Made available in DSpace on 2014-06-11T19:35:38Z (GMT). No. of bitstreams: 0 Previous issue date: 2010-02-25Bitstream added on 2014-06-13T18:46:57Z : No. of bitstreams: 1 malvezzi_mjt_dr_sjrp.pdf: 1261719 bytes, checksum: 8b9caf1ce5b620163c4a8ad6d54fb4dd (MD5) / Esta tese analisa as obras The New World Border (1996), de Guillermo Gómez-Peña e Borderlands/La Frontera: The New Mestiza (1987), de Gloria Anzaldúa, com o objetivo de verificar como esses escritores abordam problemas de identidade enfrentados pelos Chicanos, cidadãos divididos entre as tradições de seus ancestrais e estilo de vida nos Estados Unidos. Para os autores, apenas atravessar a fronteira física México/EUA não significa necessariamente fazer travessia por completo, uma vez que as “fronteiras” culturais e econômicas são as verdadeiras divisoras entre, de um lado, os imigrantes e seus descendentes e, de outro, os americanos. Mesmo assim, os Chicanos lutam para ter voz. Anzaldúa e Gómez-Peña mostram o poder do hibridismo desses imigrantes, representado em suas escritas experimentais, misturando Inglês e Espanhol, prosa e poesia, enfatizando, assim, o rompimento de fronteiras, inclusive o de gêneros literários. A tese examina a importância da Literatura produzida pelos Chicanos, pois seus trabalhos revelam as contribuições culturais e econômicas dessa imigração para a sociedade americana / The objective of this dissertation is to analyze The New World Border (1996), by Guillermo Gómez-Peña, and Borderlands/La Frontera: The New Mestiza (1987), by Gloria Anzaldúa, in order to show how these writers approach identity matters faced by Chicanos in the US, since it is not easy for them to choose between keeping their traditions and living the American way of life. According to the authors, the mere act of crossing the Mexico/US border alone does not necessarily result in crossing the “frontiers” that really separate these immigrants and their offspring from Americans, that is, the cultural and economic barriers. Nevertheless, the Chicanos fight for the right to be heard. Anzaldúa and Gómez-Peña reveal the power of Chicano hybridism, represented in their experiments with language, writing in English and Spanish, prose and verse, thus emphasizing the rupture of frontiers, including that of literary genres. This dissertation addresses the importance of the literature produced by Chicanos, since their writings reveal the extent of Chicano contribution to American cultural life and society

En el mundo globalizado actual constatamos que "hibridez" es la conditio de nuestro ser, pensar y actuar que se concretiza en diversos campos del conocimiento y en diversas disciplinas con diversas aplicaciones, siendo asimismo el resultado de diversas "estrategias de hibridación" discursiva, artística, política, sociológica, filosófica, medial..., que hacen posible una negociación o el cotidiano lidiar de la diferancia y altaridad.:Pasajes heterotópicos – Transculturalidad – Figuras de la hibridez. - Resumen

This thesis project explores Chicana feminist Gloria Anzaldúa's notion of a new mestiza consciousness, in which the marginalized ethnic American woman transcends her Otherness, breaks down the borders between her different identities, and creates a Thirdspace. Through the rehearsal and performance process, three ethnic American women employed Robert Scholes' model of textuality-the consumption and production of texts-as a framework to construct a new mestiza consciousness, and create a Thirdspace. The project set to determine what strategies were significant rehearsal techniques for encouraging the cast members to exercise textual power and claim a new mestiza identity, a Thirdspace. The results reveal four overarching factors involved in assuming textual power through rehearsal and performance in the production-building trust, having appropriate skills, assuming ownership and responsibility, and overcoming performance anxiety. The discussion addresses the direct link between Thirdspace and Scholes' notion of production of original texts.

In this study, I attempted to understand how a history of literacy in the U.S. continues to shape the ways in which Latino/a/e/x students learn in English classrooms today. Through the work of scholars such as Gloria Anzaldúa and Ofelia Garcia and with authors such as Richard Rodriguez, Judith Ortiz Cofer, and Lorna Dee Cervantes, I have come to believe that Latino/a/e/x students often experience years of an education system that views literacy so narrowly that it can silence languages that do not fit the perceived academic language of standard English. To understand what an expanded view of literacy could possibly look like in this study, I turned to scholars including The New London Group (1996), Cary Jewitt (2017), and Gunther Kress (2017) who study multimodality, as well as other researchers who examine digital literacies, particularly digital storytelling, in both formal and informal spaces. I did this in an effort to understand how multimodality and narrative might impact my Latino/a/e/x students’ learning and creative processes in the classroom. In this study, I wanted to learn what happens when the notion of literacy is expanded in my classroom and my Latino/a/e/x college students incorporate digital literacies to create their own digital stories in our English composition class. More specifically, I wanted to have a clearer understanding of the processes students experience as they embark on their digital storytelling journey. What I have learned throughout this journey is that digital storytelling does, indeed, offer another lens through which to view Latino/a/e/x students in my English composition classroom and their work and that perhaps it is time to see how digital storytelling might fit into the larger field of English education.

Orientador: Maria Viviane do Amaral Veras / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem / Made available in DSpace on 2018-08-20T03:48:21Z (GMT). No. of bitstreams: 1 Bueno_ThaisRibeiro_M.pdf: 823992 bytes, checksum: c6729e69eab67c4473cd6a137925372d (MD5) Previous issue date: 2012 / Resumo: Historicamente, a tradução tem sido pensada em função de pares dicotômicos (original/tradução; autor/tradutor; domesticação/estrangeirização; língua-fonte/línguaalvo), raciocínio que revela a crença na possibilidade de uma língua homogênea e estanque. Contudo, em comunidades cuja política e sociedade são fortemente marcadas por fatores de heterogeneidade étnica e linguística, tal crença fica abalada, sobretudo, quando se nota a enorme diversidade de línguas decorrente dessa heterogeneidade, tanto nas interações entre os falantes quanto na literatura. Esse é o caso da literatura chicana, que constitui o corpus desta pesquisa, sendo representada por Gloria Anzaldúa e Rolando Hinojosa, autores de Borderlands/La Frontera - The New Mestiza e Dear Rafe/Mi Querido Rafa, respectivamente. Tais obras, guardadas suas singularidades, apresentam marcas de heterogeneidade linguística (a escrita construída a partir do inglês, do espanhol e até mesmo do nahuatl, língua falada no império asteca; o codeswitching [ou alternância de código]; o braiding languages [ou entrelaçamento de línguas]; a subversão dos limites dos gêneros textuais) que desafiam qualquer projeto tradutório que se paute por noções tradicionais de língua e tradução. Com base nesse panorama, analisamos neste trabalho as possibilidades de reflexão que as obras do corpus podem oferecer ao campo dos estudos da tradução e as consequências de tal reflexão para a ética e para o tradutor (se é possível pensarmos em um único perfil). Tal reflexão é feita com base em conceitos e ideias propostos por linguistas, tradutores e teóricos da tradução de linha pós-estruturalista, tais como Lawrence Venuti, Kanavillil Rajagopalan e Alexis Nouss, pensadores de orientação pós-moderna, como Jacques Derrida, e teóricos de linha pós-colonialista, como Homi Bhabha / Abstract: Translation theories have been historically based on dichotomies (original/translation; author/translator; domestication/foreignisation; source language/target language). Such discourse unveils the belief in the possibility of linguistic homogeneity. Nevertheless, such belief becomes unsustainable in communities which politics and society are expressly marked by ethnic and linguistic heterogeneity issues, and mainly by the enormous range of linguistic diversity due to such heterogeneity, among speakers and in the literature. Chicano literature is an example, and two of the major Chicano works constitute the corpus of this research: Gloria Anzaldúa's Borderlands/La Frontera - The New Mestiza and Rolando Hinojosa's Dear Rafe/Mi Querido Rafa. Besides their own singularities, these two books are marked by linguistic heterogeneity (the writing is based on English, Spanish and Nahuatl, originally spoken in the Aztec empire; the codeswitching, the braiding languages; the transgression of genre boundaries) and defy any attempt of translation based on traditionalist language conceptions. Based on that, we propose an analysis of how the corpus of this research allows new possibilities of thinking translation and the consequences of these analyses for a translation ethics and for the translator (if we can think in such terms). Such analysis is based on concepts and ideas proposed by poststructuralist linguists, translators and translation theorists such as Lawrence Venuti, Kanavillil Rajagopalan, and Alexis Nouss. We also base our study on the works of postmodern thinkers, such as Jacques Derrida, and postcolonialist writers, such as Homi Bhabha / Mestrado / Teoria, Pratica e Ensino da Tradução / Mestre em Linguística Aplicada

La elección de los autores y obras aquí estudiados se debe a que son parte de una experiencia, epistemología y concepto de arte "orillas", de los "márgenes", entendido como una perenne oscilación, travesía y recorrido entre los dos lados de las orillas/márgenes. Los autores elegidos son habitantes de varios mundos, al menos de dos, y este "entremedios", esta producción en las intersecciones, es lo que marca su escritura, discurso y performances, en definitiva, su forma de producción.:El naranjo como figura de los pasajes transculturales. - Cartografías de la Otredad: "Cross-Cultural-Border-Land" : Guillermo Gómez Peña, Gloria Anzaldúa y Alberto Kurapel. - Resumen