This thesis is not a life history of Archie Mafeje. Instead, it is an attempt to grapple with his ideas. This thesis is said to be a ‘biography’ insofar as it is dedicated to a study of one individual and his contribution to knowledge. In trying to understand Mafeje’s ideas and the intellectual and political environment that shaped them, the thesis relies on Lewis R. Gordon’s concept of ‘epistemic possibility’. The thesis comprises four main parts. Part I locates Mafeje and his work within the broader African intellectual and political environment. Part II evaluates his critique of the social sciences. Part III focuses on his work on land and agrarian issues in sub-Saharan Africa. Part IV deals with his work on revolutionary theory and politics. Broadly speaking, this thesis is the first comprehensive engagement with the entire body of Mafeje’s scholarship. Specifically, the unique perspective of this thesis, and therefore its primary contribution to the existing body of knowledge, is that it seeks to overturn the idea that Mafeje was a critic of the discipline of anthropology only. The view that Mafeje was a mere critic of anthropology is in this thesis referred to as the standard view or the conventional view. The thesis argues that Mafeje is best understood as criticising all of the bourgeois social sciences for being Eurocentric and imperialist. This is offered as the alternative view. The thesis argues that the standard view makes a reformist of Mafeje, while the alternative view seeks to present him as the revolutionary scholar that he was. This interpretation lays the foundation for a profounder analysis of Mafeje’s work. In arguing that all the social sciences are Eurocentric and imperialist, he sought to liquidate them and therefore called for ‘non-disciplinarity’. It should be noted that in this regard, the primary focus of this thesis consists in following the unit of his thought and not whether he succeeded or failed in this difficult task. / Sociology / D. Litt. et Phil. (Sociology)

A Lima, au XIXe siècle, au sein d’une quête identitaire locale et nationale, l’altérité de la population descendante d’Africains fut réélaborée notamment après l’abolition de l’esclavage (1854). Ce processus définit des représentations particulières attribuées aux noirs qui entrecroisaient à la fois des catégories socio-économiques et raciales liées à une histoire culturelle de la ville dite criolla. A travers un éclairage historique, cette thèse analyse cette construction de lo negro (ce qui est entendu comme noir) et étudie la réappropriation et la resignification de ces images. Au XXe siècle, à partir de la revalorisation d’expressions artistiques, plusieurs artistes révélèrent et revendiquèrent leurs origines africaines, réécrivant une narrative identitaire et définissant un corpus culturel singulier afro-péruvien. Celui-ci devint central pour les subjectivations identitaires des générations suivantes d’Afro-descendants. Ainsi, l’enquête ethnographique, auprès de jeunes péruviens, s’identifiant comme afro-péruviens, montre de quelles manières la narrative culturelle afro-péruvienne leur permet de renouer avec « leur histoire » et « leur culture ». Enfin, dans une dynamique globale d’affirmation de l’afro-descendance et un contexte politique national de reconnaissance de la diversité ethnique du pays, cette recherche analyse l’institutionnalisation de l’afro-péruvianité. En réponse aux enjeux issus de cette reconnaissance se développent des renégociations identitaires, principalement, au sein d’un espace militant afro-péruvien. En quête de légitimité, ces réélaborations identitaires ne cessent de réinventer la narrative afro-péruvienne en fédérant des expériences singulières et plurielles, et esquissant le projet d’un collectif afro-péruvien. / Within a context of local and national search for identity, in the 19th century, in Lima, the alterity of the Afro-descendant population was re-evaluated. This re-evaluation process defined the particular representations ascribed to the black population that criss-crossed both socio-economic and racial categories related to the cultural history of the town dubbed Criolla. Through a historical perspective, this thesis analyses the blackness construction and studies the reappropriation and redefinition of these representations. During the 20th century, with the revaluation of artistic expressions, many artists unveiled their African heritage through their expressions and claimed their African roots, establishing a singular Afro-Peruvian cultural corpus. It became a central and founding movement for the identity subjectivations of the next generations of Afro-descendants. Thus, the ethnographic investigation carried out on young Peruvians, identifying themselves as Afro-Peruvians, shows how the Afro-Peruvian cultural narrative enables them to reconnect with their ‘history’ and ‘culture’. Finally, in a global impetus of Afro-descendant’s assertiveness and a national political context of acknowledgement of the country’s ethnic diversity, this study analyses the institutionalization of Afro-Peruvianity. In response to the stakes caused by this acknowledgement, one notices the development of identity renegotiations. In the quest for legitimacy, while rallying historical figures of alterity, these identity re-evaluations keep on reinventing the Afro-Peruvian narrative, by unifying individual and group experiences, and by drafting the project of an Afro-Peruvian community. / En Lima, en el siglo XIX, en el contexto de una búsqueda identitaria local y nacional, la alteridad de la población afrodescendiente fue nuevamente elaborada luego de la abolición de la esclavitud (1854). Este proceso definió representaciones particulares atribuidas a los negros que entrecruzaban categorías socioeconómicas y raciales relacionadas a una historia cultural (criolla) de la ciudad. A través de una perspectiva histórica, esta tesis analiza esta construcción de lo negro y estudia una nueva apropiación y una nueva significación de estas imágenes.En el siglo XX, a partir de la revalorización de expresiones artísticas, varios artistas dieron a conocer la herencia africana y reivindicaron sus orígenes africanos, volviendo a escribir una narrativa identificatoria y definiendo un corpus cultural singular afroperuano. El cual se volvió central para los procesos del subjetivismo identificatorio de las generaciones futuras de Afrodescendientes. De esta manera, la investigación etnográfica con jóvenes peruanos, que se identifican como afroperuanos, muestra en qué medida la narrativa cultural afroperuana les permite reanudar con "su historia" y "su cultura".Finalmente, en una dinámica global de afirmación de la afrodescendencia y en un contexto político nacional de reconocimiento de la diversidad étnica del país, esta tesis analiza la institucionalización de la afroperuanidad y el desarrollo de negociaciones identificatorias en respuesta a los desafíos y tensiones nacidas de este reconocimiento político. En busca de legitimidad, estas reelaboraciones no dejan de inventar de nuevo la narrativa afroperuana federando experiencias singulares y plurales, y delineando el proyecto de un colectivo afroperuano.

Made available in DSpace on 2011-05-04T12:42:04Z (GMT). No. of bitstreams: 0 Previous issue date: 2009 / O desenvolvimento do conceito de corpo é marcado pela visão dissociada do homem em sua relação com a natureza, com conseqüentes implicações na epidemiologia. Este estudo tem aperspectiva de entender o corpo como integrado numa rede de elementos constitutivos, numa dinâmica de interações entre seus componentes e entre estes e outros seres e seu ambiente. Esta dinâmica se dá num contexto de alteridade, entendida não apenas no sentido das relações humanas, mas na sua acepção original, como qualidade do que é outro. Estudos recentes da biologia permitem supor um elo entre a questão da alteridade e suas raízes biológicas, integrando-a aos processos do adoecer. A capacidade de ação, de rearranjo do ser vivo em uma dinâmica de relações regulatórias e a noção de identidade são considerados na discussão dos fenômenos imunes. A alteridade aqui é vista como inata e biológica, no interior da qual a subjetividade é construída. Não há como considerar a alteridade sem aludir à subjetividade e à individualidade. Estes aspectos aparecem com clareza na experiência do transplante. Para desvendá-la, foi realizado um estudo qualitativo com base na abordagem fenomenológica, inspirado nas teorias da complexidade e referenciado por aporte teórico de vários saberes,num diálogo interdisciplinar. Foram realizadas vinte entrevistas em profundidade com pessoas que passaram pela experiência do transplante, independentemente do tipo de transplante realizado, do sexo ou grau de instrução. Após análise, foram identificadas as seguintes unidades de significado: a doença, um susto; riqueza de detalhes: a memória do corpo; qualidade (?) de vida antes do transplante; o tempo de espera; um telefonema: o chamado para uma nova vida; acordando diferente: começo de uma nova história; o estranhamento; alteridade: dívida, dádiva e gratidão; a dívida negativa; rejeição: a ameaça que vem de dentro; a dívida positiva; doadores vivos; nascendo de novo: uma vida praticamente normal; mudança de valores: o transplante como um caminho de transformação; a rede de alteridade conexões e esgarçamentos. Estas unidades de significado deram origem a quatro grandes temas que foram distribuídos nos seguintes capítulos: A Vida Antes do Transplante; O Transplante de (uma nova) Vida; Paradoxos da Alteridade: fechamento e abertura; A Vida Depois do Transplante. O estudo conclui considerando que tudo o que o homem é está enraizado na sua biologia, nela incluída e justaposta a dimensão subjetiva. A dimensão subjetiva humana é cunhada nas interações com os outros e com o meio. O ser humano (e, acreditamos, todo ser vivo) é constitutivamente relacional. Está, portanto, atrelado a uma dinâmica de alteridade, vivida de maneira radical pela pessoa transplantada. Sugere, assim, a conclusão de que não há separação entre mente e corpo, embora ainda subsista uma ponte a construir sobre o conhecimento para transpor o hiato entre as questões biológicas, as práticas intervencionistas e a experiência subjetiva. / The development of the concept of body is marked by men’s dissociated vision with his relationship with nature with consequents implication in epidemiology. This study has the perspective of understand the body as a part of a net of constitutive elements, in a dynamic of interaction between its components, and between those, and other beings in its environment. This dynamic happens in an alterity context, understood not only in the human relationship, but in its original acceptation, as “quality of what is the other”. Recent biology studies permit to assume a connection between the alterity issue and its biological roots, integrating it to the sickening process. The action capacity, of rearrangement of living beings in a dynamic of regulatory relationships and the notion of identity is considered in the discussion of the immunes phenomena. The alterity is seen here as innate and biological in the interior of which the subjectivity is built. There is no way to considerate alterity without alluding to the subjectivity and individuality. These aspects appear with clarity in the transplant experiment. To unfold it, a qualitative study was made with base in the phenomenological approach, inspired by the theories of complexity and referencing in theoretical port of several knowledge in an interdisciplinary dialogue. Twenty interviews were made in depth, with people who have gone trough the transplant experience, independently of the kind of transplant performed, gender or instruction degree. After analysis, there were identified the following units of meaning, the disease, a scary; richness of details: the body memory: life quality before the transplant; the waiting period; a phone call: the call to a new life; waking up differently: the beginning of a new story, the strangeness; alterity: debt, gift and thankfulness; the negative debt; rejection: the threat that comes from inside; the positive debt; living donors; being born again; a “practically normal life”; change of values: the transplant as a way of transformation; the alterity net: connections and separations. These units of meaning gave origin to four big themes that were distributed in the following chapters: The Life Before the Transplant; The Transplant of (a new) Life; Alterity paradoxes: closing and opening; The Life after Transplant. The study concludes considering that every thing that men is, is enrooted in our biology, and on it is included and juxtaposed to the subjective dimension. The human subjective dimension is intrinsic to the interaction with others and the environment. The human being (and, we believe all live beings) is constitutively relational. Is, ergo, attached to an alterity dynamic, experienced in a radical manner by the transplanted person. So it is suggested the conclusion that there is no separation between body and mind, even though there is a bridge to still be built over the knowledge to connect the hiatus between the biological issues, interventionist practices and subjective experience.

Made available in DSpace on 2016-06-02T20:24:03Z (GMT). No. of bitstreams: 1 Retido.pdf: 19733 bytes, checksum: 6aad255badc436a06364517de2344ab6 (MD5) Previous issue date: 2014-12-02 / Universidade Federal de Minas Gerais / The perspective of this work was to understand the culture as an opening way to alterity in the process of identity construction of a socially organized group, reflecting from the philosophy of Mikhail Bakhtin and the Circle as this sphere, in general, acts as a point against the formation of words and dialogues. The attention turned to the festivities and popular demonstrations that insert in Pernambuco's popular culture, specifically in the carnivalesque cycle, the attempt to delineate a scope of relations and permanent vehicles and reflected in everyday life that build a (dis)order in the aesthetic of popular culture of Recife s carnival. Thereby, the overall objective of this work is to reflect how images of grotesque realism incarnate in bodies and form this ambivalent aesthetics through which citizens can experience their freedoms and build accountable acts inside and outside of the official days of Momo s revelry It was point of interest of this research the ways in which such manifestations to embody a grotesque corporeality in their practices break social hierarchies to put in interaction and discourse game the various classes that take part in them, sketching out a popular culture that is based on human interactions infringement and in the establishment of responsible acts of loveliness. As a starting point for understanding it was highlighted the frevo, rhythm transformed over the years into an ideological symbol of Pernambuco s identity, to understand it in relation to other events such as Boi de Carnaval, Maracatu, Urso de Carnaval and the Galo da Madrugada. The methodological line that leads the strength of this work was due to the experience of the party from an ethnographic point of view, in order to single out all its phenomena in the existence of life, to understand it among a dialogical readback process of texts in various materialities, organized in secondary speech genres that function as the meeting place of ethics and aesthetics. We conclude that the carnivalesque popular culture cycle has in its grotesque aesthetic the attribute that allows revelers to experience their freedoms on feast days, taking the street and turning it into transgressions stage. The participation and inclusion in the popular universe was essential to conclude that the understanding of culture in the life through the materialized word in texts can only become productive if done in an exotopic perspective, however, participative perspective; otherwise it loses all the wealth and dynamism of responsible acts of man interacting with their fellowmen, turning them into abstraction. / A perspectiva desse trabalho foi compreender a cultura como um recinto de abertura para alteridade no processo de construção da identidade de um grupo socialmente organizado, refletindo a partir da filosofia de Mikhail Bakhtin e do Círculo como essa esfera, de modo geral, funciona como um ponto de encontro de palavras e constituição de diálogos. A atenção se voltou para os festejos e manifestações populares que se inserem na cultura popular pernambucana, especificamente no ciclo carnavalesco, na tentativa de delinear uma abrangência das relações e dos veículos permanentes e consagrados na vida cotidiana que edificam uma (des)ordem estética na cultura popular do carnaval do Recife. Desse modo, o objetivo geral do trabalho é refletir como as imagens do realismo grotesco se encarnam nos corpos e dão forma a essa estética ambivalente por meio da qual os sujeitos podem vivenciar suas liberdades e constituir atos responsáveis dentro e fora dos dias oficias da folia de Momo. Foi ponto de interesse dessa pesquisa os modos pelos quais tais manifestações ao encarnarem uma corporeidade grotesca em suas práticas quebram hierarquias sociais ao colocar em interação e jogo discursivo as diversas classes que delas participam, bosquejando uma cultura popular que se fundamenta na transgressão das interações humanas e na constituição de atos responsáveis de amorosidade. Como ponto de partida para a compreensão foi recortado o frevo, ritmo transformado ao longo dos anos em símbolo ideológico da identidade pernambucana, para compreendê-lo em relação a outras manifestações como Boi de Carnaval, Maracatu, Urso de Carnaval e o Galo da Madrugada. A linha metodológica que conduz a força desse trabalho se deu pelo experienciar da festa a partir de um ponto de vista etnográfico, com a finalidade de singularizar todos os seus fenômenos no existir da vida, para compreendê-la no seio de um processo de cotejamento dialógico de textos, em diversas materialidades, organizados em gêneros do discurso secundários que funcionam como o lugar de encontro da ética e da estética. Conclui-se que a cultura popular no ciclo carnavalesco tem na sua estética grotesca o atributo que permite aos foliões vivenciarem suas liberdades nos dias de festa, tomando a rua e transformando-a em palco de transgressões. A participação e a inserção no universo popular fora essencial para rematar que a compreensão da cultura na vida por meio da palavra materializada em textos só pode se tornar produtiva se feita de uma perspectiva exotópica, porém, participativa, caso contrário perde-se toda a riqueza e dinamicidade dos atos responsáveis do homem em interação com seus semelhantes, transformando-os em abstração.

[pt] Esta dissertação busca delinear o desenvolvimento, articulado com a clínica, do conceito de supereu por Freud e sua revisão por Lacan, para pensar sua reverberação recíproca com a cultura. O supereu freudiano, como instância estrutural do aparelho psíquico, tem sua gênese na identificação com o pai, antes e depois do Complexo de Édipo, ao mesmo tempo em que porta a marca da pulsão de morte. Freud dá ênfase às manifestações cruéis da ação autoritária do supereu que, por produzirem um desprazer do qual pode ser difícil prescindir, constituem importante obstáculo ao trabalho clínico e ao laço social. Lacan desloca a referência freudiana ao pai para o campo da linguagem, articulando a função paterna com a estrutura significante, em detrimento das imagos, indo da conceituação do Nome-do-pai aos Nomes-do-pai em suas dimensões imaginária, simbólica e real. Seus novos conceitos de gozo e objeto a reforçam a centralidade da função superegóica, privilegiando sua dimensão pulsional e alteritária e ampliando a perspectiva dinâmica de sua constituição e de seus efeitos. Em função do deslocamento do conceito da referência de autoridade para a de alteridade e de sua estreita relação com o desamparo, abre-se uma via para propor a articulação do supereu com a visada ética pela qual Freud toma o trabalho clínico da psicanálise como uma obra de cultura. / [en] This work aims to study the theoretical development (articulated with clinical practice) of the superego concept by Freud and its revision by Lacan, and to consider its reciprocal effects on culture. The Freudian superego, as a structural agency of the psychic apparatus, has its origin in the identification with the father, before and after the Oedipus complex, at the same time that carries death drive embedded. Freud emphasizes the cruel manifestation of the authoritarian action of the superego which constitute an important obstacle for the clinic work and the social bonds, once these manifestations produce an unpleasure from which it can be hard to prescind. Lacan changes the Freudian reference of the father to the language field, articulating the paternal function with the signifier s structure, to the detriment of the imagos, going from the concept of Name-of-the-father to Names-of-the-father in its imaginary, symbolic and real dimensions. His new concepts of jouissance and object a, reinforce the centrality of the superegoic function, privileging its pulsional and alterity dimension and augmenting the dynamical perspective of its constitution and its effects. Due to this concept shifting its reference from authority to alterity and its close relation with the helplessness, it gives an opportunity to propose the articulation of the superego with the ethical concerns by which Freud takes the psychoanalytic clinical practice as a work of culture.

This study examines the practical and political implications of sympathy as a mode of achieving the intercommunicative relationship between the self and the other, emphasizing the significance of subjective agency not simply guided by the imperative category of morality but mainly enacted by a hybrid of discourses through the interaction between the two entities. Scenes of Clerical Life, Eliot's first fictional narrative on illuminating the intertwining relation of religion to secular conditions of life, reveals that the essence of religion is the practice of love between the self and the other derived from sympathy and invoked by their dialogic discourses of confession which enable them to foster the communality, on the grounds that the alterity implicated in the narrative of the other summons and re-historicizes the narrative of the subject's traumatic event in the past. Romola, Eliot's historical novel, highlights the performativity of subject which, on the one hand, locates Romola outside the social frame of domination and appropriation as a way of challenging the universalizing discourses of morality and duty sanctioned by the patriarchal ideology of norms, religion, and marriage. On the other hand, the heroine re-engages herself inside the social structure as a response to other's need for help by substantiating her compassion for others in action. Felix Holt, the Radical, Eliot's political and industrial novel, investigates the limits of moral discourse and instrumental reason. Esther employs her strategy of hybridizing her aesthetic and moral tastes in order to debilitate masculine desires for moral inculcation and material calculation. Esther reinvigorates her subjectivity by simultaneously internalizing and externalizing a hybrid of tastes. In effect, the empowerment of her subjectivity is designed not only to provide others with substantial help from the promptings of her sympathy for them, but also to fulfill her romantic plot of marriage.

Orientador: Omar Ribeiro Thomaz / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciências Humanas / Made available in DSpace on 2018-08-22T05:15:56Z (GMT). No. of bitstreams: 1 Oliveira_ArielRolim_M.pdf: 2189699 bytes, checksum: 933089fd3c1ecc008020db1de7a1c9bc (MD5) Previous issue date: 2013 / Resumo: O líder político Jonas Savimbi ocupou uma posição privilegiada de observação dos entrecruzamentos das linguagens segundo as quais se lutou a guerra em Angola. O nexo entre as esferas global e local do conflito, incluindo aí seus diferentes códigos de reportagem, pode ser apreendido a partir da análise das lideranças - entendidas aqui, não como indivíduos, mas como catalisadores de "comunidades imaginadas". Atento ao plano das estratégias dos agentes que, mesmo se relacionando a referências discursivas inconciliáveis e irredutíveis umas às outras, na prática, conformaram uma rede de inimizades produtiva - e aí surge uma dimensão completamente desvinculada dos modelos e discursos. A questão que coloco aqui é em que medida a noção de "inimigo" como categoria de alteridade no plano das relações práticas, entrevista nos discursos de Savimbi, pode nos ajudar a compreender o cenário de disparidades e a multiplicidade de formas de conflito que o caso angolano comporta. Volto-me aos códigos mobilizados por cada um dos contendores na significação da luta como condição para que, fugindo dos preceitos dos modelos a que cada um se reporta nesse processo, possamos ver a guerra como uma arena de interações onde os atores se comunicam ou, ao menos, se reconhecem (no duplo sentido do termo) para melhor lutar. Sigo a hipótese de que a guerra tenha sido uma rede prática de trocas violentas (jamais simétricas) não só de projéteis, mas também de nomes e códigos entre os contendores que iriam moldar de forma decisiva o imaginário nacional angolano - um país cujas fronteiras mais ou menos arbitrárias haviam sido herança direta do colonialismo português. Nesse sentido, cada umas das partes em disputa necessitavam criar um discurso nacional unificador - concorrente ao rival. Os beligerantes mantinham uma esfera de aliança tácita, mas não expressa, em torno da construção e manutenção da plausibilidade nacional / Abstract: The political leader Jonas Savimbi has occupied a privileged observing position of the language crossings according to which the war in Angola was fought. The nexus between global and local dimensions of this conflict (the different codes of report there included), can be apprehended from the analysis of the leaders - understood, here, not as individuals, but as catalyzers of "imagined communities". I focus on the plan of the agents' strategies that, even if in relation to irreconcilable references of discourse to one another, in practice, comprehend a productive net of enmity. Therefore a dimension completely detached from models rises. The question I pose here is: in which measure the notion of "enemy" as a category of alterity on the plan of practical relations - glimpsed in the speeches of Savimbi - can help us to understand the set of disparities and multiplicity of ways of conflict that the Angolan case bears? I turn myself to the codes mobilized by each of the contenders to ascribe meaning to the fight as a condition - escaping the tenets of the models to which each one reports in this process - for us to see the war as an arena of interaction where de actors communicate or, at least, acknowledge (in the double meaning of the term) themselves to better fight. I follow the hypothesis that the war has been a practical net of violent (and never symmetrical) exchange not only of bullets, but also of names and codes between contenders who would engrave the imagery of Angola in a decisive way - a country which its more or less arbitrary borders had been a direct heritage from the Portuguese colonialism. In this sense, each part in the dispute needed to create a rival national unifying discourse. The belligerents kept a level of tacit alliance, though not expressed, around the construction e maintenance of national plausibility / Mestrado / Antropologia Social / Mestre em Antropologia Social

O objeto desta dissertação de Mestrado é composto pela série Auto-Retrato Coletivo de Nardo Germano. Organizada artisticamente como repositório crítico de uma identidade coletiva seu tema central , a série constitui-se de auto-retratos híbridos entre o Indivíduo e o Coletivo, questionando a construção identitária marcada por estigmas sociais. As obras que compõem a série são: 1)Auto-Objeto; 2)Sujeitos; 3)Auto-Retrato por Metro Quadrado; 4)Cabeça Defronte; 5)Auto-Retr_Ato_Coletivo; 6)Especulares #7; 7)Corpo Coletivo; 8)AlterEgo; 9)ANDROMAQUIA on-line; e 10)Doe Seu Rosto/Give Me Your Face. A atual pesquisa artística dá continuidade a Auto-Objeto(1987), uma obra composta por painéis de auto-retratos sem negativo obtidos em cabine Fotomática, e articula-se a partir da digitalização de um conjunto imanente da obra Sujeitos(1987), colagens realizadas com auto-retratos acéfalos, recortes de textos, imagens e manchetes de jornal. Com o objetivo de, nesta fase, estabelecer novos contrapontos ao discurso monológico identitário oficial bem como ao conceito de uma autoridade do artista como autor que controla os sentidos da obra, a criação partiu da hipótese de que o investimento nos graus de abertura à recepção podem promover o dialogismo e polifonia almejados, com a inclusão da alteridade, das expressões e dos pontos de vista dos espectadores na noção de identidade coletiva veiculada nas obras, considerando os conceitos de obra aberta de Umberto Eco bem como de dialogismo e polifonia de Mikhail Bakhtin. A presente dissertação discorre sobre aquelas obras originais como paradigmas internos da criação e sobre as obras produzidas durante esta pesquisa artística, focando nas proposições dialógicas de poéticas abertas, bem como nas estratégias de participação e interatividade então implementadas, realizadas em ambiente real e/ou através dos meios tecnológicos. O texto explicita e reflete sobre as poéticas de abertura envolvidas na recepção, comprovando por fim a hipótese de trabalho. Em suma, no que tange aos resultados sobre o tema proposto, conclui-se que Auto-Retrato Coletivo promove um movimento contínuo de construção e desconstrução identitária possibilitado pela abertura poética aos espectadores que, convertidos em participantes e/ou interatores, cumulativamente renovam, expandem e problematizam a identidade coletiva, inscrevendo-a na dimensão Utópica de Identidades Abertas. / The object of this dissertation of Master\'s degree is composed by Nardo Germano\'s series Collective Self-Portrait. Organized artistically as critical repository of a collective identity its central theme , the series is constituted of hybrid self-portraits between the Individual and the Collectivity, discussing the construction of identities characterized by social stigmata. The works that compose the series are: 1)Auto-Objeto; 2)Sujeitos; 3)Auto- Retrato por Metro Quadrado; 4)Cabeça Defronte; 5)Auto-Retr_Ato_Coletivo; 6)Especulares #7; 7)Corpo Coletivo; 8)AlterEgo; 9)ANDROMAQUIA on-line; e 10)Doe Seu Rosto/Give Me Your Face. The current artistic research gives continuity the Auto-Objeto(1987), an art-work composed by panels of self-portraits without negative obtained at Photomaton Cabin, and organized through a process of scanning an immanent group of the art-work Sujeitos(1987), collages accomplished with acephalous self-portraits, cuttings of texts, images and newspaper headlines. With the objective of, in this phase, to establish new counterpoints to the monologic official speech about identity as well as to the concept of an authority of the artist as author that controls the meanings of the art-work, the creation worked with the hypothesis that the investment in the opening degrees to the reception can promote the necessary dialogism and polyphony, with the inclusion of the spectators\' alterity, expressions and points of view in the notion of collective identity in the art-works, considering the concepts of Umberto Ecos open work and Mikhail Bakhtins dialogism and polyphony. The present dissertation describes those original art-works as internal paradigms of the creation and the art-works produced during this artistic research, focusing in the dialogical propositions of open poetics, as well as in the strategies of participation and interactivity implemented, in real ambience and/or through the technological media. The text explicits and reflects the poetics of opening to the spectator involved in the reception, proving finally the work hypothesis. In short, with respect to the results on the proposed theme, the conclusion is that Collective Self-Portrait promotes a continuous movement of construction and deconstruction of identities, possible by the poetical openness to the spectators who, converted in participants and/or interactors, cumulatively renew, expand and problematize the collective identity, enrolling it in the Utopian dimension of Open Identities.

Dans cette recherche, nous analyserons les dynamiques des contacts culturels entre les Québécois et les Latino-Américains, dans le but d'étudier la production et le développement d'une identité latino-québécoise surgie des processus de reconfiguration d’identité. Nous montrons comment les éléments culturels de ces deux groupes sont présentés et mis en relation dans une littérature d’origine latino-américaine produite au Québec, à partir de quelques analyses de l’écriture migrante (Moisan, 2008; Dupuis, 2006; 2005; Chartier, 2002). Pour ce faire, nous examinons les trois œuvres de notre corpus individuellement, en identifiant une problématique de l’écriture migrante dans chaque œuvre, selon l’approche littéraire. D’abord, pour la nouvelle « Le pays du Nord extrême » de Roberto Angulo (2015), nous analysons la création des personnages en abordant des questions telles que l’identification (Acha, 1996), l'altérité et la double appartenance (Bhabha, 1943). Ensuite, nous examinons la construction de l'espace dans la formation de l'identité du protagoniste migrant de la nouvelle « Côte-des-Neiges » de Gerardo Ferro (2016), en abordant les concepts du chronotope (Bakhtin, 1989), du lieu habité (Harel, 2005) et de l’espace social (Bourdieu, 1994). Finalement, à travers de la théorie du roman (Eikhenbaum, 1965) et de concepts comme les espaces interstitiels (Bhabha, 1943) et la transculturation (Rama, 2004), nous étudions les processus de rupture et de négociation de la société québécoise dans le roman Côte-des-Nègres de Mauricio Segura (2003). Cette mémoire focalise certains dynamiques du contact culturel qui favorisent et problématisent les processus de reconfiguration d’identité de la population migrante latinoaméricaine au Québec. Dans ce sens, elle cherche à exposer de nouvelles formes d’identification culturelle. / This work analyzes the dynamics of the cultural contact between Québec and Latin America in order to study the production and development of a Latin-Quebecer identity based on the processes of reconfiguration of identity. Likewise, it studies how literary texts of Latin-American origin produced in Quebec present and intertwine the cultural elements of these two groups, in dialogue with existing analyses of migrant writing (Moisan, 2008; Dupuis, 2006; Chartier, 2002). Therefore, individualized analyses of the three works of our corpus focus on distinct issues relating to migrant writing. First, in the short story “El país de los hiperbóreos” by Roberto Angulo (2015), we analyze how characters were created to address processes of identity formation (Acha, 1996), alterity and the sense of a double belonging (Bhabha, 2007). Second, in the Gerardo Ferro’s short story “Côte-des-Neiges” we focus on how space is represented, and its correlation to the development of the migrant’s identity, in dialogue with the concepts of chronotope (Bajtín, 1989), habitable place (Harel, 2005) and social space (Bourdieu, 1994). Lastly, with Mauricio Segura’s novel Côte-des-Nègres (2003), we draw on theories of the novel (Eikhenbaum, 1965), transculturation (Rama, 2004) and interstitial spaces (Bhabha, 2007), to focus on processes of rupture and negotiation in Quebec society. This research project aims to outline some dynamics of cultural contact that favor or obstruct the processes of reconfiguring the identities of the Latin-American migrant population in Quebec. / En este trabajo analizamos las dinámicas de contacto cultural entre quebequenses y latinoamericanos, con el fin de estudiar la producción y el desarrollo de una identidad Latino-quebequense basada en procesos de reconfiguración de identidad. Exponemos cómo los elementos culturales de estos dos grupos son presentados y puestos en relación en una literatura de origen latinoamericano producida en Quebec, a la luz de algunos análisis de la escritura migrante (Moisan, 2008; Dupuis, 2006; Chartier, 2002). Así pues, realizamos un estudio de manera individual sobre las tres obras que componen nuestro corpus, intentando identificar una problemática de la escritura migrante en cada obra, según una aproximación literaria. Primero, para el cuento «El país de los hiperbóreos» de Roberto Angulo (2015) analizamos la creación de personajes abordando cuestiones como identificación (Acha, 1996), alteridad y sentido de doble pertenencia (Bhabha, 2007). Luego, en el cuento «Côte-des-Neiges» de Gerardo Ferro (2016) examinamos la presentación del espacio y su correspondencia con la formación de identidad del sujeto migrante, apoyados en los conceptos de cronotopo (Bajtín, 1989), lugar habitado (Harel, 2005) y espacio social (Bourdieu, 1994). Por último, sirviéndonos de la teoría de la novela (Eikhenbaum, 1965), de la transculturación (Rama, 2004) y de los espacios intersticios (Bhabha, 2007), estudiamos en la novela Côte-des-Nègres de Mauricio Segura (2003) los procesos de ruptura y negociación que se producen en la representación de la sociedad quebequense. Esta investigación busca destacar algunas dinámicas del contacto cultural que favorecen y obstaculizan los procesos de reconfiguración de identidad de la población migrante latinoamericana en Quebec exponiendo nuevas formas de identificación cultural.

Cette étude porte sur l’analyse du discours identitaire du recueil Pourquoi as-tu laissé le cheval à sa solitude ? de Mahmoud Darwich à savoir la nature de la relation que le Moi (celui de Mahmoud Darwich) entretient avec le Moi de l’Autre. Autrement dit, le recueil en question ressemble à un dialogue où le même et l’autre se plongent dans un discours à titre argumentatif. La réponse à la question de la relation entre les deux parties du dialogue est abordée, premièrement, d’un point de vue thématique/théorique : la présentation de la figure emblématique du Moi darwichien perçu en tant qu’un, ayant une identité personnelle, culturelle, sociale et nationale, différente de celle dont dispose l’autre un (celui de l’Autre). Deuxièmement, d’un point de vue pratique, le type de relation entre les deux côtés a été montré à travers l’analyse du corpus du recueil se composant de six groupes. / This study focuses on the analysis of identity discourse of Darwich’s collection : Why did you leave the horse alone? in order to know the nature of relationship that the me of Darwich maintains with the me of the Other. In other words, our collection looks like a “dialogue” where the me of Darwich and the me of the Other plunge into an argumentative discourse. To answer our question about the relationship between the two parts of dialogue, we have firstly chosen a theoretical approach: the presentation of the emblematic figure of Darwich perceived as one, having a personal, cultural, social and national identity, different from the identity of the other one. Secondly, through a practical point of view, the type of relationship between the two sides has been shown through the analysis of the corpus consisting of six groups.