[pt] Este trabalho pretende analisar, a partir de questões surgidas na prática clínica, a relação entre dois mundos: o mundo particular do indivíduo e o mundo externo a esse indivíduo, representado pelas chamadas sociedades pós-modernas. A idéia de um self perdido é para nós uma imagem representativa do que se passa na contemporaneidade quando as pessoas se esforçam para conseguir ser uma unidade nas gigantescas comunidades. Através de vinhetas clínicas ilustrativas vamos entrelaçar as narrativas pessoais com pontuações advindas da psicanálise e das ciências sociais. Procura-se observar como as sociedades tratam as pessoas e o quanto de senso crítico pode haver por parte destas acerca do mundo em que vivem. Entre tantas possibilidades de ser, uma em especial chama a nossa atenção pela forma astuciosa de pensar e agir. Abordaremos aqui um perfil de pessoas que conseguem transitar pelos excessos que as megalópoles despejam sobre elas utilizando para isso um filtro especial que lhes permite preservar o que possuem de mais precioso: sua autenticidade. / [en] This dissertation aims to analyze, in view of matters observed in the clinic, the relationship between two worlds: the world particular to the individual and the world external to that individual, represented by the so-called postmodern societies. The idea of a lost self is for us an image that represents what has been happening nowadays when people attempt to be a unity in our enormous communities. Using illustrative examples from the clinic, we will intertwine contemporary people s narratives with observations from Psychoanalysis and Social Sciences. We want to observe how societies treat their inhabitants and how much critical thinking can people have concerning the world in which they live. Among so many possibilities of being there is one in special that calls our attention because of its cunningness in thinking and acting. We will approach here this profile of people who manage to journey through the excesses the megalopolis pour down on them using a special filter that allows them to preserve what they have of most precious: their authenticity.

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / The present paper is a research based on the experience with an experienced investigative group made up of five teachers in initial training of the Bachelor's Degree in Visual Arts in Federal University of Santa Maria / RS / Brazil. Understanding the film narratives as devices capable of producing emotions, awake and arouse desires, provoke assemblages and participate in the construction of our subjectivity, we released a series of propositions, organized in the form of meetings, in order to discuss and understand the presence/permanence of these filmic narratives in the production of life narratives of teachers who cooperated with the research. The research was based on the concept of bricolage to develop methodological issues concerning this study and used it to think of themselves as bricoleurs subjects, able to compose from fragments, clippings and overlapping of images and information everyday. The authors participating in this fabric are theoretical: MARTINS (2007, 2008, 2009), Hernández (2005, 2007, 2009), Oliveira (2009); LARROSA (2002, 2004, 2006); ROLNIK (2006), among others who have their speeches reviewed in this research. Thus, seeking how to perform such procedures, we could notice that the film narratives participate in the life of these employees eventually trigger choices, preferences, perceptions and world views, reverberating in ways that each of these employees are teachers as teachers of visual arts. / A presente pesquisa configura-se a partir da experiência investigativa vivenciada com um grupo integrado por cinco professores em formação inicial do curso de Licenciatura em Artes Visuais, da Universidade Federal de Santa Maria/RS/Brasil. Compreendendo as narrativas fílmicas como dispositivos, capazes de produzir afetos, despertar e suscitar desejos, provocar agenciamentos e participar da construção de nossa subjetividade, foram lançadas uma série de proposições, organizadas sob a forma de encontros, no intuito de problematizar e perceber a presença/permanência destas narrativas fílmicas na produção das narrativas de vida dos professores que se dispuseram a colaborar com a pesquisa. A investigação apoiou-se no conceito de bricolagem para desenvolver as questões metodológicas concernentes a este estudo, bem como utilizou-o para pensar os próprios sujeitos enquanto bricoleurs, capazes de compor a partir de fragmentos, recortes e sobreposições de imagens e elementos cotidianos. Os autores que participam desta tessitura teórica são: MARTINS (2007, 2008, 2009); HERNÁNDEZ (2005; 2007; 2009); OLIVEIRA (2009); LARROSA (2002; 2004; 2006); ROLNIK (2006), dentre outros que agregaram as conversações desta pesquisa. Destarte ao buscar conhecer como se realizavam tais processos, foi possível descobrir que as narrativas fílmicas ao participar da vida destes colaboradores acabam por deflagrar escolhas, preferências, percepções e visões de mundo, reverberando nos modos com que cada um destes professores colaboradores constituem-se como docentes do campo das artes visuais.

In recent years, the field of queer asylum studies has slowly been expanding in different contexts across the world, with numerous methodologies and various topics of focus. In Sweden, the academic work in this area has mainly focused on legal perspectives. Providing a different perspective, this thesis examines the situation and experiences of LGBTQ asylum seekers and refugees in Linköping, Sweden through a community-based collage project. It examines how collages can be used as a method for research and a tool for community building within this context, and explores the experiences of LGBTQ asylum seekers and refugees in Linköping, Sweden, using individual and group collages. Using the concept of bricolage, the thesis ties together various artworks with short narratives and analytical interpretations. Together, they form a fragmented, in itself collage-like insight into this community. Through these fragments, the thesis reflects on the themes of migration, belonging, survival, and identity. Additionally, it explores questions of home, family, refugeeness, mess, homonormativity and representation. I argue that commonly used narratives of migration often do not fit this group, as they face highly complex forms of oppression based on their intersecting identities. Furthermore, the thesis examines the use of collage as a method by looking into the ways collage can negotiate methodological issues like accessibility and researcher accountability, how it can function as a tool for community building, and how it can be used to allow a community researcher to negotiate their positionality in an easier way. I argue that the use of collage has many benefits and that the use of the collage method in this thesis has enriched the research.

Este artículo explora el proceso de bricolaje institucional que se desarrolla en una comunidad nativa y que conduce a la creación de una comisión de regantes. A partir de una revisión histórica, se identifican las dinámicas de préstamo de arreglos previos, como relaciones familiares o modalidades de reunión, para dar sentido a nuevos marcos institucionales promovidos por proyectos de desarrollo, como el trabajo cooperativo o el pago de una tarifa por el uso del agua. El argumento sostiene que se trata de un proceso de alteración institucional, dado que no conduce a la creación de un nuevo organismo cualitativamente distinto sino que reproduce lógicas y acuerdos previamente establecidos. / This article explores the institutional bricolage process developed in a native community, which derives in the creation of a water user’s association. Based on a historical review, the article identifies the borrowing dynamics from previous arrangements, such as family relationships and meetings, in order to make sense of the new institutional frameworks promoted by development projects, such as cooperative work and the payment of a water tariff. The argument proposes that this is a process of institutional alteration, because it does not led to the creation of a qualitatively different organism, but rather it reproduces previously stablished logics and agreements.

Depuis le XIXe siècle en France, l’opposition entre agrément et utilitaire détermine nos représentations du jardin. Ainsi, le potager s’inscrirait avant tout dans une logique de production, à l’opposé du plaisir créatif et distingué propre au jardin d’agrément. L’observation de nombreux jardins vivriers et des manières de faire de leurs jardiniers, montre que ces jardins sont chargés d’intentions et de symboles dépassant la seule préoccupation de produire de la nourriture. C’est le cas des jardins éloignés du domicile, tels les jardins collectifs, familiaux ou partagés, mais aussi d’autres jardins, vivriers en Papouasie et en Amazonie, transitoires à New York. L’intimité du jardin, la mémoire du lieu, le « contact » avec la terre, l’autoproduction de nourriture, la dimension collective et l’exposition au regard des autres sont sources d’un fort investissement symbolique, suscitant des formes particulières d’appropriation, de sociabilité et d’expression ; unefaçon de concrétiser sa présence au monde, sa relation au temps, à « l’environnement », aux autres et à soi-même. Sans doute le mythe paradisiaque se construit-il sur ces aspects, dont se saisissent aussi les philosophes et les poètes. Cette recherche a également pour objet de souligner le hiatus entre la conception des jardins proposés par les collectivités publiques et les pratiques quotidiennes des jardiniers / Since the 19th century, the image we have of gardens has depended on the purpose of whether it is for pleasure or utility. Thus gardening would be aimed, above all at producing, in opposition to growing his own garden for fancy. The study of numerous food gardens and their gardeners ’way of doing shows that these places are full of will and symbols far beyond the mere preoccupation of growing food. This is the case of those gardens away from home such as collective, family orcommunal gardens, but also others such as food gardens in Papua New Guinea and Amazonia, or transitory gardens in New York. The intimacy of a garden, the memory of the place, the “relationship” with the soil, the growing of one’s own food, the collective dimension and the exposure to people’s eyes are incentives for a strong and symbolic commitment. This generates approbation, sociability and expression; a way of making his presence real to the world, his relationship with time, the environment, the others and with himself. The heavenly myth may be built on these aspects which are seized by philosophers and poets as well. This study aims also at highlighting the hiatus between the conception of the gardens proposed by the councils and the gardeners’ daily practices.

Multiliteracies theory extends the notion of literacy well beyond the traditional linear text-based definition of reading and writing (New London Group, 1996). It addresses the saliency of cultural and linguistic diversity and the multiplicity of communication channels and media available in our rapidly changing world. Multiliteracies involve engagement with multiple design modes, linguistic, visual, audio, gestural, spatial, and multimodal being a combination of the different modes. This research emerged from the need to open a space for students in an international languages school teaching Arabic language to engage in creative, aesthetic, alternative, and multimodal forms of literacy that involve the integration of the various semiotic resources in their meaning-making and design of texts. It is about a lived teaching-learning journey that draws on the concept of living pedagogy and dwelling in the in-between spaces of curriculum-as-plan and curriculum-as-live(d) (Aoki, 1991). In this research journey, I share the possibilities that opened up when students between the age of eleven and fourteen years old engaged with multiliteracies in an international languages classroom that teaches heritage language. This research journey also presents how the participative type of inquiry and collaboration between the researcher and classroom teacher contributed to the enhancement of their knowledge and learning about multiliteracies practices. After listening to and discussing a literary text presented by the teacher, students responded by creating their own texts to show their understanding of the narrative genre. They produced multimodal arts-based (Barton, 2014; Sanders & Albers, 2010) and digital based texts (Knobel & Lankshear, 2013). Through a multiliteracies/multimodalities theoretical, epistemological, and methodological perspective (Albers, 2007; Jewitt & Kress, 2008; Morawski, 2012; Rowsell, 2013), and drawing from approaches such as participatory action research (Chevalier & Buckles, 2013), and bricolage (Kincheloe, 2004), I developed this research story through a process of braiding and interweaving of various modes of texts and genres to produce a métissage (Hasebe-Ludt, Chambers, & Leggo, 2009) of the live(d) narratives of my research praxis. This inquiry offers a glimpse as to how opening the space for creative approaches in the teaching of literacy engages students in the design of texts using both linguistic and non-linguistic semiotic resources and incorporating multiple modes of representation from which they produce arts, digital, and multimodal texts.

Many attempts have been made to eradicate female genital mutilation over the past decades, yet the sustained practice continues to be a risk for women’s health and agency. In Kenya, an intervention with increasing proliferation is the alternative rites of passage. The approach has existed for some time, however little and highly contextual research has been produced around it. This thesis examines the general characteristics of an alternative rite of passage by combining primary and secondary data. Interviews were conducted with Kenyan professionals working with alternative rites of passage, as well as a systematic literature review. The findings demonstrate the balance between individual agency and social structure among the different actors usually included in the approach. In both instances, the notion of power is presented through the many perceived costs and benefits of female genital mutilation. Rather than focusing solely on the girls at risk of being cut, the alternative rite of passage is a pursuit to reframe the role of culture in targeted communities. Alternative rites of passage are often a systematic and longer process defined by communication, based on rational choice, external influences, and community validation. This thesis serves as an introduction to understanding the present alternative rites of passage in Kenya. By expanding the knowledge of an approach still at an early stage, it is possible for future research to study its effectiveness and long-term consequences on girls at risk of female genital mutilation.

L'émergence d'un nouveau médium ne laisse jamais intacts les médias qui l'ont précédé (McLuhan, Debray). Cette logique n'échappe pas au paradigme actuel, théâtre d'un bousculement majeur depuis l'apparition des technologies numériques. C'est ainsi qu'à l'heure du post-lnternet, le médium imprimé demeure telle une épave échouée sur la rive du progrès. Du fait de cet état, les mécanismes de ce médium s'offrent dans leur plus simple appareil à l'imagination des artistes contemporains qui, par l'usage de stratégies diverses, en développent de singuliers emplois - réveillant ce médium à l'instar d'un zombie (Parikka & Hertz). Cette thèse entreprend de présenter quelques-unes de ces nouvelles affordances (Norman) du médium imprimé développées depuis les années 2000 par une sélection d'artistes internationaux et par l'auteur, en solo et en collectif, à partir desquelles il s'agira de répondre à la question suivante : pourquoi imprimons-nous (nous, les artistes) encore ? Pour ce faire, l'auteur a forgé trois concepts : « ur-imprimo », « nouvel impressionnisme » et « exo-digital ». Au contact de ces derniers, l'auteur entend déplacer le centre de gravité des analyses médiatiques du médium imprimé en art des questions de reproductibilité (Benjamin), de mécanisation, d'uniformité et de fixité (McLuhan), vers les notions d'empreinte (Didi-Huberman), de trace (Derrida), de pratique vivante et de bricolage (Lévi-Strauss). Subséquemment à cette reprogrammation, l'estampe fait place au « printwork » (Cramer) et la figure du graveur à celle de l'artiste-imprimeur. / The emergence of a new medium never leaves intact the media which preceded it (McLuhan, Debray). Being the scene of a radical shift since the advent of new technologies, the actual paradigm is obviously not immune to this logic. That is why, in these limes of post-digital printed matter remains like a wreck on the shores of progress. As a result, the medium's mechanisms are offered to contemporary artists' imagination who, through the use of various strategies, develop singular new functions within it - awakening this medium like a zombie (Parikka & Hertz). This essay undertakes to present some of the new affordances (Norman) of the printed medium developed since the 2000's by a selection of international artists and by the author, alone or as a collective, from which the intent will be to answer the following question: why do we (artists) still print? ln order to do so, the author has forged three concepts: "ur-imprimo", "nouvel impressionnisme" and "exo-digital". With these concepts, the author thus intends to shift the center of gravity of the mediatic analysis of the printed medium in art from the question of replication (Benjamin), mechanization, uniformity and steadiness (McLuhan) towards the notions of imprint (Didi-Huberman), trace (Derrida), living artistic practice and do-it-yourself (Lévi-Strauss). Subsequently to this reprogramming, etching makes room for "printwork" (Cramer) and the printmaker becomes the artist-printer.

This dissertation investigates how legal and policy professionals have legally constructed the economic policy and governance of the EU since the beginning of the Eurozone crisis onwards. It follows the legal and policy professionals who received the mandate to enable and consolidate solutions, as well as defend these solutions in court. By tracing the practices and trajectories of these agents, I show how, during an unfolding crisis, economic policy and governance becomes legally constructed and changes the terms of legitimation for EU economic governance. The stakes involved for the professionals involved also change. In this way, the dissertation speaks to the question of how intrusive political power has been legitimated during the Eurozone crisis and what this means for the legitimacy of European governance. Theoretically, this thesis develops a Bourdieusian field approach that is adapted to the transnational and diachronic context of the Eurozone crisis, as it unfolded from the end of 2009 until the adjudication of key high-profile court cases before the Court of Justice of the European Union. Drawing on boundary work, bricolage, and network interactions to analyse the practices of legal and policy professionals, the process of enabling and consolidating solutions is elaborated. Attention is given to how this process engenders stakes for the professionals in this emerging euro-crisis law field, and what this means for emerging legal terms of legitimation for economic governance.Methodologically, field-based and social network analysis are combined in two distinct ways. First, by employing a temporally-focussed network analysis, which caters for change by measuring the shifting centrality of legal and policy professionals over time, I show which professionals have had a high-level of involvement in dealing with crisis issues. This then permits the construction of a referral network based on how these professionals refer to their peers. The involvement of the professionals is further articulated as their accumulated symbolic capital: i.e. their involvement together with being perceived to know well. From this, I infer a species of symbolic capital unique to being part of the Eurozone crisis policy response: juridical capital.This dissertation adds to scholarship on the Eurozone crisis by creating a theoretical framework based on Bourdieusian fields, which utilises a network analytical approach to show how the practices and interactions of legal and policy professionals reconfigure the transnational contexts that are implicated in the crisis policy response. Moreover, it is shown how these professionals’ practices enable solutions that are contested before the Court of Justice of the European Union, putting the Court in a position where it has to bring the definitional power of the law to bear on the actions of EU institutions and the Eurogroup. The Court must decide how responsibility should be attributed. The dissertation shows how legal and policy professionals developed practices, using jurisdictional and constitutionalising logics, and deployed at different times during the crisis, enabled and consolidated processes of legal integration and differentiation. / Doctorat en Sciences politiques et sociales / info:eu-repo/semantics/nonPublished

Ma pratique de l'art numérique m'amène à m'interroger sur la dialectique entre le réseau technique et la création d'une oeuvre. La question devient particulièrement intéressante lorsque l'environnement instrumental est purement artificiel et que l'oeuvre dépend d'une dimension technologique pour être vécue. Cette problématique est explorée à travers Ce qu'il reste (2010) une oeuvre réalisée dans le cadre de ce projet de recherche.