Esta pesquisa tem como tema central analisar o processo emigratório/imigratório chileno ocorrido nas três últimas décadas do século XX e evidenciar os dilemas da construção de identidade imigrante neste processo por meio da história oral de vida. Para tanto, foram utilizados os procedimentos metodológicos do Núcleo de Estudos em História Oral da Universidade de São Paulo (NEHO/USP), trabalhando com sete histórias de vida de chilenos da cidade de Campinas/SP. Contextualização histórica e cultural do Chile, contextualização dos chilenos no exterior e conceituação dos termos migratórios foram alguns dos assuntos abordados utilizando a bibliografia selecionada. Razões da emigração, o porquê da escolha do Brasil, quais as formas de adaptação no novo país e a questão do retorno foram alguns dos temas analisados a partir das histórias de vida feitas para a pesquisa. Inserida na problemática principal os dilemas da construção de identidade imigrante a constituição de uma comunidade chilena foi assunto abordado. A descrição de todo o processo investigador também é parte fundamental da dissertação. / The aim of this research is to analize the migratory/immigrate process of Chileans which was occurred on the last three decades of the last century (twentieth ones) and also highlighting the structure of immigrant identity process and their dilemmas throughout some oral history life. For this, we were based on the Oral History Research Office at University of São Paulo (NEHO/USP - Núcleo de Estudos em História Oral da Universidade de São Paulo), a methodological procedures which works with life stories and, in this case, we have worked with seven Chilean persons who live in Campinas city (a small city close to São Paulo). By using a selected bibliography, we tried to contextualize Chile in a cultural and historical way and Chilean people overseas, in terms of migrate concepts. The reasons for migrating, the answer(s) for the choice of Brazil, in which forms they were adapting themselves in the new country, and, the problem of returning to Chile, were the topics analyzed from their oral history life in this reseach. We have also added into the topic of the dilemmas of immigrant identity process, the creation of a \"Chilean community\". The whole investigative method description was also the fundamental part of this research.

Made available in DSpace on 2016-03-15T19:22:24Z (GMT). No. of bitstreams: 1 Carla de Barros Caires Greve.pdf: 32606476 bytes, checksum: b9a30e4f83e992b24a50cf66d67787a5 (MD5) Previous issue date: 2014-01-31 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This research is based on the study of urban intervention defined by a set of contemporary buildings of the campus of Universidad Diego Portales (UDP), built in the neighborhood Barrio Universitario de Santiago (BUS) in Santiago, Chile. The set of buildings, as well as the unique architecture of each, arouse research interest in the debate raised by the contemporary condition of architecture embedded in a consolidated site. Each of the buildings of interest was designed by teams of architects and professors of this university in Latin America. This fact still arouses the interest of understanding the characteristics of this architecture, considering the relation between universality and specificity with the Chilean current architectural production. At the same time of the conception of the campus and its buildings (2002/2003), UDP launched its Infrastructure Plan, which, along with other public initiatives, has encouraged transformations on this old urban area. In this context, there is the challenge of finding out which architectural and urban factors and processes, are responsible for the redevelopment of this area, and how the architecture appears and explains this transformations. The Chilean architecture arouses interest not only for presenting contemporary features that meets the questions that this study aims to answer, involving intervention on a consolidated site, but also to fill an existing gap in Brazil of systemic knowledge on contemporary practices, architectural and urban, significant on Latin America. The set of buildings in question will be analyzed according to various categories defining the interventions, such as those related to the neighborhood (social), urban territory (urban) and historical and new buildings inserted into this urban fabric (architectural). These aspects will be related to the process of implementation of the Infrastructure Plan of UDP, the joints of the open urban campus with the urban territory and relations of the new buildings with the existing heritage buildings by analyzing the specific characteristics of each building selected. The listed factors justify the importance of the issue and seek to expand the universe of research and studies on the subject. The aim is that this research will assist other research projects related to interventions in consolidated sites and contribute to the field of architectural and urban design by deepening the knowledge of contemporary works, the Arquitetura contemporânea e a requalificação do sítio consolidado: o conjunto edificado do Campus da UDP 15 Abstract relationship between architectural design and its surroundings, and representative architects in contemporary Latin America. / A presente pesquisa se fundamenta no estudo da intervenção urbana definida por um conjunto de edifícios contemporâneos do Campus da Universidade Diego Portales (UDP), construído no Bairro Universitário de Santiago (BUS), em Santiago do Chile. O conjunto de edifícios, bem como a arquitetura singular de cada um deles, despertam interesse de pesquisa pelo debate suscitado pela condição contemporânea da arquitetura inserida em um sítio consolidado. Cada um dos edifícios de interesse foi projetado por equipes de arquitetosprofessores desta universidade latino-americana. Este fato desperta ainda o interesse de compreender as características dessa arquitetura, considerando a relação entre universalidade e especificidade chilena com a produção arquitetônica atual. No mesmo período da concepção do Campus e seus edifícios (2002/2003) a UDP lançou seu Plano de Infraestrutura, que junto com outras iniciativas públicas tem incentivado, desde então, transformações de uma antiga área urbana. Diante desse contexto, surge o desafio de descobrirmos quais fatores e processos, arquitetônicos e urbanísticos, são responsáveis pela requalificação dessa área, e como a arquitetura comparece e explica essa transformação. A arquitetura chilena desperta interesse não só por apresentar características contemporâneas que vem ao encontro das indagações que este trabalho se propõe responder, envolvendo intervenção em sítio consolidado, mas também para suprir uma lacuna de conhecimento sistêmico no Brasil de práticas contemporâneas, arquitetônicas e urbanísticas, representativas da América Latina. O conjunto de edifícios em questão será analisado conforme várias categorias definidoras da intervenção, como as relacionadas ao bairro (social), ao território urbano (urbanística) e aos edifícios patrimoniais e novos inseridos nesse tecido urbano (arquitetônico). Estes aspectos serão relacionados ao processo de implantação do Plano de Infraestrutura da UDP, às articulações do campus urbano aberto com o território urbano e às relações dos edifícios novos com os edifícios patrimoniais existentes através da analise das características específicas de cada edificação selecionada. Os fatores elencados justificam a importância do tema e Arquitetura contemporânea e a requalificação do sítio consolidado: o conjunto edificado do Campus da UDP 13 Resumo procuram ampliar o universo de pesquisas e estudos sobre o tema. Espera-se que a pesquisa auxilie outros projetos de pesquisa referentes a intervenções em sítios consolidados e que contribua para a área de projeto arquitetônico e urbano, por meio do aprofundamento do conhecimento das obras contemporâneas, das relações entre o projeto arquitetônico e seu entorno, e de arquitetos representativos na América Latina contemporânea.

This dissertation investigates the narrative practice of Latin American Existentialism. My project tracks the structures, themes, and interpretations of Existentialism across national borders in the belief that a common expression exists which is distinctly Latin American. I begin this philosophical cartography, with four Existential(ist) novels produced in Latin America during the 1930s. Specifically, I will examine the Existentialist quality of Enrique Labrador Ruiz's El laberinto de si­ mismo (1933), Mari­a Luisa Bombal's La ultima niebla (1934) and La amortajada (1938), and Graciliano Ramos's Angustia (1936). These narratives are analyzed in relation to the core thematic of Existential philosophy. I read these narratives as Existential(ist) because they are of, relating to and characterized by a philosophy of existence, and because they simultaneously produce an Existential discourse. My study is, at one level, comparative in that I pursue the points of emergence of Existentialism's prominent categories not only across national borders, but also across disciplines. I relate the tradition of Latin American thought in the first half of the 20th century and Existential philosophy from Europe to collectivize the thematic points of contact. These I contrast with our literary production of the 1930s. By emphasizing the particularities and continuations of Latin America's contribution to the Existential canon I, in effect, periodize an era which is foundational in the history of Latin American literature. Furthermore, by acknowledging the literary presence of Latin American Existentialism we can appreciate the explicit narrative interrogation of the Self through aesthetic, ethical, and ontological parameters.

Thesis (Ph. D.)--University of Oregon, 2006. / Typescript. Includes vita and abstract. Includes bibliographical references (leaves 344-363). Also available for download via the World Wide Web; free to University of Oregon users.

<p>In my dissertation I propose that Álvaro Bisama's <italic>Caja negra</italic> is a book that both continues and defies the interventions in the field of culture articulated in Alberto Fuguet's <italic>Por favor, rebobinar</italic> and other texts associated with the McOndo approach to culture in Latin America; an approach that includes urban metropolitan spaces as well as mass-produced cultural products in the range of possible representations of daily life experiences in Latin America. I argue that, in order to do so, Bisama performs an oppositional, counterfactual and cultist appropriation of the history of the Chilean written, audiovisual and musical media productions of the 20th century, considering Chilean both the media productions that were made in Chile and the media productions that were consumed in the Chilean context even if they were made somewhere else. In <italic>Caja negra</italic>, the appropriation of such a wide catalogue of productions is achieved by inoculating the text with a significant amount of apocryphal films, books, authors, filmmakers, musicians, records and other data related to these productions and their producers. I show that the saturation of apocryphal data in <italic>Caja negra</italic> aims to create an alternate history of Chile through the construction of an alternate cultural field. However, the historical fact of Augusto Pinochet's <italic>coup d'état</italic> in 1973 remains unchanged. I argue that Bisama's display of apocrypha in <italic>Caja negra</italic> is a way of responding to the lack of reliability of the accounts of history, especially, the history of media productions in Chile, as a consequence of the actions taken by the military. Therefore, I propose that Bisama's approach to the genre of alternate history is political and consists of proposing the conjectural as a strategy to overcome the gaps and untrustworthiness of the accounts of history in a way that provides an alternative to the search for truth. Finally, I propose that <italic>Caja negra</italic> engages with popular and alternative cultures in a double edged way: On the one hand, it builds on the changes in the field of culture that were either observed, proposed or performed by the productions associated to McOndo, in a time that coincided with the dawn of both the democratic transition and the popularization of new technologies that promised to democratize the access to culture. On the other hand, it shows that active consumption and fanatic appropriation are deliberate and personal acts that, as such, depend more on those who perform them than on the products that are being appropriated. Popular culture is treated as a plurality of cultures, and the text is not a place to display it or fictionalize it, as it happens in <italic>Por favor, rebobinar</italic>. In <italic>Caja negra</italic> the codes of these pop cultures are shown yet remain veiled. Their apocryphal nature and the complex processes of fictionalization serve to protect them from overexposure and loss of their subcultural capital. In my dissertation, I observe that <italic>Por favor, rebobinar</italic> articulates a principle that rules the relationships between characters and between the characters and the reader, and I call it aesthetic empathy. I recognize this principle as fundamental in Fuguet's writing in the nineties. Also; I read in <italic>Por favor, rebobinar</italic> an apology of active and public critical consumption of cultural products. In my comparative reading of <italic>Por favor, rebobinar</italic> and <italic>Caja negra</italic>, I find that in the latter there is a shift in the perception of culture and its representation that functions as a response to the principle of aesthetic empathy and to the apology of critical consumption articulated in <italic>Por favor, rebobinar</italic>. I argue that this contestation to <italic>Por favor, rebobinar</italic> and McOndo is achieved by a process of adoption and experimentation with the limits of the more provocative traits of <italic>Por favor, rebobinar</italic>'s content and composition, such as the presentation of a cultural field, the saturation of data related to popular cultures, the fragmentary structure, the inclusion of metatextual interventions, and the emphasis in the specific nature of each fragment of writing through its structure and mediations. In sum, I present a reading of <italic>Caja negra</italic> as a text engaged in the intervention on the field of culture in Chile, articulated in continuity and contrast to its predecessors in the nineties.</p> / Dissertation

The desire and need for historical representation in postmodernism are coupled with the self-reflexive acknowledgement of our inability to faithfully represent the past. This dissertation examines the ways in which certain historical events are represented in postmodern fiction. More specifically, it introduces the term ‘distortion’ to designate various ways that postmodern authors have attempted to convey traumatic and violent histories through intentional permutations of historical facts. In this study, I analyse six texts, representative works that present the multi-faceted nature of what I call ‘distorted’ historical fiction. Each text is devoted to one of three historical events: the Holocaust in Martin Amis’s Time’s Arrow and Art Spiegelman’s Maus; the Chilean dictatorship in Diamela Eltit’s Lumpérica and Isabel Allende’s La Casa de los espíritus; and finally, the Algerian War of Independence in Kateb Yacine’s Nedjma and Mohammed Dib’s Qui se souvient de la mer. The analyses of each text are guided by three main questions: How is the depicted history distorted in the narrative? Why is the historical reality distorted? And lastly, what are the hermeneutical effects for the reader of engaging with the distorted historical text? I contend that these historical fictions apply various modes of distortion to create a specific and often peculiar effect on the reader. These include distortions of narrative form and voice, as well as distortions of temporality and space. I argue that the reader’s encounter with distorted historical fiction creates a peculiar hermeneutical effect of ‘defamiliarisation,’ which has affinities with Viktor Shklovsky’s use of the term and Bertolt Brecht’s ‘V-effekt.’ The sense of defamiliarisation creates a conflict in readers, in which their foreknowledge of a past event clashes with the event's distorted depiction. This conflict demands that the reader be responsible, implying that the reader should not be ‘swept away’ by the distorted narrative. Instead the responsible reader is encouraged to interact with the text, apply previous historical knowledge to correct said distortions, and through this interaction gain a greater intimacy with the past.

The desire and need for historical representation in postmodernism are coupled with the self-reflexive acknowledgement of our inability to faithfully represent the past. This dissertation examines the ways in which certain historical events are represented in postmodern fiction. More specifically, it introduces the term ‘distortion’ to designate various ways that postmodern authors have attempted to convey traumatic and violent histories through intentional permutations of historical facts. In this study, I analyse six texts, representative works that present the multi-faceted nature of what I call ‘distorted’ historical fiction. Each text is devoted to one of three historical events: the Holocaust in Martin Amis’s Time’s Arrow and Art Spiegelman’s Maus; the Chilean dictatorship in Diamela Eltit’s Lumpérica and Isabel Allende’s La Casa de los espíritus; and finally, the Algerian War of Independence in Kateb Yacine’s Nedjma and Mohammed Dib’s Qui se souvient de la mer. The analyses of each text are guided by three main questions: How is the depicted history distorted in the narrative? Why is the historical reality distorted? And lastly, what are the hermeneutical effects for the reader of engaging with the distorted historical text? I contend that these historical fictions apply various modes of distortion to create a specific and often peculiar effect on the reader. These include distortions of narrative form and voice, as well as distortions of temporality and space. I argue that the reader’s encounter with distorted historical fiction creates a peculiar hermeneutical effect of ‘defamiliarisation,’ which has affinities with Viktor Shklovsky’s use of the term and Bertolt Brecht’s ‘V-effekt.’ The sense of defamiliarisation creates a conflict in readers, in which their foreknowledge of a past event clashes with the event's distorted depiction. This conflict demands that the reader be responsible, implying that the reader should not be ‘swept away’ by the distorted narrative. Instead the responsible reader is encouraged to interact with the text, apply previous historical knowledge to correct said distortions, and through this interaction gain a greater intimacy with the past.

This work situates Patricio Guzmàn's Nostalgia for the Light in the broader field of essay documentary film and unveils it as a locus of discursive resistance and the generative crux of diverse conventionally isolated academic dialogues. In doing so, it addresses the challenging and controversial questions of historical meaning-making, remembrance and oblivion, melancholia and mourning. My thesis also endeavors to detect the dynamic and anxiety-inducing threshold between singularity and collectivity, and the human and the cosmic. I lay the historically unprecedented common ground for trauma theory and the essayistic comportment and argue that bearing the clash of time planes, paradoxicality, ambiguity, and aporias at its heart, the essayistic endeavor simulates the ontology of trauma itself. In my theorization, both operate via the originary metaphorical overleaping of matter between physical and metaphysical spheres, conscious and unconscious themes. These figurative transferences creatively transgress registers, genres, sharply-contoured discourses, and translate between the multiple surfaces of human existence and experience. I propose that the essayistic meandering of moving along residues and fissures opens up a more ethical approach to trauma. Such a disposition diverges from the positivist certitude of polarizing, moralizing, and sublimating narratives which inevitably lead to foreclosure. Filtering my arguments through the film's aestheticization of absence, I offer an ethical and responsible stance toward trauma and reveal its affective force as the substrate of our intricate relations to the other and our organic and non-organic environment.

The purpose of this thesis is to examine dynamics and consequences of geographical return movements in two North-South contexts based on migrants' biographies. The thesis examines the consequences of return migration in terms of social mobility, meanings of return and the shaping of identity-place relationships for the subjects of migration. Categories of return were identified and related to evolving migration processes in the two case studies of long term labour migration and political exile respectively. The concept of 'narrative identity' was used to analyse the shaping of the migration biographies and to examine the ways migrants made sense of their experiences of emigration/exile and return. In a further step the narrative identities were discussed in relation to examples of public narratives in the two contexts. The dissertation's case study of US-Mexican migration showed that geographical return took different shapes at the local level as the migration process evolved between the studied municipality in Mexico and different destinations in the USA. The initial phase of formative return led to the gradual establishment of a migration tradition and development of a remittance economy. Return movements turned in a later phase into an increasingly trapped migratory pattern of differentiated circulation between the municipality in Mexico and different locations in the USA. The 'narrative identities' of returning migrants were related to family situations (family formation, safety of the family, family commitment), perceptions of real life in Mexico and work identities (respected worker, independent businessman), negative experiences of migration (threat, social degradation, trapped migration), and the search and fulfilment of personal experiences. These narrative identities were contrasted with public narratives, showing the partial incorporation of some public narratives and contrasting senses of self of migrants in relation to 'imposed identities' in both the USA and Mexico. The second case study of the dissertation identified categories of return movements in a context of changing conditions in both Chile and Sweden. Examples of categories were 'conditional return' and 'programmed return' and in the phase of desexilio professional circulation, continued exile and everyday life circulation. The narrative identities of retornados were related to family situations (children's future and education, the extended family and the family vote), Sweden as 'parenthesis' (programmed return, duty to return, political return, personal return), work identities (independent businessman, professional circulation) and experiences of exclusion (foreigner, immigrant, prolonged political exile). The narrative identities of migrants were discussed in relation to larger public narratives about retornados in the Chilean media. / digitalisering@umu

The psychosocial well-being of survivors of armed conflicts, forced displacement, and/or natural disasters is becoming more and more an integral component of holistic humanitarian response. Yet many organisations rely on broad, generalised manuals or guidelines which do not take into account the unique characteristics of societies and target populations. This paper describes the author’s research with disaster survivors in Java, Indonesia, and refugee in Sweden, aiming to characterise the process of recovery, adaptation and integration through beneficiaries’ own words. The author looks at how theory can be applied, such as whether a hierarchy of needs can be universally relevant, how the host Swedish society affects refugees’ experiences, which so-called “states of being” subjects experience, and how religion and cultural differences like individualism and collectivism influence one’s ability to regain psychosocial well-being. The author used both in-depth interviews and quantitative questionnaires to obtain data. Results showed an incredible level of resilience and positivity among all groups, though Indonesians reported family, spirituality and the community as major helping factors, while many refugees in Sweden pointed to their own individual determination and will to succeed. Many Indonesians identified economic livelihood as the biggest remaining gap, while refugees in Sweden spoke of language skills, educational qualifications and employment as keys to success and integration. Many challenges and gaps remain, especially for newly arrived refugees facing an increasingly difficult job market and fewer opportunities.