Dissertação(mestrado)- Universidade Federal do Rio Grande, Programa de Pós-Graduação em Educação em Ciências: Química da Vida e Saúde, Instituto de Educação, 2010. / Submitted by EDUARDO PENA (edupenaa@hotmail.com) on 2012-10-23T00:09:31Z No. of bitstreams: 1 A PEDAGOGIZAÇÃO DE CORPOS A PARTIR DO BODY MODIFICATION.pdf: 1500737 bytes, checksum: 2ddde213f4ef98aeee97fe400f6d4cc0 (MD5) / Approved for entry into archive by Bruna Vieira(bruninha_vieira@ibest.com.br) on 2012-12-01T17:10:39Z (GMT) No. of bitstreams: 1 A PEDAGOGIZAÇÃO DE CORPOS A PARTIR DO BODY MODIFICATION.pdf: 1500737 bytes, checksum: 2ddde213f4ef98aeee97fe400f6d4cc0 (MD5) / Made available in DSpace on 2012-12-01T17:10:39Z (GMT). No. of bitstreams: 1 A PEDAGOGIZAÇÃO DE CORPOS A PARTIR DO BODY MODIFICATION.pdf: 1500737 bytes, checksum: 2ddde213f4ef98aeee97fe400f6d4cc0 (MD5) Previous issue date: 2010 / Com essa dissertação tenho como objetivo principal problematizar como são produzidas as feminilidades sobre os corpos a partir das técnicas do body modification em dois espaços em que a pedagogia está atuando diretamente: na rua e no espaço virtual www.suicidegirls.com. Considero o body modification como sendo um conceito que remete a utilização de técnicas que façam com que os sujeitos adquiram características em seus corpos que em pouco se assemelhem ao biológico, seja a partir da aplicação de tatuagens, piercings, escarificações, brandings... Para responder tal proposta, considero a ciência como sendo aquela que é compreendida no discurso de quem a produz, em outras palavras, nas vontades de verdade dos sujeitos. A ciência aqui está baseada na produção de outros conhecimentos, outros valores nas sociedades, dessa forma, criando outras regras, a partir de outros saberes. É uma forma de reconduzir o saber que é aplicado em uma sociedade. Segundo essa perspectiva, pensar a produção de feminilidades, a partir da utilização de técnicas do body modification e desse modo de compreender a ciência, é colocar sob suspeita as metanarrativas que são construídas como verdade para as mulheres. Para tanto, fundamento esse estudo a partir da perspectiva dos Estudos Culturais e de Gênero, especificamente utilizando a vertente pós-estruturalista, com os estudos foucaultianos. Os estudos pautados sobre essa vertente consideram tanto os corpos quantos os gêneros dos sujeitos enquanto uma construção social e cultural, envolta em de relações de poder. Para desenvolver a pesquisa, utilizei instrumentos da pesquisa cartográfica e também da análise do discurso, sob perspectiva foucaultiana. Assim, com esse estudo utilizo dois espaços pedagógicos considerados informais, onde as relações acontecem, para analisar como são produzidas as feminilidades sobre os corpos com a utilização das técnicas do body modification: a Avenida Rio Grande, juntamente com o Largo Dr. Pio, na cidade de Rio Grande e o sítio virtual www.suicidegirls.com. Esses espaços me possibilitaram perceber as diferentes maneiras que as mulheres, ao utilizarem as técnicas do body modification, conduzem as suas feminilidades, seja seguindo as normas que são colocadas como verdade ou, ao contrário, criando outras formas de produzi-las. Em outras palavras, pude perceber que a utilização de piercings, tatuagens, dilatadores, escarificações e tantas outras técnicas do body modification até agora identificadas mostram que existem diferentes maneiras de se constituir feminina na sociedade. Algumas adeptas do body modification, tanto as que transitam em determinadas ruas da cidade do Rio Grande (RS) quanto aquelas que são modelos no www.suicidegirls.com, preconizam, em alguns casos, um rompimento, uma resistência às maneiras de produzir as feminilidades, construindo outras formas de ser mulher, seguindo outras condutas, outros modelos para os seus corpos. No entanto, algumas das mulheres entrevistadas apresentam um discurso de que tais técnicas são formas de potencializar as feminilidades legitimadas para elas. / With this dissertation, I aim to problematize how are produced the femininities of the bodies from the techniques of body modification in two areas in which teaching is directly acting: on the street and in cyberspace www.suicidegirls.com. I believe that the body modification as the use of techniques that make the people acquire characteristics in their bodies that resemble in some of their biological constitution, from the application of tattoos, piercings, scarification, brandings ... To put this work, I consider science as one that is understood in the discourse of those who produce it, in other words, the wills for truth of the subject and not the hegemonic, which presents the correct answer, the only legitimate, which was based on mathematical discoveries in the middle of the sixteenth century. The science here is based on the production of other knowledge, other values in society, creating other rules, from other knowledge. These, to produce knowledge, has educated and pedagogizing bodies, in other words, it produces the subject and sets their modes of being and acting in society. From this perspective, think about the production of femininities, from the use of techniques of body modification is put under suspicion the “metanarrativas” that are built as true for women. To this end, the foundation to work from the perspective of Cultural Studies and Gender, specifically using the present poststructuralist, with reference to the analysis of Michel Foucault. Studies had ruled on this case consider both the bodies and genders of the people as a social and cultural construction, involved in power relations. To develop the research, I used research instruments and also mapping of discourse analysis, Foucauldian perspective. So with this study using two pedagogical spaces considered informal, where relationships happen, to analyze how femininities are produced on bodies with the use of techniques of body modification: Avenida Rio Grande, along with the Largo Dr. Pius in City of Rio Grande and the site Virtual www.suicidegirls.com. These spaces allowed me to understand the different ways that women, by using the techniques of body modification, conduct their femininity, is following the rules that are placed as truth or, conversely, creating other ways to produce them. In other words, I could see that the use of piercings, tattoos, dilators, scarification and many other techniques of body modification identified so far show that there are different ways to provide women in society. Some devotees of body modification, both those who move in certain streets of Rio Grande (RS) as those who are models in www.suicidegirls.com, advocate, in some cases, a break up, a resistance to the ways of producing femininities by constructing other forms of being a woman, following other approaches, other models for their bodies. However, some of the women present a speech that such techniques are ways to enhance the legitimacy femininity to them.

Ce travail a pour dynamique la construction d’une analyse à la croisée des disciplines des sciences humaines pour mettre en avant les enjeux de la construction du ballet cubain dans la rhétorique révolutionnaire. La Ballet National de Cuba (nationalisé depuis 1959), en tant qu’institution, met en scène des mécanismes et des valeurs propres à la structure du pouvoir dans le régime castriste. Dans cette société, mue par une adaptation des théories marxistes-léninistes, la distanciation vis-à-vis de la religion laisse envisager que d’autres croyances, d’autres pratiques ou d’autres images participent à la production d’une forme de sacré qui forge le lien social et l’identité de la société cubaine. Le ballet cubain peut donc être analysé comme un témoin privilégié de ces particularités, notamment dans le sort que lui et les autorités cubaines réservent à ses icônes féminines et à la diffusion de l’idéal de la danseuse romantique. / This work has for objective the construction of an analysis between the Human Sciences inorder to put forward to advance the stakes in the construction of the Cuban ballet in the revolutionary rhetoric. The National Ballet of Cuba (nationalised since 1959), as an institution, stages mechanisms and values for the structure of the power in the Castro regime. In this society, moved by an adaptation of the theories Marxists-Leninists, the distance towards the religion let us envisage that the other faiths, the other practices or the other images participate in the production of a shape of crowned which forges the social link and the identity of the Cuban society. The Cuban ballet can be analysed thus as a privileged witness of these peculiarities, in particular in the perspetives reserve for its feminine icons and for the broadcasting of the ideal of the romantic dancer.

The thesis deals with a friendship between heterosexual woman and homosexual man, the way it is created, the way it is maintained and the threats it has to face. The thesis defines the meaning of essential theoretical concepts such as gender, sexuality, friendship or intimacy and trust. It is based on ten semi-structured interview with women who define the relationship with their gay friends as a close one. It reflects ways, how gender and sexual identities are negotiated in the friendship, puts friendship with a gay man into a broader context of friendly relationships in a heteronormative society and traditional binary oppositions of feminine and masculine. The thesis also looks into strategies of how the informants construct their own identity, identity of their gay friend ad where they place the boundaries of this relationship.

The Marquis de Sade has a notorious reputation amongst academics as a continuous figure of fictional and cultural studies. His characters, stories, and writings carry weight in modern interpretations of gender dynamics, pornographic aesthetics, and the alternative fantastical. This thesis will explore the Marquis de Sade’s most famous characters, Justine and Juliette, as means to define the Marquis’ significance to 21st Century Western culture production, particularly in Lars Von Trier’s Antichrist and E.L. James’ Fifty Shades of Grey. Exploring the female protagonists (or main characters) of the separate works, the correlations of subjugation, constructed morality, and the constructs of femininity become important markers for understanding the Marquis’ dissemination of his philosophies on gender, violence, and indulgent sexuality that leads to conversations on pornographic aesthetics in our modern period. Despite being dead for nearly 200 years, the Marquis de Sade’s relevance parades on in ideologies regarding female identity and sexual desires of the extreme.

Magistro darbo objektas - lietuviški tinklaraščiai. Darbo tikslas - remiantis visuomenėje egzistuojančiais stereotipais, ištirti vyrų ir moterų įvaizdžius lietuviškuose tinklaraščiuose. Darbo uždaviniai: išnagrinėti tinklaraščių sampratą, svarbą socialiniame kontekste ir nustatyti jų klasifikavimus; išanalizuoti socializacijos įtaką stereotipų formavimuisi ir nustatyti visuomenėje egzistuojančius vyrų ir moterų įvaizdžius; nustatyti vyrų ir moterų stereotipus, egzistuojančius nelietuviškuose tinklaraščiuose; atlikti vyrų ir moterų įvaizdžių lietuviškuose tinklaraščiuose tyrimą; Išanalizavus mokslinę literatūrą, išnagrinėta tinklaraščių samprata. Asmeninį dienoraštį, kuris yra kompleksiškai prižiūrimas, dažnai pildomas naujais autoriui aktualiais įrašais ir yra prieinamas visiems suinterasuotiems interneto vartotojams, nepriklausomai nuo jų lyties ar kitų savybių, laikytas reikšminga komunikacijos priemone dėl galimybės atsiriboti nuo oficialaus statuso realybėje, pamiršti tradicinėje visuomenėje turimas pareigas ir įvaizdžius. Darbe taip pat išskirta skirtingų lyčių raiškai nagrinėti tinkama tinklaraščių tipologija. Darbe aptarta socializacijos įtaka socialinės lyties formavimuisi, išskirti dažniausiai visuomenėje egzistuojantys vyrų ir moterų stereotipai. Darbe nustatyta, jog visuomenėje vis dar vyrauja požiūris, jog moters veikla yra susijusi su privačiu gyvenimu – namais, ji turi rūpintis vaikais, tuo pat metu būti seksuali ir susitvarkiusi, tuo tarpu vyrui priskiriama... [toliau žr. visą tekstą] / In the master’s thesis is considered Lithuanians blogs and the link between them and different social gender stereotypes evaluation. Individuals’ identification with certain gender group inevitably form a provisions, which is a set of events schematized understanding, image, emotional evaluation, in other words these provisions are called stereotypes. In this case, expression of femininity and masculinity through identification of the gender stereotypes help to understand, how communicates men and women in the blogs. The problem justifying the relevance of the work. Lithuanian scientist does not consider this topic. Thus, this work is the first to investigate the expression of masculinity and femininity in the Lithuanian blogs. The main purpose of this work – based on existing stereotypes in society, to examine images of men and women in the Lithuanian blogs. The aim of the work to achieve was formulates the following tasks: to explore the concept of blogging, importance of social context and the potential of blogs based on the classification of terms, analyze the impact of socialization and the formation of make and female stereotypes which are existing in society, analyze foreign-based research to determine men’s and women’s stereotypes at foreign blogs, carry out a study to determine the men’s and women’s images in the Lithuanian blogs. Master thesis research methods were used mixed. Preparation of the theoretical work was used in the scientific literature analysis methods... [to full text]

Dès ses premiers films, Icíar Bollaín a réussi à démontrer que critique sociale et succès cinématographique ne sont pas incompatibles. Elle y est parvenue principalement grâce à sa capacité à construire ses narrations autour de personnages, de situations et d’ambiances quotidiennes facilement reconnaissables par le public. De ce fait, sa filmographie ouvre un large terrain d’études dans le domaine de l’analyse cinématographique, et dans une perspective sociologique. Néanmoins, il existe un autre niveau d’analyse dans le cinéma d’Icíar Bollaín, auquel nous allons nous intéresser tout particulièrement dans ce travail. C’est ce niveau subtil, moins évident, mais sans aucun doute présent, faisant référence aux conflits et aux tensions tant culturelles, sociales qu’économiques, générées par certaines structures de pouvoir et de domination que la réalisatrice dénonce. Sans nous proposer un genre de cinéma à "thèse" ou strictement documentaire, Iciar Bollaín démonte les mécanismes de ces relations de domination, surtout entre hommes et femmes et nous livre une magnifique réflexion sur la quête identitaire, les identités genrées, le processus de libération et les solidarités tant personnelles que collectives. Pour la réalisatrice, seul le dépassement des stigmates sexuels pourrait mener à des relations solidaires entre les hommes et les femmes, leur permettant de se retrouver vraiment en tant qu’êtres humains. En approfondissant encore, nous pouvons détecter, de la part d’Icíar Bollaín, une critique de l’activité scopique du spectateur et du narcissisme du créateur artistique, rapprochés respectivement de la masculinité et de la féminité. La véritable rencontre entre les deux ne pourra se produire qu’à condition que le spectateur renonce à sa position d’observateur passif et se sente prêt à agir et que l’auteur-metteur en scène fasse le pari du partage plutôt que de l’exhibition de son travail. / Right from her first films, Icíar Bollaín succeeded in showing that social criticism and film success are not incompatible. This goal was reached thanks to her capacity, in most cases, to build her narrations around characters, situations and daily atmospheres which were easily recognizable by the general public. Due to this, her filmography opens a broad spectrum of studies in the field of film analysis, from a sociological perspective. However, there is another level of denunciation in Icíar Bollaín's films which we are going to particularly focus our work on. Another aspect we would like to focus on and which is explicitly revealed and denounced by Icíar Bollaín, concerns cultural, social and economic conflicts and tensions generated by specific structures of power and domination Icíar Bollaín does not indulge into moralizing or documentary films. She analyzes these specific relationships between men and women, explores gender relationships and her films provide food for thought on gender, women’s empowerment, personal and collective solidarities.For the film director, it is only by transcending these sexual stigmata that united relations between the men and the women could be created thus allowing them to meet on an equal footing as true human beings. Through a more in-depth analysis, we can discern from Icíar Bollaín, a criticism of the spectator's scopic activity and the narcissism of the artistic creator, brought respectively closer to masculinity and to femininity. The true meeting between the two will only be able to occur provided that the spectator abandons his position as a passive viewer and feels ready to act and the author/movie director focuses on sharing rather than exhibiting his work. / "Icíar Bollaín ha conseguido desde sus primeras películas demostrar que crítica social y éxito de público no son incompatibles. Tiene mucho que ver con esto su capacidad para construir sus relatos en torno a personajes, situaciones y ambientes cotidianos, fácilmente reconocibles por el público, y ahí sin duda hay un terreno amplio de estudio para el análisis cinematográfico en su vertiente sociológica. Pero existe otro nivel de denuncia en su cine en el cual nos concentraremos en este trabajo. Es este nivel sutil, menos evidente, pero sin duda presente, que hace referencia a los conflictos y a las tensiones tanto culturales, sociales como económicas generadas por ciertas estructuras de poder y dominación el que denuncia la directora. No nos propone un tipo de cine de “tesis” o estrictamente documental. Icíar Bollaín demuestra los mecanismos de esta relaciones de dominación sobre todo entre hombres y mujeres y nos entrega una magnifica reflexión sobre la búsqueda identitaria, las identidades de género, el proceso de liberación y la solidaridades tanto personales como colectivas. Apunta la directora a la superación de esas marcas sexuales como camino hacia relaciones solidarias entre hombre y mujer que les permitan encontrarse realmente como seres humanos. Escarbando aún más en este nivel significativo, puede detectarse una crítica a la actividad escópica del espectador y al narcisismo del creador artístico, equiparados respectivamente a la masculinidad y a la feminidad. El verdadero encuentro entre ambos ocurrirá cuando el espectador renuncie a su posición de observador pasivo y esté dispuesto a la acción y el autor-director apueste por compartir antes que por exhibirse.

<p>The aim of this thesis was to study the strategies that Kamraterna (‘the Comrades’), an association for Stockholm’s policemen, and the Swedish Policemen’s Union employed in order to solve the issue of women in police service in the years 1957-1971. I have dealt with the attitudes they had to women in police service and the conceptions of gender that were expressed. The trade unions’ way of trying to solve the issue of women’s service and position in the organisation and Kamraterna’s actions vis-à-vis their female members have also been in focus. Finally, I have also studied the way in which the police profession was made masculine and feminine and how this could be used as a part of the strategies. </p><p>Women’s entrance into the police profession on the same terms as men created and made visible the gender structures in the police force. The male police officers saw their rights threatened, if the female labour could be judged differently and hence be promoted more rapidly. This conflict made conceptions of male and female qualities visible, and above all in Kamraterna, a struggle was started to maintain male police officers’ privileges and rights. </p><p>The unions emphasised that women would have to be employed on equal terms and that equal pay must imply equal work. Women were however considered to be best suited for social police work and work with women and children, while men were chiefly associated with the parts of the profession involving physical strength and violence. It was difficult to implement the principle of equal terms in practice, since there was a basic idea that women were different. Both Kamraterna and the Swedish Policemen’s Union used dual closure in order to solve this dilemma. Kamraterna’s usurpation was intended to influence the police commissioner and to unite the members, including the women, thereby creating a collective unity about the issue of the female police officers’ posts and work. They tried to remove the women from foot patrol work by having them relocated to other departments with civil duties. In this way they endeavoured to keep the patrol work as an exclusively male area by resorting to exclusion. When the National Police Board started experimental work in 1969 with female police officers being stationed in special units with civil duties, the Swedish Policemen’s Union supported this effort and tried to see to it that the instructions were followed. The Policemen’s Union thus employed exclusion. Excluding women from parts of the profession meant that the unions used a demarcationary strategy resulting in a gendered division of labour being created rather than the women being entirely excluded from the police profession. The patrol work was the part of the police profession that women ought not to have access to, and this was linked to masculine qualities and symbolism. Words like physical strength, strenuous service and violence were related to the patrol work. The uniforms and weapons underscored the masculine connotations of the patrol work. A hegemonic masculinity was created here, which could be used as a means for excluding female police officers. The women’s uniforms looked different and their weapons were not the same, which should have made it more difficult for them to be regarded as real police officers. </p>

The aim of this thesis was to study the strategies that Kamraterna (‘the Comrades’), an association for Stockholm’s policemen, and the Swedish Policemen’s Union employed in order to solve the issue of women in police service in the years 1957-1971. I have dealt with the attitudes they had to women in police service and the conceptions of gender that were expressed. The trade unions’ way of trying to solve the issue of women’s service and position in the organisation and Kamraterna’s actions vis-à-vis their female members have also been in focus. Finally, I have also studied the way in which the police profession was made masculine and feminine and how this could be used as a part of the strategies. Women’s entrance into the police profession on the same terms as men created and made visible the gender structures in the police force. The male police officers saw their rights threatened, if the female labour could be judged differently and hence be promoted more rapidly. This conflict made conceptions of male and female qualities visible, and above all in Kamraterna, a struggle was started to maintain male police officers’ privileges and rights. The unions emphasised that women would have to be employed on equal terms and that equal pay must imply equal work. Women were however considered to be best suited for social police work and work with women and children, while men were chiefly associated with the parts of the profession involving physical strength and violence. It was difficult to implement the principle of equal terms in practice, since there was a basic idea that women were different. Both Kamraterna and the Swedish Policemen’s Union used dual closure in order to solve this dilemma. Kamraterna’s usurpation was intended to influence the police commissioner and to unite the members, including the women, thereby creating a collective unity about the issue of the female police officers’ posts and work. They tried to remove the women from foot patrol work by having them relocated to other departments with civil duties. In this way they endeavoured to keep the patrol work as an exclusively male area by resorting to exclusion. When the National Police Board started experimental work in 1969 with female police officers being stationed in special units with civil duties, the Swedish Policemen’s Union supported this effort and tried to see to it that the instructions were followed. The Policemen’s Union thus employed exclusion. Excluding women from parts of the profession meant that the unions used a demarcationary strategy resulting in a gendered division of labour being created rather than the women being entirely excluded from the police profession. The patrol work was the part of the police profession that women ought not to have access to, and this was linked to masculine qualities and symbolism. Words like physical strength, strenuous service and violence were related to the patrol work. The uniforms and weapons underscored the masculine connotations of the patrol work. A hegemonic masculinity was created here, which could be used as a means for excluding female police officers. The women’s uniforms looked different and their weapons were not the same, which should have made it more difficult for them to be regarded as real police officers.

Wim Vandekeybus est l'un des chorégraphes majeurs de la nouvelle danse belge. Nous proposons à travers cette étude d'analyser son Œuvre sous l'angle de la démesure. Nous nous sommes attachés à un corpus limité d'œuvres appartenant à son travail chorégraphique et cinématographique. La fougue chorégraphique de ses débuts transparaît-elle toujours dans ses pièces les plus récentes comme Blush ou Sonic Boom, où la place de la narration est réévaluée ? Tout d’abord, nous nous sommes focalisés sur la violence du propos chorégraphique. Une temporalité de l’urgence ordonne les actions des interprètes. Les rapports humains sont eux-aussi emprunts d’une certaine tension, notamment les rapports hommes/femmes. Puis, nous nous sommes penchés sur les obsessions du chorégraphe, à la recherche d’un corps au comportement instinctif. La mise en scène d’un corps exacerbé, poussé jusque dans ses retranchements prédomine. Outre une recherche chorégraphique, Wim Vandekeybus s’intéresse à la création d’une image scénique, obtenue par les éclairages ou l’intrusion d’un écran de projection cinématographique. Au contact du médium audiovisuel le corps se déchaine et atteint un état dionysiaque. Le corps filmé dans Blush détient la même force, la même énergie excessive, qui caractérise sa scène. Enfin, la réintroduction du verbe, par les diverses collaborations avec des auteurs contemporains, comme Peter Verhelst, P. F. Thomèse ou Jan Decorte exacerbe les passions et ne conduit point à un assagissement du corps, ni même du propos chorégraphique. / Wim Vandekeybus is one of the most important choreographers to the new belgian wave. The purpose of our study it’s to analyze its work in terms of the excess. We study a restraint corpus of works belonging to his choreography and film work. The choreographer ardor of his debut reflected still in its most recent performances such as Blush or Sonic Boom, where the place of the narration is re-evaluated? First of all, we make a focus on the choreographic language’s violence. An emergency’s temporality ordered the performer’s actions. The human relationships are too concerned by this tension, like the relationships between male and female. Then, we take attention to choreographic’s obsession, who research an instinctive behavior. The staging of an exacerbated body pushed into his boundary predominates. Apart from a choreographic research, Wim Vandekeybus is interested in the creation of a stage image, obtained by light creation or introduction of a screen. Confronted to the cinematographic image the body blows up and reaches a Dionysian state. The image of the body in Blush, the movie has the same strength, the same excessive energy, which distinguish his stage. Finally the re-introduction of the narration, by collaborations with contemporary authors, such as Peter Verhelst, P. F. Thomèse or Jan Decorte exacerbates the passions and not achieves to a quiet body.

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