nÃo hà / Esta tese parte da apreensÃo da categoria aluno abjeto, identificada na escola pÃblica municipal de Fortaleza, que deflagra mecanismos objetivos na eliminaÃÃo escolar das condiÃÃes de aprendizagem de alunos diversos. Os alunos abjetos apresentam a produÃÃo de corporalidades e modos de expressÃo especÃficas, tanto na figura do Aluno com DeficiÃncia (ACD) como do Aluno ProblemÃtico (AP). Ele encerra formas de elaboraÃÃes sociais baseadas na radicalizaÃÃo da alteridade. Estes tipos se materializam na exclusÃo do sistema escolar, e a ela reagem, seja pela insujeiÃÃo pacÃfica à produÃÃo de sua abjeÃÃo, compondo formas de resistÃncia, ou sob processos de estigmatizaÃÃo de uma deficiÃncia. A constituiÃÃo desta categoria surgiu do esforÃo etnogrÃfico de compreender a inclusÃo escolar. Inicialmente, esse esforÃo compreendia a figura do ACD como sujeito de direito e principal agente da inclusÃo. O exercÃcio etnogrÃfico da escrita dos Cadernos de Campo, entretanto, fez enxergar o aluno que jà hà bastante tempo à eliminado do processo escolar, tanto socialmente, quanto no prÃprio mÃtier da escola: na aprendizagem. Constitui-se a categoria mediante a apresentaÃÃo de interlocutores de pesquisa. Neste contexto, questiona-se a possibilidade de representatividade polÃtica da categoria por meio de polÃticas pÃblicas assistenciais que visam tanto a recuperÃ-los, como a eliminÃ-los. O objetivo central da tese Ã, portanto, compreender a produÃÃo das abjeÃÃes sociais no corpo da escola, em procedÃncia na etnografia realizada de 2012 â 2013, e problematizar o alcance da representatividade polÃtica desta categoria. O conceito de abjeÃÃo parte das teorias feministas, Judith Butler (2002, 2003, 2007, 2009, 2012, 2013, 2015), Venna Das (1999, 2008) e Debora Polak (2008); o aparato analÃtico centra-se no conceito de genealogia de Foucault (1995, 2005, 2010, 2011, 2012) e a etnografia baseia-se no modelo de Favret-Saada (2005). A ideaÃÃo desse aluno se faz na interaÃÃo com os locus de aprendizagem, seus pares, a comunidade onde vivem e na relaÃÃo aluno e corpo docente. Procura-se, portanto, denotar essas categorias, menos focando na sua constituiÃÃo como problemas para a estrutura escolar, mas compreendendo-as como formas de produÃÃo das gestÃes de resistÃncia, elasticidade fronteirÃstica e de alteridades nÃo enquadradas nos padrÃes de normatizaÃÃo. A tese elabora mecanismos de compreensÃo para uma responsabilizaÃÃo, centrada no exercÃcio da cidadania, entendida como um procedimento dinÃmico e negociÃvel no corpo das interaÃÃes sociais. / This thesis, part of apprehension category abject student, identified in the public school of Fortaleza, which triggers mechanisms goals in the elimination of school learning conditions of several students. The abject students present the production of corporeality and specific modes of expression, both in the Disabilities Student (DS) as the Troubled Students (TS). It contains forms of social elaborations based on the radicalization of otherness, these types materialize in the exclusion from the school system, and relate to it, either by non-peaceful subjection the production of its abjection, composing forms of resistance, or under stigmatization processes disability . The constitution of this category came from ethnographic effort to understand the school inclusion. Initially this effort comprised the DS figure as a subject of law and the main inclusion agent. The ethnographic exercise of writing the Field Notebooks, however, were made to see the student who for quite some time is eliminated from the school process, both socially and in school mÃtier: learning. It constitutes the category by presenting research partners. In this context, it questions the possibility of political representation category through welfare policies aimed at both get them, how to eliminate them. The central goal of the thesis is to understand the production of social abjections the school, based of the ethnography origin in 2012 â 2013, and discuss the scope of political representation in this category. The concept of abjection of the feminist theories, Judith Butler (2002, 2003, 2007, 2009, 2012, 2013, 2015), Venna Das (1999, 2008) and Debora Polak (2008); the analytical apparatus focuses on the concept of genealogy of Foucault (1995, 2005, 2010, 2011, 2012) and ethnography is based on the model Favret-Saada (2005). The ideation that student is done in interaction with the locus of learning, their peers, the community where they live and the relationship student and faculty. Wanted therefore denote these categories, focusing less on their constitution as problems for the school structure, but understanding them as forms of production of resistance efforts, borderness elasticity and otherness not covered in the regulation standards. The thesis develops understanding of mechanisms for accountability, focused on exercise of citizenship, understood as a dynamic and negotiable process in the body of social interactions.

No description available.

Specifically, the study of the progression focuses on examining Hemingway's Across the River and into the Trees for evidence of traumas' effects on Hemingway's development of narrative structure. Throughout his career, Hemingway pinpoints the importance of witnessing and experiencing war on a writer. I endeavor to demonstrate-in detail, achieved by close reading, and with solid evidence-how the imbrication of trauma in Across the River and into the Trees represents a vital moment in Hemingway's progression as a writer. My assertion, a new calculus of subjectivity and objectivity appearing in the narrative structure via the protagonist, viably counters previous critical dismissal of this text and offers new horizons for studies of form and content in Hemingway's writing.

No description available.

Comment comprendre l’abjection qui travaille les textes littéraires de femmes auteures contemporaines ? Quelle abjection habite les récits Putain (2001), Folle (2004) et À ciel ouvert (2007) de la Québécoise Nelly Arcan? D’abord, sont esquissées une synthèse des multiples acceptions théoriques de l’abjection et une liste d’« objets » à l’abjection archétypale, avant de montrer comment l’abject est susceptible d’être dialectiquement relevé en son contraire, notamment dans l’œuvre littéraire. Une carte de l’imaginaire de l’abjection arcanienne est ensuite dressée : les représentations abjectes du féminin donnent naissance à plusieurs topos spécifiques, et des mécanismes abjects dé-forment le corps du texte, entraîné dans la logique tragique de l’éternel retour. Puis les effets performatifs du texte arcanien sont examinés : sur le plan affectif, il permettent une purification de l’abjection et, sur le plan discursif et énonciatif, une critique de celle-ci. Enfin, le corpus arcanien, à la fois poétiquement, esthétiquement et performativement, s’inscrit dans le sillage des grands écrivains de l’abjection du XXe siècle. C’est, en tout cas, ce que les résultats de cette étude permettent de conclure. / How the abjection inhabiting women’s writing can be understood? What abjection lies in Quebec writer Nelly Arcan’s narratives Putain (2001), Folle (2004) and À ciel ouvert (2007)? First of all, a synthesis of the theoretical perspectives among abjection and a list of archetypal abject « objects » are drawn, before presenting how the abject can be solved dialectically into its opposite, notably through a work of art. The imaginary of the Arcanian abjection is then mapped. Feminine abject representations draw specific topoï and abject mecanisms un-shape the text’s body, led by the eternal return’s tragic logic. Further on, performative effects of Arcan’s text are explored : on an affective level, they allow the purification of abjection, and on a discursive and uttering level, a critique of the later. Finally, as shown by this study’s results, the Arcanian corpus should be considered in the wake of the great XXth century writers of abjection.

The Hibiscus Snake is a collection of poetry investigating the female experience encountering danger. She explores psychic landscapes descended in the unconscious uncanny, the feminine body within the context of horror, and lyrical poems about living in working class communities in San Bernardino. The collection attempts to subvert the presentation of the female body in Horror genres, moving it from a position of victimization to empowerment. In other poems, the speaker ventures into horror-like psychic landscapes filled with images representing the anxiety experienced growing up in a city where danger is quite real. The protagonist risks these journeys to overcome her fear and achieve a transformation. The collection also contains elegies written in lyrical, free-verse form. I also explicate how I employ line breaks to exaggerate the multiplicity of lines, words and connotations. This collection works toward understanding and redefining the female experience and identity within a range of male dominated contexts and dangerous environments.

Comment comprendre l’abjection qui travaille les textes littéraires de femmes auteures contemporaines ? Quelle abjection habite les récits Putain (2001), Folle (2004) et À ciel ouvert (2007) de la Québécoise Nelly Arcan? D’abord, sont esquissées une synthèse des multiples acceptions théoriques de l’abjection et une liste d’« objets » à l’abjection archétypale, avant de montrer comment l’abject est susceptible d’être dialectiquement relevé en son contraire, notamment dans l’œuvre littéraire. Une carte de l’imaginaire de l’abjection arcanienne est ensuite dressée : les représentations abjectes du féminin donnent naissance à plusieurs topos spécifiques, et des mécanismes abjects dé-forment le corps du texte, entraîné dans la logique tragique de l’éternel retour. Puis les effets performatifs du texte arcanien sont examinés : sur le plan affectif, il permettent une purification de l’abjection et, sur le plan discursif et énonciatif, une critique de celle-ci. Enfin, le corpus arcanien, à la fois poétiquement, esthétiquement et performativement, s’inscrit dans le sillage des grands écrivains de l’abjection du XXe siècle. C’est, en tout cas, ce que les résultats de cette étude permettent de conclure. / How the abjection inhabiting women’s writing can be understood? What abjection lies in Quebec writer Nelly Arcan’s narratives Putain (2001), Folle (2004) and À ciel ouvert (2007)? First of all, a synthesis of the theoretical perspectives among abjection and a list of archetypal abject « objects » are drawn, before presenting how the abject can be solved dialectically into its opposite, notably through a work of art. The imaginary of the Arcanian abjection is then mapped. Feminine abject representations draw specific topoï and abject mecanisms un-shape the text’s body, led by the eternal return’s tragic logic. Further on, performative effects of Arcan’s text are explored : on an affective level, they allow the purification of abjection, and on a discursive and uttering level, a critique of the later. Finally, as shown by this study’s results, the Arcanian corpus should be considered in the wake of the great XXth century writers of abjection.

The novel manuscript Blue Horses (published as Dust, by Random House Australia under its Woolshed Press Imprint, July 2009) focuses on a dusty corner of 1970’s Queensland in this evocative tale of family, shadows that hang over from childhood and beauty found in unexpected places. Its protagonist, Cecilia Maria, was named after saints and martyrs to give her something to live up to. “Over my dead body,” she vows. Her battles with a six-pack of brothers and the despised Kapernicke girls from the farm next door teach her an unforgettable lesson that echoes down through the years. Now she’s heading back to where it all began, with teenagers Jed and Jenna reluctantly in tow. She plans to dance on a grave and track down some ghosts. Instead she learns a new lesson at the gravesite of an old enemy. The exegesis examines Jung’s concept of the Shadow Archetype as a catalyst for individuation in writing for young adults. It discusses the need to re-vision Jung’s work within a feminist framework and contrasts it to Julia Kristeva’s work on the abject. Alyssa Brugman’s Walking Naked and Sonya Hartnett’s Sleeping Dogs are analysed in relation to these concepts and lead into my own creative reflections on, and justification for, use of the Shadow conceptual framework. In following my shadow and establishing a creative dialogue between my conscious intent and unconscious inspirations, I have discovered a writing self that is “other” to the professional writer persona of my past.

This thesis is an exploration of some of the defining characteristics of performance art, and an investigation of how such characteristics relate to ritual. It highlights some key notions, such as that of the “Real” and the live, which are introduced in the first chapter. This chapter explores the theories of Peggy Phelan, Julia Kristeva and Jacques Lacan in its attempts to conceptualize the Real. It assesses how performance art as ritual attempts to revise traditional apparatuses of representation. It argues that, through a transgression of representation, performance art has the potential to challenge and revise established discourses on identity, culture and violence. The second chapter of this study is an attempt to provide a history and subsequent conceptualization of performance art, based on its exposition of the live. I have taken into consideration certain strategies that performance artists employ to evoke the live, referring specifically to the manipulation of the body. It is through abject encounters with the unsymbolizable “Real” that the performance artist reaches the borders of his/her subjective constitution, and performs a transformation of his/her identity that transcends the mechanisms of representation. The third chapter of this study attempts to find the connections that exist between performance art and sacrificial ritual. I will refer specifically to the theories of Rene Girard. Girard‟s notion of the “violent sacred” and its significance within sacrifice as an antidote to community crises will be explored in relation to collective transformation within the performance event. I choose to focus specifically on the role of the performer as surrogate victim/pharmakon, and the spectators/witnesses as part of the community. The fourth chapter explores how two South African performance artists, Steven Cohen (1961) and Peter van Heerden (1973), perform the abject body as the monster. Kristeva‟s notion of the abject will be examined in terms of the transformation of the individual performer as subject within performance art, and how, through the assumption of an “othered,” monstrous identity, the performer becomes the surrogate victim. The fifth chapter will entail an examination of Peter van Heerden‟s 6 Minutes. I will attempt to draw parallels between performance art and ritual through using this performance piece as a case study. I will focus on the strategies that Van Heerden implements to resist theatrical representation. 6 Minutes will be observed in terms of its link to sacrificial ritual, and it presentation of the live, and the Real. In light of these discoveries, I aim to locate performance art within politically-driven modes of art-making, and how such an endeavour relates to South African modes of theatre and performance.

Made available in DSpace on 2017-07-10T18:55:59Z (GMT). No. of bitstreams: 1 17-06-2LIDO PRONTA.pdf: 1216250 bytes, checksum: a75af8148d02d17246013f7394ec3a4c (MD5) Previous issue date: 2016-04-10 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / The researched focused on reflections and analyses of the body and biopower agency in short stories from two Rubem Fonseca's works. Secreções, excreções e desatinos (2010) and Axilas e outras histórias indecorosas (2011). From studies about today's body lauding and forms of social body control by defined aesthetical patterns, we have sought to understand how Fonseca's narration reveals a society being a hostage of biopower mechanisms. The general goal was to understand how the power and biopower works in the social field and how people nowadays perceive and approach the docile body. More specifically, we have sought to learn how the abject, abnormal and impure body is approached along the narrations and how the short stories portrait characters who are always bothered by their physical appearance. The theoretical support was possible through readings about the theme which concerned the literature, sociology and anthropology, such as Foucault (1985; 1998; 2000; 2007; 2010), Baudrillard (1995), Le Breton (2003; 2005; 2010) and Douglas (1976). To reach the proposed goal, we support the research with the theoretical assumptions of Literary Critics and Compared Literature. This work is, therefore, a bibliographical research. With eigth short stories selected from the cited books, we understand that, in Fonseca's narration, there is a criticism / A pesquisa ora apresentada focalizou-se em reflexões e análises envolvendo a temática do corpo e do agenciamento do biopoder em contos selecionadas de duas obras de Rubem Fonseca: Secreções, excreções e desatinos (2010) e Axilas e outras histórias indecorosas (2011). A partir de estudos sobre o enaltecimento do corpo na atualidade e das formas de controle do corpo social depreendidas por meio de padrões esteticamente definidos, procura-se entender como as entrelinhas da narrativa fonsequiana revela uma sociedade refém dos mecanismos do biopoder. Com o propósito de nortear a investigação, traçamos, como objetivo geral, entender o funcionamento do poder e do biopoder dentro do campo social e como o corpo dócil é compreendido e abordado na atualidade. Mais especificamente, procura-se apreender como o corpo abjeto, anormal e impuro é tratado nas narrativas e de que maneira os contos retratam personagens sempre incomodadas com sua aparência física. O levantamento teórico foi possível por meio de leituras que abordam a temática sob o viés da literatura, da sociologia e da antropologia, tais como Foucault (1985; 1998; 2000; 2007; 2010), Baudrillard (1995), Le Breton (2003; 2005; 2010) e Douglas (1976). Na perspectiva de alcançar o objetivo proposto, a pesquisa é sustentada nos pressupostos teóricos da Crítica Literária e da Literatura Comparada. Trata-se, portanto, de uma pesquisa do tipo bibliográfica. Selecionados oito contos dos livros citados, entende-se que há na narrativa fonsequiana uma crítica direcionada à imposição de ideais de beleza e de uma ciência voltada para a coisificação do homem