Este trabalho parte de uma reflexão acerca da noção de espaço público a fim de debater, em dois níveis, tal conceito. Em uma primeira problematização, buscaremos evidenciar a dimensão de gênero presente na acepção dominante de espaço público ao questionar os parâmetros históricos de constituição da dicotomia público-privada como uma tecnologia de produção de espaços generificados tradicionalmente cindida entre homens-públicos e mulheres-privadas. A discussão sobre a instauração destas esferas separadas é tratada à luz da história, geografia e teoria feminista, bem como dos recentes estudos que associam as teorias de gênero a reflexões do campo da arquitetura e urbanismo. Em um segundo nível de argumentação, buscaremos vislumbrar de que maneira um modelo agonístico de democracia, preconizado por Chantal Mouffe (2013) pode ser posto em marcha a partir de práticas artísticas críticas que evidenciam o caráter sempre dissensual e disputado do espaço público. Ao considerá-lo enquanto lócus de disputas, a arte crítica (MOUFFE, 2013; RANCIÈRE, 2012) produzida em espaços urbanos por artistas feministas desponta como possibilidade de produção de dissensos (RANCIÈRE, 1996) que tornam visíveis os limites da noção hegemônica e consensual pressuposta nos termos de espaço público. A partir de imagens produzidas em performances realizadas em diferentes espaços públicos, apresentamos quatro montagens de imagens de quatro artistas visuais como modo de tramar relações visuais e teóricas que emergem da contestação pública destas ações. As montagens são analisadas à luz dos conceitos de práticas artísticas agonísticas (MOUFFE, 2013), dissenso (RANCIÈRE, 1996) e partilha do sensível (RANCIÈRE, 2009) / This work starts from a reflection about the notion of public space in order to discuss it, at two levels. In a first level, we seek to highlight the gender dimension within the dominant common sense of public space by questioning the historical parameters of constitution of the public-private dichotomy as a technology producing gendered spaces, traditionally divided between public men and private women. The establishment of these separate spheres is approached in the light of feminist history, geography, and theory, as well as recent studies that associate gender theories within the architecture and urbanism fields. In a second level of argumentation, we seek to see how an agonistic model of democracy, advocated by Chantal Mouffe (2013), can be set off from critical artistic practices that evidence the ever dissensual and disputed character of public space. In considering it as a locus of disputes, the critical art (MOUFFE, 2013; RANCIÈRE, 2012) produced in urban spaces by feminist artists emerges as a possibility of dissent production (RANCIÈRE, 1996) that makes visible the limits of the hegemonic and consensual notion assumption in the hegemonic terms of public space. Starting from images produced in artistic performances performed in different public spaces, we present four montages of images of four visual artists as a way of plotting visual and theoretical relations that emerge from the public contestation of these actions. The assemblies are analyzed in the light of the concepts of agonistic artistic practices (MOUFFE, 2013), dissent (RANCIÈRE, 1996) and the distribution of the sensible (RANCIÈRE, 2009)

Dissertation thesis focuses on the ethical aspects of literary production of the Czech dissidents. Literature is viewed primarily as a means to legitimation; it works as a legitimizing or delegitimizing agent. A good example is the Czech dream-book by Ludvik Vaculik which shows how it is possible through the written word to (de)legitimize and to (de)mythologize themselves and others and what ethical issues such behavior brings. It works with concepts of the proliferative effect of fiction and the author's reputation as symbolic capital; postulation of the authenticity of the literary testimony; the theory of collective authorship; describing the process of silencing; and the concept of the last dictionary and the solidarity based on a revision of this dictionary. It seeks to contribute to a new approach to dissent by showing the (de)legitimizing efforts in the samizdat's literature and the literature about the dissent and thus to undermine the mainstream homogenization of this multifaceted phenomenon.

The aim of the diploma thesis is to give the most objective and comprehensive view of the personality of Dominika Tatarka primarily from the historical perspective, but also from a literary critical perspective. The view of the creation will, as far as possible, be done in cross-section, with an accent on the autobiographical features of the work, demonstrating a radical view of the communist regime. Emphasis will be given, in particular, to the period of the 70s and 80s of the 20th century with relevant time transitions. The historical perspective will seek to bring the role of the writer's community in the reform movement of the sixties of the 20th century in a wider context and to clarify the specifics of Slovak dissent, with emphasis on the position of Dominika Tatarka in it.

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Dissertation thesis focuses on the ethical aspects of literary production of the Czech dissidents. Literature is viewed primarily as a means to legitimation; it works as a legitimizing or delegitimizing agent. A good example is the Czech dream-book by Ludvik Vaculik which shows how it is possible through the written word to (de)legitimize and to (de)mythologize themselves and others and what ethical issues such behavior brings. It works with concepts of the proliferative effect of fiction and the author's reputation as symbolic capital; postulation of the authenticity of the literary testimony; the theory of collective authorship; describing the process of silencing; and the concept of the last dictionary and the solidarity based on a revision of this dictionary. It seeks to contribute to a new approach to dissent by showing the (de)legitimizing efforts in the samizdat's literature and the literature about the dissent and thus to undermine the mainstream homogenization of this multifaceted phenomenon.

<p> This paper aims to produce a paradigm of community dissent. The main argument revolves around the actions of residents who are dissatisfied with either the conditions in their neighbourhood, or with proposed changes to it. Thus far fundamental types of strategies are identified for such residents and these take the form of 'exit', 'voice', 're'signation' and 'outlaw activity'. </p> <p> In using a conflict approach, the constraints which bear upon the initial choice decision and subsequent implementation of the strategies are constantly emphasised. The strategies and their attendant constraints then form the basis for the construction of a dynamic model with which to view the development of community conflicts. </p> <p>In order to provide some substantive basis for the assertions made in the model the major hypotheses derived from the model are tested in an empirical example of community conflict in Victoria Park, Hamilton. </p> / Thesis / Master of Arts (MA)

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The thesis of Dissent after 1989. The use of Pierre Bourdieu's theory of habitus change on the example of selected post-dissent organizations deals with the topic of dissent after 1989 and his subsequent life and influence in the Czech society after 1989. The theme of the post-dissent is conceived through a qualitative the research of organizations whose activity is based on the legacy of dissent or refers to its activities. With the help of the research design of instrumental case studies, the following organizations are organized: Charter 77 Foundation, Václav Havel Library, Babylon, Libri prohibiti. The monitored themes are the development of the organization's relationship towards disentanglement, the dissent reflection in the current activities of the organization, and how the organization communicates these themes towards the public. The theoretical part of the thesis outlines the issues of dissent and post-dissent, which are further embedded in the post-communist transition and presentation of the methodology of qualitative studies. In the second part of the case studies of the above mentioned organizations. I outline their focus and development towards dissent. The last part is an analysis of this development through the theoretical concepts of habitus change of Pierre Bourdieu. The aim is...

Digital Repression: Backlash or Deterrence of Dissent? is a quantitative analysis of the MENA region between the years 2000 and 2020. By distinguishing, theoretically as well as empirically, between nonphysical and physical aspects of state repression, this study aims to fill an identified research gap and contribute to the literature on the repression-dissent puzzle. To answer the research question; how does digital repression affect dissent?, this study uses digital repression as the independent variable and looks into whether this nonphysical form of state repression has a positive or negative effect on dissent, aggregating between violent and nonviolent forms of the dependent variable. In connection to logistic regression, the main finding is that digital repression seems to have a positive (backlash) effect on dissent, no matter the type of dissident tactic.