Les sociétés modernes sont de plus en plus souvent confrontées aux enjeux de la diversité. Le multiculturalisme tente d’y apporter une réponse à travers un modèle de société basé sur une politique de la reconnaissance. Selon moi, l’argumentation des multiculturalistes repose sur leur conception de l’identité. C’est pourquoi, pour apporter une critique nouvelle de ce courant de pensée, j’analyse les écrits de ses principaux défenseurs, Will Kymlicka et Charles Taylor, en concentrant mon analyse sur ce qu’ils entendent par identité. Je soutiens que leur conception ne laisse pas assez de place au potentiel d’évolution et ne considère pas suffisamment l’importance et le pouvoir de la volonté individuelle dans la construction de l’identité. En m’appuyant sur l’étude d’autres auteurs, je souligne la nécessité de considérer les frontières entre le semblable et l’autre de manière plus souple et de reconnaître que la violence peut s’exercer par la création de différences entre les personnes. J’ai choisi la figure radicale de « l’homme sans qualités » de Robert Musil pour montrer comment un individu peut devenir autonome à travers un acte de destruction créatrice. Enfin, je conclus que l’État devrait favoriser ce processus, et permettre au sujet, qui est selon moi dénué d’une nature authentique, de penser son existence comme une expérience du possible. / Modern societies are increasingly confronted with the challenge of diversity. Defenders of multiculturalism responded with a model of society based on a politics of recognition. This model can be connected to a particular conception of identity. In order to make a new contribution to the critique of this approach, this work presents an analysis of the writings of two of the main proponents: Will Kymlicka and Charles Taylor. It does so by focusing on their conception of identity and argues that it does not leave enough room for change and fails to fully recognise the importance and the impact of personal will. The works of other authors are analysed in order to emphasize the need to view the boundaries between sameness and otherness in a more flexible fashion and to acknowledge that violence can attend the creation of differences between people. The figure of the “man without qualifies” portrayed by the novelist Robert Musil is offered as emblematic of how an individual can become autonomous through an act of creative destruction. Finally, it is concluded that the state should facilitate the creation of difference and this requires allowing citizens to conceive of their lives as an experience of the possible.

Syftet med essän är att undersöka hur populärkulturens närvaro och inflytande i förskolan kan förstås utifrån olika perspektiv. Essän tar avstamp i berättelser om hur barn tar inspiration ur populärkulturella erfarenheter då de agerar, vilket leder till konsekvenser, vilka ibland kan upplevas som problematiska. Den undersöker möjligheter och risker med inkludering av populärkultur i förskolan i förhållande till barns literacyutveckling, identitetskonstruktion och inflytande. Den undersöker även vad som kan tänkas ligga bakom exkludering av populärkultur i förskolan.Skrivande har använts som en metod för att reflektera och få syn på nya perspektiv i relation till teorier och tidigare forskning. Reflektionen resulterade i flera upptäckter. Bland annat att klassrelaterade normer kan styra pedagogers val av kulturella aktiviteter i förskolans praktik. Vidare att risken som populärkulturen kan ge upphov till vad gäller identitetskonstruktion i samband med literacyutveckling kan inverteras till möjligheter genom critical literacy. Därigenom kan barn lära sig att se hur texter positionerar oss i samhället och hur de kan positionera sig annorlunda. Slutligen kan inkludering av populärkultur i förskolans praktik, som en konsekvens av barns inflytande stimulera barns literacyutveckling. Eftersom populärkulturen är en del av barns erfarenheter samt att den fungerar som katalysator för lärprocessen, genom att ge upphov till en känsla av flow. / This essay aims to examine how presence and influence of popular culture in junior kindergarten can be understood in different ways. The essay is rooted in narratives about children getting inspired from popular culture in their acting that leads to consequences, which sometimes can be experienced as problematic. It explores possibilities and risks that come with including popular culture in junior kindergarten, in relation to literacy development, construction of identity and influence of children. It also explores how to understand what maybe lies behind the exclusion of popular culture in junior kindergarten.Writing has been used as a method to reflect and to spot new perspectives in relation to theories and previous research. The result of the reflection was multiple discoveries. For instance, class related norms can dominate teachers choices of cultural activities put into practice in junior kindergarten. Further on the risks of popular culture, regarding construction of identity in connection with literacy development could be transformed in opportunities through critical literacy. Thereby children can learn to see how we´re positioned in society by texts and how they can position themselves differently. Eventually, inclusion of popular culture into the practice of junior kindergarten, as a result of child influence can stimulate literacy development. Because the popular culture is a part of earlier experiences of the child and it works like a catalyst in the process of learning, while it creates the feeling of flow.

342f. / Submitted by Suelen Reis (suziy.ellen@gmail.com) on 2013-05-08T16:36:01Z No. of bitstreams: 1 dissert_André de Carvalho.pdf: 5274337 bytes, checksum: 8b323748baa5979f5fe8a9b6e788b76d (MD5) / Approved for entry into archive by Alda Lima da Silva(sivalda@ufba.br) on 2013-05-08T19:01:52Z (GMT) No. of bitstreams: 1 dissert_André de Carvalho.pdf: 5274337 bytes, checksum: 8b323748baa5979f5fe8a9b6e788b76d (MD5) / Made available in DSpace on 2013-05-08T19:01:52Z (GMT). No. of bitstreams: 1 dissert_André de Carvalho.pdf: 5274337 bytes, checksum: 8b323748baa5979f5fe8a9b6e788b76d (MD5) Previous issue date: 2009 / A pesquisa se oriente por aspectos basilares dos estudos culturais que estipulam a identidade social como objeto e produto de construções simbolicas a partir de práticas discursivas, mais efetivas em textos da mídia, reconhecida como a principal construtoda de identidades. A investigação constata que a a Paraíba, como estado nordestino, é secularmente projetada ao imaginário nacional de forma depreciativa, em virtude de suas condições de atraso socioeconômico, problemas reputados a agentes políticos, representação identitária que se confirma na rede discursiva do jornalismo contemporâneo que enfocou graves escandalos protagonizados por importantes políticos paraibanos na história recente. Por outro lado, nos últimos anos, a Paraíba também passou a ser foco da mídia em virtude de seus atrativos naturais e culturais de grande valor econômico para o setor turístico. Assim, a tese defendida de que a mídia constroi discursivamente duas identidades regionais, a política, em sentidos depreciativos, e a turística, em signos de exaltação. Hipótese que o estudo procura comprovar com a análise de reportagens jornalisticas de editorias especializadas, da política e do turismo, em reflexões que se incumbem da tarefa de perscrutar crítica e reflexivamente sobre a praxis do jornalismo contemporâneo, em particular nos gêneros político e turístico. Alem de contextualizar aspectos fundamentais de fenômenos turísticos e da produção de saberes multidiciplinares que se ocupam de tal tema. A metodologia empregada é a da Análise do Discurso. / Salvador

Made available in DSpace on 2016-06-02T19:38:56Z (GMT). No. of bitstreams: 1 2029.pdf: 2040268 bytes, checksum: d73497cebb132f516f9c89a5cf8f9e63 (MD5) Previous issue date: 2008-08-11 / Financiadora de Estudos e Projetos / This survey was conducted with caiçaras of Ilhabela, a city-archipelago located in the northern coast of the State of São Paulo - Brazil. This social group is understood as part of social, economic, cultural and historical relations, which allows them to take ownership, learn and interpret the values and behaviors related to their own time and place. The question of this research study was: "What teaches the caiçara being caiçara in Ilhabela? The central objective was to understand the processes involved in educational development of the caiçara , taking into account its routine (ways to live, work, play , movie, teach and learn). The methodology used was phenomenological inspiration, and methodological procedures as daily field (16 descriptions) and interviews (13 descriptions). From the interviews transcription and subsequent analysis, 4 categories were established: "The caiçara world attacked"; "Being Caiçara ", "Resistance", "Recovering the caiçara culture" which allowed the completion of construction of combining results interviews with the field notes. In the considerations, it can be highlighted that despite the aggression and educational processes imposed to the caiçara world, these generate reactions contrary to them, such as those described by educational processes pertaining the fight for freedom, for a better world, in actions of solidarity, cooperation, resistance. We emphasize that at all times, it has been tried to impose to the caiçara people a pattern of language, social behavior, habits and customs, which will disrupt their way of life and that there, so there is a need for a political project that valorize the caiçara knowledge, the respect for diversity, ethical attitude, sustainable environmental responsibility and therefore humanitarian. Furthermore, we believe that the identity is not static, it is being-with-the-other-to-the-world. / A presente pesquisa foi realizada com caiçaras da cidade de Ilhabela, município-arquipélago localizado no litoral norte paulista. Tal grupo social é compreendido como participante das relações sociais, econômicas, culturais e históricas, o que permite que eles se apropriem, apreendam e interpretem os valores e comportamentos próprios de seu tempo e lugar. A questão de pesquisa deste estudo é: O que ensina o caiçara a ser caiçara no município de Ilhabela? . O objetivo central foi compreender os processos educativos envolvidos no ser caiçara, observando, particularmente, o mundo cotidiano: modos de viver, de trabalhar, de brincar, de se movimentar, de ensinar e de aprender. A metodologia utilizada foi de inspiração fenomenológica. Enquanto procedimentos metodológicos foram utilizados diários de campo (16 descrições) e entrevistas (13 descrições). A partir da transcrição das entrevistas e posterior análise das mesmas estabelecemos quatro categorias: O mundo caiçara agredido ; Ser Caiçara ; Resistência e Valorização da cultura caiçara , as quais permitiram a realização da construção dos resultados, conjugando entrevistas com notas de campo. Nas considerações, destacamos que apesar de haver agressões e processos educativos que buscam oprimir e alienar o(a)caiçara, estes também geram reações contrárias, tais como os processos educativos descritos por eles, relacionados à luta pela liberdade, por um mundo melhor, em ações de solidariedade, de cooperação, de resistência. Destacamos também que a todo o momento tem se tentado impor ao(à) caiçara um padrão de linguagem, de comportamento social, de hábitos e costumes, que buscam descaracterizar e corromper seu modo de vida. Há, contudo, a necessidade de um projeto político-educacional público que valorize o saber caiçara, o respeito à diversidade, a atitude ética, a responsabilidade ambiental sustentável e, portanto, humanitária. Além disso, consideramos que identidade não é estática, está sendo-com-os-outros-ao-mundo.

Der vorliegende Beitrag gibt einen Überblick über die Geschichte der Entwicklung von Forschungszielen, Fragestellungen und Interpretationsansätzen der Prähistorischen Archäologie in Deutschland. Vom frühen 19. Jahrhundert ins Heute fortschreitend werden gleichzeitig die institutionellen und personellen Aspekte der Fachgeschichte und insbesondere die geistesgeschichtlichen Grundlagen der Urgeschichtsforschung skizziert – von der „vaterländischen Altertumskunde“ über anthropologisch-archäologische Forschungen bis zur Prähistorischen Archäologie. Hierbei wird insbesondere die Frage nach der Relevanz der Prähistorischen Archäologie für die Konstruktion kollektiver Identitäten verfolgt. / This paper presents a historical overview of research aims, questions and models of interpretation in prehistoric archaeology in Germany. Moving from the early 19th century into our days the epistemological foundations of prehistoric research are sketched – from “patriotic antiquarianism” via anthropologicalarchaeological research to recent prehistoric archaeology – but also its institutional and personal developments. Emphasis lies on the relevance this discipline had and still has for the construction of collective identities.

<p>Предмет истраживања у овом раду представља одређивање чворишних тачака<br />око којих се образује идентитет у поетици Растка Петровића. Циљ је доказивања тезе<br />да његово стваралаштво антиципира савремено схватање и разумевање идентитета<br />као конструкције, која се одвија унутар дискурса моћи, а он настоји да регулише<br />идентификацијске процесе унутар субјекта. Дело Растка Петровића указује на<br />чињеницу да идентитет представља сложену и динамичну мрежу сачињену од<br />идентитетских конституената који се непрекидно укрштају, те се на местима укрштаја<br />образују амбивалентне субјекатске позиције из којих аутор исповеда своју онтолошку<br />стрепњу и свест о конститутивној амбиваленцији. Укључивањем методолошких<br />премиса из области студија културе (маргинализација, трансгресија, лиминалност) у<br />проучавање аутентичних авангардних поетичких стратегија Растка Петровића, указали<br />смо на чињеницу да је аутор трагајући за собом остваривао своје поетско биће. На тај<br />начин образовао се хибридни и лиминални идентитет у динамичком пољу<br />антагонистичких дискурса, који се непрекидно међусобно пресецају.<br />Реч је, дакле, о томе да поетичко-естетско-филозофско исходиште<br />стваралаштва Растка Петровића чини идеја да се биће (оно што јесте), као и<br />конституенти његовог идентитета (пол, род, раса, нација, класна, верска и<br />професионална припадност...) разумевају као процесуалне категорије које су<br />непрекидно изложене променама. Петровић, заправо, отвара пут савременом<br />антиесенцијалном тумачењу бића као флукса (оно што је ток и што се мења) унутар<br />симболичких мрежа, односно дискурзивних пракси. На тај начин, ствара се могућност<br />да се појам, односно концепт идентитета тумачи као стратегијски и позицијски, те је у<br />Петровићевом делу идентитет увек релационо конструисан и изратито обележен не-<br />припадањем. Истовремено, идентитет сугерише истост и подржава неки облик<br />заједништва који варљиво испуњава онтолошку празнину.<br />Овај рад своје методолошко утемељење проналази у претпоставци да је<br />плуралитет у теоријским приступима и критичким праксама нужан, управо због<br />2<br />сложености и амбивалентности појма идентитет, који је интердисциплинаран по своме<br />досегу. Истовремено, овај рад се бави различитим аспектима идентитета са циљем да<br />се сачува и истакне свест о интеракцији између конституената идентитета и теоријско-<br />критичких пракси које се њима баве. У фокусу нашег истраживања налази се културни,<br />родни и наративни идентитет, тачније, модуси њихових конструкција. У том смислу,<br />ова студија доказује да поетика, али и живот Растка Петровића представљају<br />парадигму културолошке и родне лиминалности. Сходно томе, путујући модел<br />егзистенције показује се као пресудан у творби идентитета који се формира као<br />хибридни, услед седиментације различитих култура.<br />Исцрпна анлиза родног идентитета, односно маскулинитета, истиче<br />субверзивни потенцијал Петровићевог дела у односу на патријархалну<br />фалогоцентричну бинарну културолошку матрицу. Растко Петровић несумњиво<br />исказује свест о идеолошком карактеру родне улоге која му је намењена, те је процес<br />&bdquo;постајања&ldquo; мушкарцем изузетно сложен, обележен противуречностима и стрепњом.<br />Посебан комплекс питања која се нужно намећу када је у питању ауторефлексија<br />представља језик, јер је писац принуђен да доказ властитог постојања тражи у језику, у<br />појмовима који су такође производ дискурса који не одобрава алтернативну мушкост.<br />Тумачење наративног иденитета као ипсеитета које смо користили у раду,<br />дакле, упознавање и конституисање себе као метакатегоријалног Другог, маркирало је<br />значај културног дијалога коме је Растко Петровић несумњиво стремио. У питању је<br />дијалог у коме припадници мањинских/маргиналних култура и субкултура постају<br />равноправни саговорници. Истовремено, размена културних дарова обезбеђивала би<br />потенцијал за, из данашње перспективе посматрано, повлашћен статус агенса у<br />стварању сопствене културе, као и активно учешће у мапирању културе у свету.</p> / <p>Predmet istraživanja u ovom radu predstavlja određivanje čvorišnih tačaka<br />oko kojih se obrazuje identitet u poetici Rastka Petrovića. Cilj je dokazivanja teze<br />da njegovo stvaralaštvo anticipira savremeno shvatanje i razumevanje identiteta<br />kao konstrukcije, koja se odvija unutar diskursa moći, a on nastoji da reguliše<br />identifikacijske procese unutar subjekta. Delo Rastka Petrovića ukazuje na<br />činjenicu da identitet predstavlja složenu i dinamičnu mrežu sačinjenu od<br />identitetskih konstituenata koji se neprekidno ukrštaju, te se na mestima ukrštaja<br />obrazuju ambivalentne subjekatske pozicije iz kojih autor ispoveda svoju ontološku<br />strepnju i svest o konstitutivnoj ambivalenciji. Uključivanjem metodoloških<br />premisa iz oblasti studija kulture (marginalizacija, transgresija, liminalnost) u<br />proučavanje autentičnih avangardnih poetičkih strategija Rastka Petrovića, ukazali<br />smo na činjenicu da je autor tragajući za sobom ostvarivao svoje poetsko biće. Na taj<br />način obrazovao se hibridni i liminalni identitet u dinamičkom polju<br />antagonističkih diskursa, koji se neprekidno međusobno presecaju.<br />Reč je, dakle, o tome da poetičko-estetsko-filozofsko ishodište<br />stvaralaštva Rastka Petrovića čini ideja da se biće (ono što jeste), kao i<br />konstituenti njegovog identiteta (pol, rod, rasa, nacija, klasna, verska i<br />profesionalna pripadnost...) razumevaju kao procesualne kategorije koje su<br />neprekidno izložene promenama. Petrović, zapravo, otvara put savremenom<br />antiesencijalnom tumačenju bića kao fluksa (ono što je tok i što se menja) unutar<br />simboličkih mreža, odnosno diskurzivnih praksi. Na taj način, stvara se mogućnost<br />da se pojam, odnosno koncept identiteta tumači kao strategijski i pozicijski, te je u<br />Petrovićevom delu identitet uvek relaciono konstruisan i izratito obeležen ne-<br />pripadanjem. Istovremeno, identitet sugeriše istost i podržava neki oblik<br />zajedništva koji varljivo ispunjava ontološku prazninu.<br />Ovaj rad svoje metodološko utemeljenje pronalazi u pretpostavci da je<br />pluralitet u teorijskim pristupima i kritičkim praksama nužan, upravo zbog<br />2<br />složenosti i ambivalentnosti pojma identitet, koji je interdisciplinaran po svome<br />dosegu. Istovremeno, ovaj rad se bavi različitim aspektima identiteta sa ciljem da<br />se sačuva i istakne svest o interakciji između konstituenata identiteta i teorijsko-<br />kritičkih praksi koje se njima bave. U fokusu našeg istraživanja nalazi se kulturni,<br />rodni i narativni identitet, tačnije, modusi njihovih konstrukcija. U tom smislu,<br />ova studija dokazuje da poetika, ali i život Rastka Petrovića predstavljaju<br />paradigmu kulturološke i rodne liminalnosti. Shodno tome, putujući model<br />egzistencije pokazuje se kao presudan u tvorbi identiteta koji se formira kao<br />hibridni, usled sedimentacije različitih kultura.<br />Iscrpna anliza rodnog identiteta, odnosno maskuliniteta, ističe<br />subverzivni potencijal Petrovićevog dela u odnosu na patrijarhalnu<br />falogocentričnu binarnu kulturološku matricu. Rastko Petrović nesumnjivo<br />iskazuje svest o ideološkom karakteru rodne uloge koja mu je namenjena, te je proces<br />&bdquo;postajanja&ldquo; muškarcem izuzetno složen, obeležen protivurečnostima i strepnjom.<br />Poseban kompleks pitanja koja se nužno nameću kada je u pitanju autorefleksija<br />predstavlja jezik, jer je pisac prinuđen da dokaz vlastitog postojanja traži u jeziku, u<br />pojmovima koji su takođe proizvod diskursa koji ne odobrava alternativnu muškost.<br />Tumačenje narativnog ideniteta kao ipseiteta koje smo koristili u radu,<br />dakle, upoznavanje i konstituisanje sebe kao metakategorijalnog Drugog, markiralo je<br />značaj kulturnog dijaloga kome je Rastko Petrović nesumnjivo stremio. U pitanju je<br />dijalog u kome pripadnici manjinskih/marginalnih kultura i subkultura postaju<br />ravnopravni sagovornici. Istovremeno, razmena kulturnih darova obezbeđivala bi<br />potencijal za, iz današnje perspektive posmatrano, povlašćen status agensa u<br />stvaranju sopstvene kulture, kao i aktivno učešće u mapiranju kulture u svetu.</p> / <p>This thesis aims to determine the crucial points of identity formation in Rastko<br />Petrović&rsquo;s poetics with the intention to verify the idea that Rastko Petrović&rsquo;s work<br />anticipates the modern understanding of identity as a construct which emerges from the<br />discourse of power with its identificational processes within the subject. Rastko Petrović&rsquo;s<br />oeuvre is an excellent example of the fact that identity represents a complex and dynamic<br />network of identity constituents that constantly intertwine, and, in the places where the<br />contacts happen, they form ambivalent subject positions from which the author narrates his<br />ontological fear and the awareness of the constitutive ambivalence. By including some of<br />the methodological premises from the field of cultural studies (such as marginalization,<br />transgression, liminality) into the research of Petrović&rsquo;s authentic avant-garde poetic<br />strategies, the thesis shows that, while searching for his inner self, Petrović was epitomizing<br />his poetical self, thus forming a hybrid and liminal identity in the dynamic field of<br />antagonistic discourses that constantly intersect.<br />Therefore, we can say that the poetic, philosophical and aesthetic sources of<br />Petrović&rsquo;s work are found in the idea that self (what is), as well as the constituents of his<br />identity (sex, gender, race, nation, class, religious beliefs, professional orientation&hellip;) are<br />understood as processing cathegories constantly exposed to changes. What is more, it can<br />be said that Rastko Petrović clears the path for the modern, antiessetialist interpretations of<br />self as flux (that which is a flow, which changes constantly) within the symbolic network, i.e.<br />discoursive practices. In this way, arises the possiblity of interpretation of the notion, or the<br />idea of identity, as strategic, or positional, meaning that in Petrović&rsquo;s works identity is<br />always relationally constructed and strongly marked by non-belonging. At the same time,<br />identity means sameness and supports at least some kind of unity feebly fulfilling the<br />onthological void.<br />Methodological foundation of this thesis is found in the assumption that the plurality<br />in critical and theoretical approaches is necessary, precisely because of the complexity and<br />ambivalence of identity, the term whose scope and range are interdisciplinary positioned. At<br />the same time, the thesis examines various aspects of identity with the objective to<br />preserve and enhance the awareness about the interaction between the constituents of<br />4<br />identity and theoretical and critical practices that deal with it. Cultural, gender and narrative<br />identities or, more precisely, the modes of their constructions, form the central part of the<br />thesis. In this sense, this thesis shows that the poetics, but also the life of Rastko Petrović,<br />represent a paradigm of cultural and gender liminality, while the life on the constant move<br />proves to be crucial in the creation of identity which is formed as a hybrid one because of<br />many layers coming from various cultures. A detailed analysis of gender identity or, more<br />precisely, masculinity, stresses the subversive potential of Petrović&rsquo;s work when juxtaposed<br />to patriarchal, logocentric, binary cultural matrix. Rastko Petrović expresses an awareness of<br />the ideological character of the gender role he was assigned with; therefore, the process of<br />&ldquo;becoming&rdquo; a man is a highly complex one, marked with contradictions and fear. A separate<br />cluster of questions that inevitably appear with introspection is found in language, since<br />writer is compelled to search for the proofs of his existence in the language and in the<br />notions which are also a product of discourse that does not approve of the alternative<br />masculinity.<br />The interpretation of narrative identity as ipseity, used in this work, as well as the<br />introduction and constitution of self as a meta-categorical Other, marked the importance of<br />cultural dialog which Rastko Petrović undoubtedly strived for. It is a dialog where the<br />members of minority cultures and subcultures are equal participants. At the same time, the<br />exchange of cultural gifts provides the potential for a privileged status of agens in creation<br />of one&rsquo;s own culture, and also in active mapping of the world culture.</p>

Cette recherche vise à mettre en lumière comment, par une chaîne de performances, des individus effectuent une communication culturelle qui permet de tracer de façon dynamique les frontières entre groupes communautaires. La communauté se révèle alors ne pas être une réalité préexistante, s’imposant aux individus passifs, mais une construction performative dont l’identification s’effectue par la participation à la conga. Pour ce faire je mobiliserai une approche générative et processuelle et la notion de performance sera conçue, non pas comme une catégorie phénoménologique étanche mais comme une notion susceptible d’inclure plusieurs modes de participation (spectacle, jeu, théâtralisation, interactions quotidiennes) liés à différents registres d’attention exercés par l’individu dans l’action. Au sein de l’espace global de la ville de Santiago de Cuba, Los Hoyos est un « quartier » souvent cité par des individus comme leur lieu de résidence. La fréquence des contacts, l’importance des services réciproques, la dépendance interindividuelle liée aux risques de dénonciation, mais également l’intensité émotionnelle et le degré d'intimité des échanges, constituent un espace social aux mailles très serrées et habité par un sentiment revendiqué de communauté. La première partie de ce travail, le « Faire Monde », part à la recherche de cette communauté.Dans le chapitre 1 j’ai considéré le groupe Los Hoyos distinct dans le sens où il constitue une catégorie spécifique attribuée et identifiée par ses acteurs. Néanmoins cette catégorie ascriptive ne correspond à aucune zone administrative officielle liée à la planification socialiste. De plus, la circonscription de l’espace n’entre non seulement jamais en correspondance d’un individu à l’autre, mais présente également des variations d’une ampleur considérable. Los Hoyos est représenté (opérations de bornage) et figuré (sketch maps) comme un espace allant de 5 blocs sur 4 à 15 blocs sur 13 et associant d’1 à 7 zones de planification socialiste. Ni les réseaux collaboratifs, ni les liens de parenté, ni les représentations individuelles de l’espace ne permettent de reconstruire l’attachement à un ensemble territorial conçu comme identitaire. L'analyse fait apparaître à l'intérieur de Los Hoyos une pluralité d'ensembles qui sont en conflit de définition et simultanément les informateurs s'accordent pour reconnaître des totalités symboliques qui les unissent. Il ne s'agit pas alors d'endosser l'essentialisme spontané des informateurs qui s’inscrivent dans une communauté présentée comme une entité immuable, traditionnelle etc., mais réussir à rendre ces catégories opératoires pour l'analyse. Je n'ai alors pas envisagé le symbolisme sous l'angle de son contenu, mais pour la forme distinctive du style sur lequel il se construit. Style conçu comme la mise en relation spécifique par laquelle la conga construit une production symbolique dont le contenu est interprété comme particulier à la communauté de Los Hoyos. Cela fait apparaître deux relations cruciales :-Ces totalités se construisent par une mise en relation sous forme de renvois réciproques entre les domaines quartier et conga. La conga de los Hoyos, un ensemble de percussion musical dont le foyer se trouve à l’épicentre des représentations du quartier, constitue un paradigme significatif de l’organisation d’un répertoire symbolique signifiant pour le groupe. Les traits symboliques deviennent des véhicules autoréférentiels pour désigner un système de relations construit lors des performances. Le sentiment d’appartenance à la communauté de Los Hoyos se construit alors par la forme du contrepoint qui conjugue le sentiment unitaire et la variabilité individuelle. - La réalisation de plusieurs cartographies (sketch maps et développement spatiotemporel des performances) mises en relation, révèlent une correspondance directe entre les polarisations des représentations de l’espace communautaire et les parcours de la conga. Si les analyses... / This research aims to highlight how, through a chain of performances, individuals perform a cultural communication which allows to dynamically draw the boundaries between community groups. Community reveals itself not be a pre-existing reality imposing liability on individuals, but a performative construction whose identification is achieved by the participation to the conga. I will mobilize a generative and processual approach, and the notion of performance will be considered, not as an hermetic phenomenological class, but as a notion which may include several modes of participation (shows, games, drama, dramatization, daily interactions) associated with different registers of attention mobilised by the individual in the action.Within the global space of the city of Santiago de Cuba, Los Hoyos is a "neighborhood" often cited by individuals as their place of residence. The frequency of contacts, the importance of reciprocal services, inter-dependence related to the risk of denunciation, but also the emotional intensity and intimacy of trade and interactions create a very tight social space, inhabited by a strong sense of community. The first part of this work, "Faire Monde" goes to the quest of this claimed community.In Chapter 1 I considered the group Los Hoyos distinct in the sense that it is a specific category assigned and identified by its actors. However, this ascriptive category does not match any official administrative area linked to socialist planning. In addition, the division of space not only doesn’t match from one individual to another, but also presents variations of considerable magnitude. Los Hoyos is represented ( operations de bornage ) and figurated (sketch maps) as a space that goes from 5 blocks over 4, to 15 blocks over 13, and associating 1 to 7 areas of socialist planning. Neither collaborative networks nor kinship ties, nor individual representations of space allow reconstructing the attachment claimed as a territorial identity. The analysis reveals inside of Los Hoyos a plurality of settings that are in conflict of definitions and simultaneously informants agreed to recognize symbolic totalities between them. It is not then to endorse the spontaneous essentialism of my informants who represent themselves into a community presented as an unchanging entity, traditional etc., but to succeed in making these categories operational for analysis. I did not consider the symbolism in terms of its content, but for the distinctive shape of the style on which it is built. Style must then be understood as the specific relationship setting on which the conga build a symbolic production which content is interpreted as particular to the community of Los Hoyos. This reveals two crucial relationships:-These totalities are constructed by linking in the form of cross-references the domains” neighbourhood” and “conga”. The Conga of los Hoyos, a group of musical percussion whose house is the epicentre of the representations of the neighbourhood, is a significant paradigm in organizing a symbolic repertory meaningful for the group. Symbolic features become self-referential vehicles to designate a system of relationships built during the performances. Sense of belonging to the community of Los Hoyos is then constructed by the form of the counterpoint which combines the sense of unity and the individual variability. - The realization of several maps (sketch maps and maps of the spatiotemporal development of performances), once juxtaposed, reveals a direct correlation between the polarizations of the representations of the community’s space and the conga’s journeys. If the analyze of networks of sociability, economic activity and representations of space highlighted a valuation of "side by side", it is the conga, then both emblem and vector of the community which seems to allow, by the performance, to be "linked to".Chapter 2 goes in search of the sense of group identity through specific relationships to...

The aim of this master thesis in Ethnology and Folkloristics is to study how non-binary transgender people relate to words and identity positions which concerns primarily gender and sexuality. What are their opinions on words such as intergender, queer, trans, man, woman, lesbian and gay? What role do such words play in their everyday life and in the construction of their identities? The study is based on interviews with eight people. Six of the informants have non-binary gender identities and two of them are transgender women with some non-binary experiences. At the time of the interviews, the informants were between 21 and 37 years old. The thesis consists of five chapters, whereof the first chapter introduces the topic, the material and the theoretical foundation of the thesis. The main theoretical framework for this study is queer theories. In the second chapter, some aspects of the everyday life of the informants are presented. How is it to live with a non-binary gender identity? Many informants give an account of the complications which occur because they are neither women nor men. People of the majority population often consider their identities unreal and unintelligible. In chapter three it is discussed how the informants explain their relationship to different words for non-binary gender identities. Their reasons for choosing to use certain words to define themselves with are also presented. Some informants claim that they would prefer to live in a world where they did not have to name themselves. Yet every informant still uses different words to describe themselves with. In chapter four it is demonstrated how choosing a word for one’s identity is a process affected by other aspects in a person’s life. The informants decide on a word for themselves depending on the people around them. Furthermore, sexuality and sexual identity also play a big part in how they conceive and name their gender identity. Finally, chapter five consists of a summary of the thesis and a short passage to widen the discussion

The construction of an identity among lesbian women during 1950-­‐1965 is in focus in this master ́s thesis. My starting point is that identity, such as lesbian or any other identity, is formed in relation to other people and groups, as well as society. This thesis will also examine how lesbian women met and formed bonds with like-­minded, and whether these aspects changed, during the defined time period. The empirics is made up by letters written by women to Riksförbundet för sexuellt likaberättigande (a Swedish organisation for lesbian and gays) as well as an interview with two lesbian women who were born in 1938 and 1940. The theoretical approach is queer theory and phenomenology. In summary: I have found that women in this study to a great extent formed their identity in relation to prevailing scientific ideas that claimed to explicate homosexuality. Disappointments in marriage and personal failures were stressed by the women writers in order to explain their lesbian desires. Some of them also put equal weight on the relationship between a high sexual drive/nymphomania and homosexuality. Among many lesbians outside Stockholm in the 1950’s personal ads played a major role in order for them to meet with like-­minded women. The women in this study travelled long distances with the aim to visit pen friends in other parts of Sweden. Through those penfriends they were also introduced to other lesbian women, showing how lesbian networks emerged and grew.

As in the case of many other local and overseas teacher-training institutions the Postgraduate Certificate of Education programme (PGCE) at the University of Pretoria is a model rich in experience. In this model 60% of the time is devoted to a school-based programme and 40% to the university-based programme. The school-based programme is presented in association with schools. The student teacher is placed in a school for a period of seven weeks and assigned to a teacher who acts as the mentor teacher. The mentor teacher serves as a the link between teaching theory and subject content and also plays a major role in the contextualisation of the classroom learning experiences. The university prescribes various tasks: mentor teacher have to stimulate the inquiry skills and reflective practices of student teachers, manage meta-communication across situation and role, manage learning tasks and create a safe and challenging learning environment to the students. The mentor teacher should therefore not only be a subject specialist in his or her field of specialisation but should also create the opportunity for student teachers to maximise their potential. In this study the focus is on the experience of the teacher taking up the role of a mentor teacher. To fulfil the role of mentor teacher implies that an exchange of identity needs to take place from teacher identity to mentor teacher identity. This prompted the following research question: What is the identity image of a mentor teacher? With subsidiary questions as <ul> <li>What are the identifying characteristics of a mentor? </li> <li>What are the identifiable dynamic processes or stressful situations that have an impact on the identity formation of a mentor?</li></ul> The research could be identified as qualitative in the interpretative paradigm. Data were collected by means of open-ended questionnaires and in-depth interviews with selected mentor teachers and student teachers. The student teachers assigned to the selected mentors were automatically included in the study. The study was repeated for over a period of three terms, each term with two different teachers and student teachers. To analyse the data, Gee’s (2000-2001) four perspectives of identity, namely nature-identity, institution-identity, discourse-identity and affinity-identity, were used as analytical framework. The results disclosed many indicators supportive of mentor-identity but no fixed mentor-identity emerged. However, the characteristics, functions and responsibilities of a successful mentor in this case study were identified. These characteristics, functions and responsibilities defining the identity of a mentor teacher, could support the school in selecting teachers to take up the role of mentor teachers. In an extended school-based teaching practice the quality of the experience, in most cases, depends on the mentor teachers' beliefs and attitude towards the task. / Thesis (PhD)--University of Pretoria, 2008. / Curriculum Studies / unrestricted