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[pt] A Dissertação de Mestrado (In)Justiça Climática e Mulheres: Um olhar interseccional se propõe a identificar se as razões pelas quais as mulheres são mais vulneráveis e sofrem com maior intensidade os impactos da crise climática têm a influência do gênero como mais um eixo de discriminação e marginalização. Para tanto, apresentamos o Antropoceno, nova época geológica na qual o ser humano é comparado a uma força geológica capaz de alterar o clima e a biosfera, como panorama de fundo para compreensão da crise climática, além de apresentar e discutir o histórico e as características desta. Em seguida, analisamos o conceito ainda novo de Justiça Climática, apresentando seu histórico e inspiração nos movimentos de Justiça Ambiental. Apresentamos a conceituação da Justiça Climática e questões ligadas à responsabilidade histórica entre países do norte e sul globais, além da distribuição desigual de ônus e bônus climáticos entre países, comunidades e até mesmo pessoas, como é o caso específico das mulheres. Ao final, abordamos o conceito da Interseccionalidade, oriundo do feminismo negro norte-americano, como ferramenta analítica que permite compreender as questões específicas das mulheres em diferentes cruzamentos identitários. A crise climática e os movimentos de Justiça Climática são analisados para que se compreenda as vulnerabilidades específicas do gênero feminino, com o olhar interseccional, e se investigue a existência da Interseccionalidade entre gênero e mudanças climáticas a partir de fatores ambientais como pobreza, segurança alimentar, educação, saúde etc. Pretende-se compreender, portanto, a relação entre gênero e mudanças climáticas como mais um fator de opressão e marginalização das mulheres. / [en] The Master s Dissertation Climate (In)Justice and Women: An intersectional View aims to identify whether the reasons why women are more vulnerable and suffer more intensely from the impacts of the climate crisis have the influence of gender as another layer of discrimination and marginalization. To this end, the Anthropocene is presented, a new geological epoch in which the human being is compared to a geological force capable of altering the climate and the biosphere, as a background for understanding the climate crisis, in addition to presenting and discussing its history and the characteristics. Then, the new concept of Climate Justice is analyzed, presenting its history and inspiration on the Environmental Justice movements. It presents the conceptualization of Climate Justice and issues related to historical responsibility between countries in the global north and south, in addition to the uneven distribution of climate burdens and bonuses among countries, communities and even people, as is the specific case of women. In the end, the concept of Intersectionality, from North American black feminism, is approached as an analytical tool that allows understanding the specific issues of women in different identity crossings. The climate crisis and the Climate Justice movements are analyzed in order to understand the specific vulnerabilities of the female gender, with an intersectional look, and to investigate the existence of the intersection between gender and climate change from environmental factors such as poverty, food security, education, health etc. It is intended, therefore, to understand the relationship between gender and climate change as another factor of oppression and marginalization of women.

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Egentligen hade jag aldrig tänkt arbeta med något så till synes opoetiskt som gifter, girighet och genetik i mina konstnärliga och musikaliska verk – mina tidigare verk är mer tvetydiga till sin natur. Men som någon sagt; alla intryck måste få ett uttryck. I synnerhet då det är fråga om livsomvälvande upplevelser som delas av en globalt växande grupp men samtidigt sällan kan uttryckas i brist på allmän kännedom. För mig och denna grupp jag upptäckt handlar det om hur överexponering för (bio)toxiner samverkat med genetiska variationer och gradvis förstört våra immunförsvar samt gett upphov till sk. environmental illness och en rad sammanlänkade följdtillstånd. Mina verk från den här tiden förmedlar kanske ändå klanger och spår av detta på ett poetiskt, universellt och mångbottnat sätt, medan uppsatsen är mera konkret – syftet är att ge ett ytskrap av minoritetserfarenheter med kollektiva och politiska ansatser, analysera deras avspeglingar i mina musikaliska verk och därefter utforska om och hur dessa avtryck upplevs av andra. Endel konstverk berörs i denna text men huvudsakligt fokus ligger, liksom under utbildningen, på mitt musikaliska uttryck. Slutligen tangerar jag nya verk, till vilka jag hoppas bära med mig insikter om musiken som konstnärligt, kommunikativt medium.

At least half of the art objects in the public trust are currently in need of conservation today. In consideration of this crisis, a posthuman version of art conservation curriculum is proposed to transgress current limitations of the field. Through applying Michel Foucault's genealogy and archaeology to art conservation and its education, Anthropocentric motivations undergirding conservation are revealed. Foucault's death meditation inspires my narrativization of a fire event that incites a re-visioning of my over 25 years of conservation and teaching experience. By re-contextualizing theorist Ted Aoki's works, art conservation curriculum becomes a reflective and affective site for reciprocal healing of self and other, incorporating the lives of conservation students and art objects. Reconsidering art conservation curriculum in light of Aokian notions of curriculum as plan and curriculum as lived, provokes the curricular potentialities of new materialism, along with quantum physics' entanglement, intra-agency and intra-activity for the field. Art conservation and its curriculum are radically reimagined as indwelling between humanist priorities of the Anthropocene and posthumanist possibilities towards more caring, ethical and sustainable futures for both human and nonhumans' coexistence on this planet.

En tant que phénomène social, le sacré se manifeste à partir d'un médium, de sorte que la sacralité est conditionnée par les matérialités. L'émergence d'un nouveau médium signifie ainsi l'apparition de nouveaux imaginaires mystiques. Ce travail de recherche s'interroge donc sur les aspects mystiques de l'imaginaire contemporain dévoilés par les médias et les réseaux numériques. Notre stratégie de recherche consiste, dans un premier temps, à engager une approche archéologique des médias, examinant trois différents objets en tant qu'artefacts mystiques : l'écriture, la relique et l'électricité. Cette approche, en s'intéressant à la façon dont chaque médium engendre une fantasmagorie différente, illumine la compréhension de l'imaginaire mystique découlant d'un habitat stratifié en multiples couches. Ensuite, nous examinons certains aspects de la mystique numérique à partir de l'opposition de deux régimes d'imaginaire provoqués par deux écologies matérielles. Premièrement, à l'époque du PC et des interfaces informatiques, il y a l'émergence d'un imaginaire mystique transcendant, cristallisé dans l'image du cyberespace et caractérisé par un nouvel angélisme. Deuxièmement, avec l'introduction des réseaux sans fil et des dispositifs mobiles, l'image d'un environnement réticulaire animiste caractérisé par un retour du paganisme se renforce. Une des formes de cet imaginaire mystique immanent est le technochamanisme, notre terrain de réflexion pour comprendre l'actuel réenchantement du monde marqué par la synergie entre la technique et l'archaïque. / The sacred, as a social phenomenon, manifests from a medium, so the sacredness is conditioned by materialities. The emergence of a new medium means, consequently, the emergence of new mystical imaginaries. This research examines the mystical aspects of the contemporary imaginary unveiled by the media and the digital networks. Our research strategy consists, at first, of engaging a media archaeological approach, examining three different objects as mystical artifacts: the writing, the relic and the electricity. This approach, by focusing on how each medium engenders a different phantasmagoria illuminates the understanding of mystical imaginary arising from a habitat constituted of multiple strata. Then we examine some aspects of digital mysticism from the opposition of two regimes of imaginary caused by two material ecologies. Initially, in the era of PC and computer interfaces, there is the emergence of a transcendent mystical imaginary crystallized in cyberspace image and characterized by a new otherworldliness. Afterwards, with the introduction of wireless networks and mobile devices, the image of a reticular animist environment characterized by a return of paganism is strengthened. One form of this immanent mystical imaginary is the technoshamanism, our field of reflection to understand the current re-enchantment of the world marked by the synergy between technology and archaic. / Enquanto fenômeno social, o sagrado manifesta-se à partir de um medium, de modo que a sacralidade é condicionada pelas materialidades. A emergência de um novo medium significa, assim, o surgimento de novos imaginários místicos. Este estudo interroga-se, portanto, acerca dos aspectos místicos do imaginário contemporâneo desvelados pelos media e redes digitais. Nossa estratégia de pesquisa consiste, em um primeiro momento, em mobilizar uma perspectiva arqueológica dos media, examinando três diferentes objetos como artefatos místicos: a escrita, a relíquia e a eletricidade. Essa abordagem, interessando-se à maneira pela qual cada medium engendra uma fantasmagoria diferente, ilumina a compreensão do imaginário místico resultante de um habitat estratificado em diferentes camadas. Em seguida, examinamos certos aspectos da mística digital a partir da contraposição de dois regimes do imaginário provocados por duas ecologias materiais. Inicialmente, na época do PC e das interfaces informáticas, há a emergência de um imaginário místico transcendental, cristalizado na imagem do ciberespaço e caracterizado por um angelismo renovado. Posteriormente, com a introdução das redes sem fio e dos dispositivos móveis, a imagem de um ambiente reticular animista caracterizado por um retorno do paganismo se reforça. Uma das formas deste imaginário místico imanente é o tecnoxamanismo, nosso campo de reflexão para compreendermos o atual reencantamento do mundo caracterizado pela sinergia entre a técnica e o arcaico.

The paper is an ecocritical analysis of the Empire of the ants, a book written in 1991 by Bernard Werber. Through this green reading, the author seeks to better understand how climate change is created from a social point of view and why, by inherence, it is so difficult to avert. As the book is largely a juxtaposition of the human society and that of ants, the author compares the two species in order to determine which one is better equipped to tackle climate change, as well as which factors, cultural, political or biological, allow for the necessary measures to be taken. The study finds that the complexity of climate change exceeds our understanding of time and space, making it impossible for us to imagine and consequently tackle in any satisfactory manner. Though ants display features superior to ours when it comes to carrying out this task, the study further concludes that there is an accompanying moral dilemma to such actions, as the environmentally profitable not always is in the best interest of individual lives.

The central aim of this thesis is to provide a detailed ethnographic account of the human ecology of the Broads - a protected wetland region in the East of England - focussing upon how working lives shape and are shaped by this reedy landscape. In conversations about the management of the Broads, the concept of "common sense" is a frequent trope; encompassing a wide range of associated meanings. But what are these meanings of "common sense" in English culture, and how do they influence the peoples of England, and landscapes in which they work? This thesis addresses these questions ethnographically; using academic and lay deployments of common sense as a route into the political economy of rural Norfolk. Based on 12 months of fieldwork in the Broads National Park, this thesis draws together interviews and participant observation with land managers of various kinds - including conservationists, farmers, gamekeepers, volunteers, gardeners, and administrators. Chapter 1 dissects the differences between academic and popular understandings of "common sense" as a phrase, and produces an ethnographically-derived, working definition. Chapter 2 examines the attitudes of farmers, establishing "the common" as a root metaphor for social and practical rectitude, actualised through labouring in a shared landscape. Chapter 3 explores how the common is sensed, reflecting upon the diverse sensoria afforded by different degrees of enclosure on a single nature reserve. Chapter 4 explores how the concept of common sense intersects with a prevailing culture of possessive individualism, creating a fragmented society in the Park, wracked by controversies over management. Chapter 5 examines bureaucracy in Broadland - frequently cast as the very antithesis of common sense. In the conclusion, we return to the title, and ask - what do the reeds have to say about land, labour, and human nature?

In the Anthropocene, a new approach towards nature in poetry is emerging. This change is closely related to ecocritical theory, which is a reevaluation of the human view on, and representation of, nature. It moves away from a more traditional anthropocentric perspective to a more critical one. This can for instance be in the spirit of Arne Naess or Timothy Morton, the two main theorists used in this essay. This essay is an ecocritical close reading of two Swedish contemporary poems on nature: “När jag går i skymningsmörkret” by Ingela Strandberg (from Att snara en fågel, 2018) and “(Strandförskjutningar)” by Gunnar D Hansson (from Tapeshavet, 2017). The focus of the reading is on the representation of wild, untouched nature. The formulated questions in the essay concern how untouched nature is represented in the poems, the human relationship towards it and how the differences and similarities between the two poems relate to and transform romantic representations of nature.  The conclusion is that these two very different poems exemplify the range of contemporary Swedish nature poetry. Strandberg’s poem is leaning towards a romantic or ecosofist representation of nature, whilst Hansson’s is more clear-cut ecocritical in line with Morton’s dark ecology.

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