This thesis explores native testimonies in Canada, Mexico, and Quebec written between 1950 and 1980. The goal of this research is to study the strategic use of life writing and the testimonial genre by Native subjects in particular in their struggle for self-governance, cultural recognition and survival in order to talk back to the dominant neo/colonial culture. Testimonio allows Native voices to emerge in scriptocentric culture while questioning the authority of neo/colonial cultures and addressing important issues regarding Native survival. The focus of this study is how the use of testimonial writing allows Native cultures to renegotiate history, fight cultural misrepresentation and resist cultural assimilation. By finding new ways to transmit oral knowledge and traditional heritage, while undergoing the process of mediation, such as translation and/or editing, Native writers are able to judiciously use testimonio as an empowering tool for cultural survival. The truth claims found in these narratives are discussed individually in order to render a clearer picture about Natives' oppression in the Americas. This enables the socio-historical specificities of each Native discourse to emerge from various geopolitical contexts and to stand tall against neo/colonial oppression. In order to better understand how testimonio can put forward Native voices and demands, this study draws on testimonial theory from researchers such as John Beverley, George Yudice and Georg Gugelberger as well as on postcolonial and life-writing theory. According to these theorists, testimonio writing speaks urgently about oppression, marginalization and survival, often for political not just aesthetic This thesis studies life stories by Juan Perez Jolote, Nuligak Kriogak, and An Antane Kapesh as example of testimonio, by analysing the collaboration between the author/teller and the editor/translator; the cultural mis/representation within these narratives, and the resistance (if any) these works engage in. The use of native languages (especially: Tzotzil, Inuvialuktun, and Innu-aimun) at the early stages of the collaboration testifies to the ongoing cultural survival of the Chamula, the Inuvialuit, and of the Innu in the 20 th century. The political urgency of these testimonios can be observed at the different stages of the process of their liberation in each respective narrative.

This paper presents a literature review on Chicana artists throughout history. It is an effort to situate Chicana artists as political visionaries, capable of conveying new visions for the future in their strategic disruption of the distribution of the sensible. Chicana art has been widely studied in the past two decades as a body of work that is both based in cultural formation, spirituality and a feminist critique of the Chicano Movement from 1968-1975. In this review of the literature, I will explore Chicana art in its role as political inspiration and a mapping of resistance to white elite power structures. Therefore, my focus in this work will be to analyze resistance and visual art, as well as the relationship between Chicanas and visual art. In this sample, I will canvas some of the work written on the historical processes that shaped Chicana/o identity, the Chicano/a movement and the early Chicana critique of that movement. This will simultaneously incorporate references to the artistic expression of the movement that has continued to shape cultural and political production in the Mexican American and affiliated academic communities for the last forty years. / text

yes / Within the still-dominant medical discourse on dementia, disorders of language (such as dysphasia, aphasia, and perseveration) feature prominently among diagnostic criteria. In this view, changes in ability to produce coherent speech or understand the speech of others are considered to be a direct and inevitable result of neuropathology. Whilst an alternative psychosocial account of communicative challenges in dementia exists, emphasis here is placed largely on the need to compensate for deficits in the language or comprehension of the diagnosed individual and on his or her social positioning by ‘healthy others’. Rather less emphasis has been placed to date people with dementia as social actors who create meaning and draw on contextual clues in order to give shape to their interactions. In this article we draw on Mikhail Bakhtin’s concepts of the carnivalesque, heteroglossia, polyphony and dialogism to analyse a series of interactions involving people with dementia in day and residential care environments. Two main findings are foregrounded. The first, consistent with previous studies, is that many of the communicative challenges faced by people with dementia arise from the social environments in which they find themselves. The second is that the utterances of people with dementia in the face of these social challenges show many of the hallmarks of cultural resistance identified by Bakhtin.

no / This paper considers the situation of people with dementia who are living in long-term care from two rarely-applied theoretical perspectives. The first, Agamben’s theory of biopolitical life versus bare life, demonstrates that the situation of people with dementia living in care homes or hospitals approximates to that of prisoners, internees and refugees, deprived of full citizenship or biopolitical life. In popular imagery people with dementia are frequently referred to, first in terms of numbers, as a ‘rising tide’, in a way that has historically been used to justify discrimination and social exclusion. In many, care environments it is, moreover, still the case that people with dementia are reduced to a condition of ‘bare life’ only: given little choice, having few rights, lacking freedom of movement, and subjected to almost constant surveillance. In other contexts, such treatment is known to cause or exacerbate many of the problems which – following a biomedical model – are constructed as ‘symptoms of dementia’, such as disorientation in time and space, sleep disturbance, hallucinations and repetitive movement. The second body of theory is Bakhtin’s work on cultural resistance. This demonstrates that many of the so-called ‘challenging behaviours’ manifested by people with dementia, can better be understood as coping, sense-making and self-determining strategies adopted in order to survive within prevailing organisational cultures. Based on a series of studies carried out in intermediate and long-term care since 2009, the paper draws on a range of narrative and film-based examples to demonstrate the ‘courage, humour, fortitude and cunning’ with which, as Walter Benjamin noted, the oppressed have always met the conditions of their oppression. In the process, ‘challenging behaviour’ is given political and ideological meaning, as protest, perpetrated by people who are struggling against extreme odds to be reinstated as full citizens. / Conference website: http://www.aginggraz2017.com/conference-schedule

Made available in DSpace on 2016-08-10T11:21:29Z (GMT). No. of bitstreams: 1 SILVIA ADRIANE TAVARES MOURA.pdf: 8894175 bytes, checksum: 96e0a342e2829e9cc066f3e16ea4a647 (MD5) Previous issue date: 2013-03-19 / The research aims to (re) build historically part of the trajectory of the capoeira group existing in the city of Tocantins Stingrays, entitled Cultural Association Chapada dos Negros (ACCN), to concepts that underlie this sport and culture, especially as to which refers to memory, identity and education for racial ethnic relations, which are from its existence in the city. In this direction, it was possible to know, interpret and understand the history of capoeira Stingrays, portraying it as their collaboration for the continuity of individual memory, collective, institutional and historical consciousness and cultural community. The practice of capoeira Stingrays / TO, during the years 1984 to 2012, has contributed to the construction of black identity, cultural resistance, those that integrate the experiences disseminated by the Cultural Association Chapada dos Negros (ACCN) through the appropriation knowledge and practices of the community. I sought this path, consider various ways to practice capoeira, its principles and values, triggered by the group in a unique way to build a sense of belonging and behavior guided by cultural and symbolic references african- Brazilian. I used as a methodological tool and interpretive narratives of the subjects, with the basic presupposition, their life stories, the construction of the research partners. By teachers and practitioners of capoeira, I realized that, despite the obstacles imposed by slavery in Brazil, especially the one that occurred in the city of TO-Rays, Africans and their descendants have found ways to organize and express their cultural practices deeply influencing society Arraiana. So, to sing the song in the palms of capoeira resist the historical strength of their struggle. / A pesquisa tem por objetivo (re) construir historicamente parte da trajetória do grupo de capoeira existente na cidade de Arraias Tocantins, intitulado Associação Cultural Chapada dos Negros (ACCN), à luz de conceitos que fundamentam essa modalidade esportiva e cultural, especialmente quanto ao que se refere à memória, identidade e educação para as relações étnico raciais, que se constituem a partir da sua existência no município. Nessa direção, foi possível conhecer, interpretar e compreender a história da capoeira em Arraias, retratando-a quanto a sua colaboração para a continuidade da memória individual, coletiva , institucional e para a consciência histórica e cultural da comunidade. A prática da capoeira em Arraias/TO, no decorrer dos anos de 1984 a 2012, vem contribuindo para a construção da identidade negra, da resistência cultural, daqueles que integram as experiências difundidas pela Associação Cultural Chapada dos Negros (ACCN) por intermédio da apropriação de saberes e fazeres da comunidade. Busquei nesta caminhada, analisar diversas formas de praticar a capoeira, seus princípios e valores, acionados pelo grupo de modo singular, para a construção do sentimento de pertencimento e condutas pautados pelos referenciais simbólicos e culturais afrobrasileiros. Utilizei como instrumento metodológico e interpretativo as narrativas dos sujeitos da pesquisa, tendo como pressuposto básico, suas histórias de vida, interlocutores da construção da pesquisa. Pelos mestres e praticantes da capoeira, pude perceber que, apesar dos obstáculos impostos pela escravidão no Brasil, em especial a ocorrida na cidade de Arraias -TO, os africanos e seus descendentes encontraram meios para se organizarem e manifestarem suas práticas culturais influenciando profundamente a sociedade arraiana. Por isso, ao entoar o canto nas palmas da capoeira resistem à força histórica de sua luta.

Submitted by Filipe dos Santos (fsantos@pucsp.br) on 2017-04-29T19:34:31Z No. of bitstreams: 1 Edson Roberto de Jesus.pdf: 4064470 bytes, checksum: 7768bca7f47ba8c48fa3e1baf0b43f74 (MD5) / Made available in DSpace on 2017-04-29T19:34:31Z (GMT). No. of bitstreams: 1 Edson Roberto de Jesus.pdf: 4064470 bytes, checksum: 7768bca7f47ba8c48fa3e1baf0b43f74 (MD5) Previous issue date: 2017-03-23 / Since the last decade of the twentieth century, the City of São Paulo has witnessed the emergence of a variety of groupings - Terreiros and Comunidades - that have the Samba and Roda de Samba - black and popular cultural expression - as central elements activities and existence. This research aims to understand how these places of a cultural practice that provides situations and moments of leisure and entertainment, but also moments of reflection on the reality in which this cultural practice and its practitioners, adepts and lovers are inserted, constitute as places of rescuing and promoting Samba's memory and tradition, of re-signification of space, establishment of community and identity ties, in a full exercise of citizenship and in a continuous action of cultural resistance and continuation of cultural practices whose common denominators refer to the actions undertaken by the population in the early twentieth century / A Cidade de São Paulo tem assistido, principalmente a partir da última década do século XX, ao surgimento de uma diversidade de agrupamentos – Terreiros e Comunidades -, que tem o Samba e a Roda de Samba – expressão cultural negra e popular - como elementos centrais às suas atividades e existência. Essa pesquisa tem por objeto compreender como esses lugares de uma prática cultural que propicia situações e momentos de lazer e entretenimento, mas também momentos de reflexão sobre a realidade na qual essa prática cultural e seus praticantes, adeptos e apreciadores estão inseridos, se constituem como lugares de resgate e promoção da memória e tradição do Samba, de ressignificação do espaço, constituição de laços comunitários e identitários, num exercício pleno de cidadania e numa ação continua de resistência cultural e de continuação de práticas culturais cujos denominadores culturais comuns remetem as ações empreendida pela população negra nos primórdios do século XX

BARROSO, Iraci de Carvalho. Capacitação de parteiras tradicionais do Amapá: tensões entre incorporação de saber médico e resistência cultural na prática de partejar. 2017. 232f. – Tese (Doutorado) – Universidade Federal do Ceará, Programa de Pós-Graduação em Sociologia, Fortaleza (CE), 2017. / Submitted by Gustavo Daher (gdaherufc@hotmail.com) on 2017-05-03T17:38:50Z No. of bitstreams: 1 2017_tese_icbarroso.pdf: 5199417 bytes, checksum: 2e8f1e9f7d63b13b9e2be666680fa421 (MD5) / Approved for entry into archive by Márcia Araújo (marcia_m_bezerra@yahoo.com.br) on 2017-05-04T14:41:47Z (GMT) No. of bitstreams: 1 2017_tese_icbarroso.pdf: 5199417 bytes, checksum: 2e8f1e9f7d63b13b9e2be666680fa421 (MD5) / Made available in DSpace on 2017-05-04T14:41:47Z (GMT). No. of bitstreams: 1 2017_tese_icbarroso.pdf: 5199417 bytes, checksum: 2e8f1e9f7d63b13b9e2be666680fa421 (MD5) Previous issue date: 2017 / A presente tese, a partir de uma análise socioantropológica, problematiza a questão da capacitação de parteiras tradicionais, discutindo as tensões entre incorporação de saber médico e resistência cultural na prática de partejar das parteiras no Amapá. Para tanto, apoio-me em perspectivas epistemológicas críticas que problematizam as hierarquias e dicotomias subjacentes à “monocultura do saber”, segundo proposta analítica de Santos (2006), a qual confere privilégios de conhecimento e de poder aos saberes científicos, em detrimento de outras formas de saberes. Valho-me, em alinhamento a essa perspectiva analítica, da crítica feminista ao sujeito universal da ciência e de seus privilégios de enunciação. Privilegio, sobretudo, aquelas teorizações que desvelam o processo de silenciamento imposto aos saberes e ao poder de agência engendrado pelas mulheres (HARDING, 1998; HARAWAY, 1995; SANTOS, 2012). O estudo compõe-se de uma abordagem qualitativa, com etnografia e uso de narrativas de 25 parteiras tradicionais, periféricas, remanescentes quilombolas e indígenas, que se configuram como interlocutoras de minha pesquisa, além de fontes documentais e entrevistas com 10 profissionais da área biomédica. O recorte da pesquisa vai de 2013 a 2016, produzindo um material que dialoga com experiências de pesquisas anteriores sobre a temática das parteiras tradicionais. Permeia na tese o contexto empírico dos cursos de capacitação no Amapá. “Capacitação” é um termo empregado pelo Ministério da Saúde e implementado pelo “Projeto de resgate e valorização de parteiras tradicionais”, implementado pelo governo do Estado do Amapá para instrumentalizar as profissionais do parto domiciliar. Através dessa configuração técnica e biopolítica, a “capacitação” se constitui num rico cenário em que se dão a ver confrontos entre heterogêneas visões de mundo (sobretudo aquelas concernentes à saúde, ao corpo da mulher, à higiene e à segurança), sistemas de conhecimento técnico e repertórios de ação, condensados na tipologia científico versus tradicional. Através da inserção etnográfica e das narrativas das interlocutoras, tento analisar esses confrontos, o que podem significar enquanto obrigação de incorporação de saberes e práticas. Os resultados apontam para as tensões, conquistas e também reconhecimento. Nessa relação, tem-se como conquistas o fato da parteira ser cadastrada em programa estadual; participar dos cursos e treinamentos; receber o diploma, o “kit parteira” e ser incluída no sistema de pagamento da bolsa – elementos de reafirmação identitária e de reconhecimento da legitimidade da parteira, além de tecerem redes compartilhadas de troca de experiência entre mulheres que partejam. Por outro lado, as contradições se expressam nas tensões entre a ampliação da função social da parteira, que após a capacitação é chamada a intervir em diferentes esferas da promoção da saúde comunitária, porém sem reconhecimento profissional como trabalhadora da saúde, sendo, em alguns casos, explicitamente impedidas de prestarem seu serviço. Ao discutir capacitação, incorporação de saber e resistência cultural, pretendemos contribuir para a compreensão desse processo dinâmico de formação e recriação identitária de parteiras tradicionais que vivenciam suas práticas no cotidiano comunitário e sobretudo, para os estudos socioantropológicos e da saúde da mulher.

Submitted by Júlio António Aponto Té Aponto Té (apontote2008@yahoo.com.br) on 2016-02-25T19:15:19Z No. of bitstreams: 1 PDF TESE CORREÇÃO 02-VALIDO.pdf: 3040135 bytes, checksum: 9e209f8505896d9af8e59b65fac4a437 (MD5) / Approved for entry into archive by Juliano Benedito Ferreira (julianoferreira@reitoria.unesp.br) on 2016-02-25T19:52:39Z (GMT) No. of bitstreams: 1 apontote_ja_me_mar_par.pdf: 448731 bytes, checksum: daf2804694d5072d8fb3cd837ad248d0 (MD5) / Made available in DSpace on 2016-02-25T19:52:39Z (GMT). No. of bitstreams: 1 apontote_ja_me_mar_par.pdf: 448731 bytes, checksum: daf2804694d5072d8fb3cd837ad248d0 (MD5) Previous issue date: 2016-01-27 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / Esta dissertação analisa as contribuições da música e da mídia para a formação da identidade nacional na Guiné-Bissau em dois momentos históricos: da Revolução Armada à independência e a fase pós- independência. Para tanto, foi necessário mostrar a trajetória do PAIGC (Partido Africano para Independência da Guiné e Cabo Verde) neste processo com base tanto em estudos bibliográficos como em entrevistas gravadas a fim de mostrar como os processos da comunicação a partir da musicalidade (por meio da mídia - Rádio) eram projetados por este partido para a construção do Estado-nação, que por sua vez visava promover a “resistência cultural” para a construção de uma unidade nacional no contexto de uma sociedade culturalmente heterogênea, socialmente estratificada e inserida no contexto de globalização e de assimilação da cultura do colonizador (português). Para tanto, se tornou necessário analisar a trajetória e a produção intelectual de Amílcar Cabral, líder do PAIGC. Em seus escritos destacaram-se os textos sobre o surgimento dos movimentos de libertação nas colônias portuguesas no continente Africano - seus fundamentos político-ideológicos, bem como os caminhos traçados para constituir a união étnica no interior da Guiné e simultaneamente a adesão destes com Cabo Verde, isto com a perspectiva de superar o chamado tribalismo do povo guineense, que representava um grande obstáculo para o projeto de unidade nacional. Também, foram utilizadas entrevistas com alguns participantes da luta de libertação, incluindo djidius1, e líderes das vilas guineenses. / This dissertation aims at highlighting the two main historical moments in which Music and Media have subsidised Guinea-Bissau with important contribution for the formation of country´s National Identity; these moments are those of Armed revolution against the colonial force domination and the Post-independence period. It will be necessary though, to tell about the trajectory made by PAIGC (The African Party for Independence of Guinea and Cape Verde) in the two processes I mentioned, but also with supports on available bibliographic studies, records of interviews as well as vídeo tapes; all to show how much contributive the communication via Musicality and Media helped to project the Party´s sucess in paving the way for a peacefull living ( among the indiginous-culturally heterogeneous) despite the presence colonialists´. Thus, a call for a National Unity, for building a stratified society inserted in a context of globalization and assimilation of the colonizer's culture (Portuguese). For this purpose it was necessary to analyze the studies of Amílcar Cabral, leader of the PAIGC on the emergence of liberation movements in the Portuguese colonies on the African continent - highlighting their political and ideological foundations on the way of ethnic unity in the interior of Guinea-Bissau and simultaneously their accession with Cape Verde, as the so-called tribalism of the Bissau-Guinean, which represented a major obstacle to national unity Project today. Interviews were also used with some participants of the liberation struggle, including djidius, and leaders of the Guinean villages.

Orientador: Suzy Maria Lagazzi / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem / Made available in DSpace on 2018-08-25T00:41:40Z (GMT). No. of bitstreams: 1 Modesto_Rogerio_M.pdf: 1944260 bytes, checksum: f35f66d14fc1c80173e421fd254e7321 (MD5) Previous issue date: 2014 / Resumo: A dissertação se propõe a questionar os modos pelos quais os movimentos sociais, mais especificamente os movimentos sociais urbanos, situam a resistência na significação da cidade e dos sujeitos citadinos. Com base no dispositivo teórico da Análise do Discurso de orientação materialista, buscamos entender o que, para esse tipo de movimento, significa resistir e como essa significação está relacionada com o próprio espaço urbano e os sujeitos que nele vivem. Para o empreendimento de nosso trabalho, focamos especificamente a análise do funcionamento dos discursos do Movimento Desocupa e do Movimento Ocupa Salvador, movimentos urbanos da cidade de Salvador-Bahia, os quais se significam como de resistência popular. Nosso corpus foi composto pelo recorte de alguns textos, imagens e vídeos que os supracitados movimentos disponibilizaram em seus sites oficiais. Com a análise, chegamos à conclusão de que o jogo entre conflito e conciliação é uma regularidade que estrutura o discurso dos movimentos. A partir dessa conclusão, pudemos propor o que estamos chamando de "efeito de resistência", noção pela qual buscamos delimitar o funcionamento discursivo que se dá entre a busca pelo novo (a partir do antagonismo marcado) e a ratificação do mesmo (pela reafirmação dos aparelhos que mantém as estruturas sociais vigentes) / Abstract: The dissertation aims to question the ways in which social movements, specifically urban social movements, situate resistance in the signification of the city and the townspeople. Based on the theoretical device of the Discourse Analysis of materialistic orientation, we seek to understand what, for this kind of movement, means to resist and how that meaning is related to the urban space itself and to the individuals living in it. For the development of our work, we focus specifically on the analysis of the functioning of the discourses of the Movimento Desocupa (DesOccupy Movement) and the Movimento Ocupa Salvador (Occupy Salvador Movement), urban movements of the city of Salvador, Bahia, that mean themselves as a popular resistance. Our corpus is composed of the clippings of some texts, images and videos provided by the aforementioned movements on their official websites. With the analysis, we have come to the conclusion that the game between conflict and conciliation is a regularity that structures the discourse of those movements. From that conclusion, we could propose what we call "effect of resistance", notion by which we seek to delimitate the discursive operation that occurres between the search for the new (from the marked antagonism) and the ratification of the same (by the reaffirmation of the apparatus that maintains the present social structures) / Mestrado / Linguistica / Mestre em Linguística

This study aims to point out how music can be used as resistance. This study looks at four rap songs and how the lyrics express resistance against African American oppression in the United States of America. Using discourse analysis I, a method outlined by Gillian Rose, in combination with discourse theory and cultural resistance theory, the following research question is answered: How is resistance against oppression expressed in rap music? In addition this study asks how the expression of resistance against oppression has changed over time? Therefore the songs have been selected from a different era, starting from the 80s until today. The method portrayed how the selected songs construct blame, effects of truth and arguments against oppression through the lyrics. Moreover, the theories showed how rap music can be used as cultural resistance since it performs as a practice of survival and rebellion as well as can be political and an outlet to let out frustration. Moreover, it was found that discourse determines the ways the artists act and view their world which is expressed through the selected songs.