position from one of privilege and dominance, to one of marginalization and oppression. / Graduate / 2019-08-22

In this thesis I trace the origins, morphology, and attributes of a particular strain of anti-materialism in the Western literary and cultural imagination of the second half of the twentieth century. With reference to previous work done on this topic I discuss how this anti-materialism rejects materialistic and rationalistic aspects of modernity and emphasises instead the importance of non-material aspects of society such as cultural integrity and cohesion, tradition, and instinct. I demonstrate that this strain relies on what Raymond Williams termed “organic form”, the fallacious belief that human society can and should follow a set of rules which can be objectively deducted from nature and I argue that it should be placed within the context of a long established anti-enlightenment tradition. Through an analysis of such writers as George Orwell, Aldous Huxley, JRR Tolkien, Edward Abbey, James Howard Kunstler, Chuck Palahniuk, Brian Aldiss and others I show how a common feature of this anti-materialism is concern and anxiety over the potentially destabilising or degenerative effects of life in a technologically advanced society where mechanisation, mass production, and scientific advances have brought relative comfort and prosperity to most people in society and hence I refer to this particular strain of anti-materialism as anti-technologism. More specifically, I am interested in this thesis with examining the way in which this reaction allows for a curious confluence and convergence of progressive and reactionary tendencies. I argue that anti-technologism is a distinct and detectable mood in Western literature, and I trace its origins and influences. Without claiming to provide a functionalist analysis, I consider the role of anti-technologism in Western literature which I see as broadly facilitating an exploration and discussion of themes of cultural vitality and cohesion in the increasingly cosmopolitan and technologically advanced societies of the West.

By implementing Albert O. Hirschman’s theory about reactions, the purpose of this thesis is to analyse the arguments against carbon offsetting presented in Swedish media. More specifically, I will structure and analyse the counter-arguments I find in the articles about carbon offsetting presented by the Swedish paper Dagens Nyheter between October 2019 and January 2020. Hirschman’s theory of the reactionary rhetoric is based on the notion that every social action is followed by a reaction. To illustrate this, Hirschman introduces three types of theses –arguments -deployed by those who oppose a new idea or reform. The three principal arguments Hirschman identifies is the futility thesis, the perversity thesis and the jeopardy thesis. The futility thesis suggests that an action aiming to improve the society in any way won’t have any effect, the perversity thesis claims that the action will result in the opposite outcome of what was intended and the jeopardy thesis implies that the action will result in intolerable consequences in other areas. Hirschman suggests that a debate where any of these theses are present both is a danger for democracy and is likely to result in suffering in other ways as well. In that way, his theory provides a tool for identifying dangerous arguments in order to take a step towards a more democracy friendly discussion. By analysing 85 arguments against carbon offsetting I find that 51 of them easily can be categorized as either one of the theses, while 22 can’t be categorized at all. The remaining 12 arguments can either partly or in full be placed in the model. The majority of the 51 arguments fitting in Hirschman’s model are futility theses, which implies that the Swedish debate in this area largely consists of arguments claiming that carbon offsetting doesn’t make any difference. My conclusion based on Hirschman’s theory and the analysis of the arguments is that the Swedish debate about carbon offsetting unarguably contains signs of the polarized discussion Hirschman claims to be a democratic danger and that both the debate itself and the climate overall probably would benefit from a more nuanced and balanced debate.

A polpa dentária pode responder a uma agressão pela produção de dentina reacional e reparativa. Osteopontina (OPN), proteína abundante no osso, e proteína da matriz dentinária 1 (DMP1) podem estar presentes nessas dentinas. O objetivo do trabalho foi examinar a ultra-estrutura e a presença da OPN e DMP1 na dentina induzida pela extrusão de incisivos. Os incisivos de ratos foram extruídos e depois reposicionados. Após períodos de tempo determinados, as maxilas foram processadas para MET, MEV e imunocitoquímica. Após extrusão, houve formação de dentina reacional e reparativa, as quais variaram em aspecto, espessura e células secretoras. A OPN foi observada apenas na dentina reparativa num padrão semelhante ao encontrado no osso. A DMP1 foi detectada na matriz em mineralização de todas as dentinas estudadas, mas praticamente não foi observada nas suas pré-dentinas, o que confirmou o seu papel na mineralização. Tais achados mostraram que a dentina reparativa e o osso primário, além de semelhantes morfologicamente, são também similares com relação às suas composições / Reactionary dentine (Rc) and (Rp) reparative dentine are two strategies used by the dentine?pulp complex to respond to injury. Osteopontin (OPN) and dentine matrix protein 1 (DMP1) may be present in the matrix secreted after tissue injury. The aim of the present study was to examine the ultrastructure, as well as the presence of OPN and DMP1 in Rc and Rp by provoking extrusion of the rat incisor. The right upper incisors of rats were extruded and then repositioned. After certain periods of time, the maxillae were processed for scanning and transmission electron microscopy and for immunocytochemistry. After extrusive trauma, there was formation of Rc and Rp, which varied in aspect and thickness. OPN was only detected in the Rp in a pattern similar to bone. DMP1 was immunodetected in all the dentine types, but rare colloidal gold particles were observed in predentin, that confirmed its role in mineralization. The present findings showed that Rp shares some compositional characteristics with primary bone, especially in relation to its OPN content

Submitted by Renata Aparecida Frigeri (renatafrigeri@yahoo.com.br) on 2018-05-24T13:22:24Z No. of bitstreams: 1 FRIGERI_Renata_FINAL.pdf: 22629717 bytes, checksum: 8a7ffebc0b9a3d026126967029e3febf (MD5) / Approved for entry into archive by Lucilene Cordeiro da Silva Messias null (lubiblio@bauru.unesp.br) on 2018-05-24T18:45:28Z (GMT) No. of bitstreams: 1 frigeri_ra_dr_bauru.pdf: 22616640 bytes, checksum: b08f7ecb9e3e43736e6296d42a367383 (MD5) / Made available in DSpace on 2018-05-24T18:45:28Z (GMT). No. of bitstreams: 1 frigeri_ra_dr_bauru.pdf: 22616640 bytes, checksum: b08f7ecb9e3e43736e6296d42a367383 (MD5) Previous issue date: 2018-05-11 / Esta pesquisa visa investigar como Leni Riefenstahl usou o cinema, um instrumento da modernidade, para explorar elementos pertencentes ao romantismo histórico presentes no Zeitgeist, o “espírito do tempo”, e assim redefinir a identidade ariana em sua obra cinematográfica, como almejada por Adolf Hitler. As quatro produções selecionadas para análise são A Luz Azul (Das blaue Licht, 1932), O Triunfo da Vontade (Triumph des Willens, 1935), Olympia (Idem, 1938) e Tiefland (Idem, 1954). Embora as películas contemplem temas distintos e tenham sido produzidas com um intervalo de 22 anos, elas possuem unicidade identária em seu cerne. Esta tese percorre os contextos histórico, político e cultural, respectivamente, por meio das obras de Richard Evans (2014), Ian Kershaw (2010), Peter Gay (1978), Siegfried Kracauer (1988) e Lotte Eisner (1985); os conceitos de cultura e identidade são adotados a partir da perspectiva de Denys Cuche (1999) e Clifford Geertz (2015). Para a análise das películas, elegeu-se como metodologia o esquema quaternário de Massimo Canevacci (1990) e a binariedade proposta por Claude Lévi-Strauss (2012 e 2013). Os filmes selecionados fornecem elementos que permitem aferir o espírito do tempo na Alemanha, assim como a ideologia da diretora, que mesmo após a queda do regime nazista manteve em sua obra elementos identitários alinhados com o propósito de Hitler. / This research seeks to investigate on how Leni Riefenstahl used a modernity instrument such as cinema, to explore elements of historical romanticism in Zeitgeist, the “spirit of time” and therefore redefine the Aryan identity in his cinematographic work, as longed by Adolf Hitler. Four productions were chosen for the analysis, including: The Blue Light (Das Blaue Licht, 1932), Triumph of the Will (Triumph des Willens, 1935), Olympia (Olympia, 1938) and Tiefland (Tiefland, 1954). Although the movies contemplate different themes and were produced with an intermission of 22 years, they share an identity oneness in their core. This present thesis travels through the historical, political and cultural contexts, respectively, by means of Richard Evans’ (2014), Ian Kershaw’s (2010), Peter Gay’s (1978), Siegfried Kracauer’s (1988) and Lotte Eisner’s (1985) works; the concepts of culture and identity are adopted from the perspective of Denys Cuche (1999) and Clifford Geertz (2015). For the movies’ analysis, the methodology chosen were the quaternary scheme by Massimo Canevacci (1990) and the binarity proposed by Claude Lévi-Strauss (2012 and 2013). The selected movies provide elements that allow assess to the spirit of time in Germany, as well as the directors’ ideology, that even after the fall of the Nazi regime she kept identity elements in her works, aligned with Hitler’s purpose.

A polpa dentária pode responder a uma agressão pela produção de dentina reacional e reparativa. Osteopontina (OPN), proteína abundante no osso, e proteína da matriz dentinária 1 (DMP1) podem estar presentes nessas dentinas. O objetivo do trabalho foi examinar a ultra-estrutura e a presença da OPN e DMP1 na dentina induzida pela extrusão de incisivos. Os incisivos de ratos foram extruídos e depois reposicionados. Após períodos de tempo determinados, as maxilas foram processadas para MET, MEV e imunocitoquímica. Após extrusão, houve formação de dentina reacional e reparativa, as quais variaram em aspecto, espessura e células secretoras. A OPN foi observada apenas na dentina reparativa num padrão semelhante ao encontrado no osso. A DMP1 foi detectada na matriz em mineralização de todas as dentinas estudadas, mas praticamente não foi observada nas suas pré-dentinas, o que confirmou o seu papel na mineralização. Tais achados mostraram que a dentina reparativa e o osso primário, além de semelhantes morfologicamente, são também similares com relação às suas composições / Reactionary dentine (Rc) and (Rp) reparative dentine are two strategies used by the dentine?pulp complex to respond to injury. Osteopontin (OPN) and dentine matrix protein 1 (DMP1) may be present in the matrix secreted after tissue injury. The aim of the present study was to examine the ultrastructure, as well as the presence of OPN and DMP1 in Rc and Rp by provoking extrusion of the rat incisor. The right upper incisors of rats were extruded and then repositioned. After certain periods of time, the maxillae were processed for scanning and transmission electron microscopy and for immunocytochemistry. After extrusive trauma, there was formation of Rc and Rp, which varied in aspect and thickness. OPN was only detected in the Rp in a pattern similar to bone. DMP1 was immunodetected in all the dentine types, but rare colloidal gold particles were observed in predentin, that confirmed its role in mineralization. The present findings showed that Rp shares some compositional characteristics with primary bone, especially in relation to its OPN content

The Age of Trump witnessed the visible rise of intense culture wars and polarization in the United States. While culture wars are not new phenomena, the current iteration has digital media acting as new discursive structures and mediating battlegrounds for all sides of the cultural conflict. This project chronicles these online culture wars, demonstrating how within a neoliberal and postmodern socio-cultural condition, the rise of ambivalent, profit-driven digital technologies and platforms structure affect and mediate newly networked neo-reactionary populist (sub)cultural ideologies and discourses. The resulting online ecosystems afforded the digital formations of obscure reactionary subcultures (trolls, antifeminists, the alt-right, etc.) with particular personalized and affectively driven memetic communicative logics. These reactionary affective publics eventually began converging under perceived common ideological and social interests as online actions and reactionary discursive (re)formations and (re)networkings were catalyzed by (sub/cross)cultural conflicts and moments of sentimental activation. This led to the emergence of affectively charged and informally networked reactionary publics which began spilling out into the offline world alongside Trump's ascendancy to the White House. The increasing progressive reactions during the Trump Era also faced limitations in combatting reactionary politics due to structural dynamics of digital media and the larger culture war filtering of politics. The overall macro function of these new online culture wars is the bipartisan obfuscation and undermining of a collectivist and materialist reality and engagement with politics in the favor of a more personalized, symbolic and affective engagement that is indicative of the neoliberalized postmodern era.

I am bored. All around me are systems that perpetuate repetitive, reductive, and mundane modes of living. In an attempt to counter a culture obsessed with singular ways of existence and bite-sized perfection, I utilize moving mediums of video and performance to dive head first into a vast array of sloppy sincerity. The crisp, white-washed, analytical, and restrictive is loudly replaced with the empirical, haphazard, and instinctual. My intention is to create and encourage raw, performative-based work that is as multifaceted as unbridled life itself. This alive and physical practice hosts a conglomeration of sweat, memories, heartbreaks, hymn singing, line dancing, cake eating, wig wearing, bedroom jamming, live streaming, code switching, hallway running, body dragging, easter egg hiding, angst, and hair salons. This is a refusal to slice up, organize, and distill myself and my work into one dish with convoluted, explanatory rhetoric stamped with institutionalized approval and topped with the cherry of MFA status for the sake of being justified and relevant. I have zero obligations to make polished art, resolve things, or pinpoint what makes me “me”, because humans are not boxes and art does not have to be finite.

Submitted by Aelson Maciera (aelsoncm@terra.com.br) on 2017-09-15T20:16:30Z No. of bitstreams: 1 TeseDHSP.pdf: 7140053 bytes, checksum: 86ac67128bb192f67916f9ef4bfc3680 (MD5) / Approved for entry into archive by Ronildo Prado (bco.producao.intelectual@gmail.com) on 2018-01-31T18:42:18Z (GMT) No. of bitstreams: 1 TeseDHSP.pdf: 7140053 bytes, checksum: 86ac67128bb192f67916f9ef4bfc3680 (MD5) / Approved for entry into archive by Ronildo Prado (bco.producao.intelectual@gmail.com) on 2018-01-31T18:42:26Z (GMT) No. of bitstreams: 1 TeseDHSP.pdf: 7140053 bytes, checksum: 86ac67128bb192f67916f9ef4bfc3680 (MD5) / Made available in DSpace on 2018-01-31T18:50:12Z (GMT). No. of bitstreams: 1 TeseDHSP.pdf: 7140053 bytes, checksum: 86ac67128bb192f67916f9ef4bfc3680 (MD5) Previous issue date: 2017-06-28 / Fundação de Amparo à Pesquisa do Estado de São Paulo (FAPESP) / Hardly ever can one glimpse professional or personal progress in a domestic work, which is known for being underrated, due to its so-called "lower valued" functions, also counting on less labor rights. Under the structures of power relations, the discourses related to domestic work in Brazil mostly include the discussion of justice in relation to a multiplicity of statements that give rise to conflicts between classes and, consequently, incite actions in search of a more dignified treatment. In this field full of asymmetries and inequalities, especially with regard to labor rights, the media discourse occupies a privileged place in the construction and propagation of "truths”. Hence, the interest in analyzing the media discourses about the labor laws regarding domestic work in Brazil. Once the social aspirations of the category gained weight from the Consolidation of Labor Laws, occurred in 1943, this historic event is chosen as a starting point to investigate the impact of media discourse about the legislation over the subject and, as arrival point, it is elected the recent Constitutional Amendment n. 72, 2013. Thus, in order to describe the materiality of media statements and its insertion into discursive formations, the corpus to be analyzed consists of news published in the last 80 years in the media vehicles with strong expression as formers of Brazilian opinion. The analysis of the media’s role in the production and circulation of meanings and transformation of discursive practices is achieved from the theoretical perspective of the French Discourse Analysis, plus the Michel Foucault’s contributions to the study of discourse, and also from Albert Hirschman and Marc Angenot with regard to them formulations about the reactionary rhetoric. / Dificilmente se vislumbra progresso profissional e pessoal no Trabalho Doméstico, profissão marcada pelo desprestígio, em razão do exercício de funções tidas como inferiores e que menos dispõe de garantias trabalhistas. Sob as estruturas das relações de poder, os discursos relacionados ao trabalho doméstico no Brasil contemplam uma multiplicidade de enunciados que dão ensejo a conflitos entre classes e, por consequência, incitam ações em busca de um tratamento mais digno. Nesse campo repleto de assimetrias e desigualdades, especialmente em relação aos direitos sociais, a Mídia ocupa um lugar privilegiado na construção e propagação de “verdades”. Daí o interesse em se analisar os discursos midiáticos sobre as leis do trabalho doméstico no Brasil. Uma vez que as aspirações sociais da categoria ganharam peso a partir da Consolidação das Leis do Trabalho (CLT), ocorrida em 1943, elege-se esse marco como ponto de partida para a investigação e, como ponto de chegada, elege-se a recente Emenda Constitucional n. 72, de 2013. Assim, a fim de se descrever a materialidade dos enunciados midiáticos e sua inserção em diferentes posições discursivas, o corpus de análise é composto por notícias veiculadas nos últimos 80 anos em veículos de forte expressão como formadores de opinião brasileira. A análise do papel da Mídia tradicional na produção e circulação de sentidos e na transformação das práticas discursivas é realizada sob a perspectiva teórica da Análise do Discurso francesa, somada às contribuições de Michel Foucault para o estudo do discurso, e também de Albert Hirschman e Marc Angenot no que diz respeito às suas formulações acerca da retórica reacionária. / FAPESP: 2014/09556-4

WEAVING PAST INTO PRESENT revolves around contradictory feelings towards, on the one hand, the lure of a mythic past, and on the other hand its absurdity and potential danger. This is done by stating that craft and weaving is inherently conservative, closely connected to nostalgia and claimed as something more authentic and pristine. In continuation used in the creation of an idealized and romanticized past generating a separation between an “us and them”. These problems are created by the main quest and question of this work, to weave the past into present and then ask; which past is woven into the present presence of the tapestries? The paper then continues to describe the methods and considerations used and made in this time-translation. Looking at the sketch and the collage as ways of materializing and enmeshing the transient flow of time through cacophonies of ephemera and threads. Concluding that I, just as the ones creating mythic pasts, am not weaving a past at all. But merely weaving a sketch trying to highlight the feeling and fear of loss apparent today in encountering the accelerated present, the eerie future, and the desirable progressive changes towards equality / WEAVING PAST INTO PRESENT rör sig kring motsägelsefulla känslor gentemot å ena sidan, lockelsen i ett mytiskt förflutet, och å andra sidan dess absurditet och potentiella fara. Detta görs genom att påstå att konsthantverk och vävning i sig är konservativt, nära kopplat till nostalgi och ansett som något mer autentiskt och ursprungligt. Fortsättningsvis används det i skapandet av ett idealiserat och romantiserat förflutet som skapar en separation mellan ett “vi och dom”. Dessa problem har uppstått tillsammans med arbetets huvudsakliga mål och frågeställning, att väva det förflutna in i nuet och fråga sig; vilket förflutet är det som vävs till den nuvarande närvaron av bildvävarna?  Uppsatsen fortsätter sedan med att beskriva de metoder och överväganden som använts och gjorts i denna tidsöversättning. Genom att betrakta skissen och collaget som sätt att materialisera och sammanfoga tidens förgängliga flöde genom kakofonier av det efemära och trådar. Slutfattningsvis att jag, precis som de som skapar mytiska förflutna, inte alls väver ett förflutet. Utan bara väver en skiss som försöker belysa den känsla och rädsla för förlust som är uppenbar idag i mötet med det accelererande nuet, den kusliga framtiden och de önskvärda progressiva förändringarna mot jämlikhet.