Écriture féminine moving towards Others writing: A close reading of Mara Lee’s literary figuration strategies and the Other in Kärleken och hatet (2018) This essay examines how Mara Lee re-negotiates écriture féminine through an artistic writing practice from a contemporary horizon of queer-theory and post-colonial perspectives on the immanent power structures of language. Arguing for the relevance of écriture féminine as an entry to understand the figurations of the Other, through the similar literary strategies that navigates past the repressive and subordinating structures of language. Using Mara Lee’s thesis När Andra skriver (2014) to approach and display the literary figuration strategies of the Other at work in her poetic text Kärleken och hatet. Departing from écriture féminine Lee re-use and add to the defining features that operate through a critique of the binary system of language and the notion of uniform meaning. Lee presents time as a new perspective to negotiate the old concepts and puts temporalization into practice as a strategy to elude the double bind of difference. The common tendency of Lee’s literary strategies works through a subversive opening of the language, dislocating, shifting, and forcing it into motion. Lee displays how motion precludes stagnation, binary conceptions, and stereotype images. By using metaphors and imagery with multiplying, moving, and floating qualities as a way to return to and invoke the body Lee brings forward the subordinated experience. The body works as a common denominator for both the Other and the female experience of historically being reduced and referred to primarily as object and body rather than subject. Intertextuality, autofiction, and rebellious crossing of genres, mixing different styles of text, and refusing to conform to the expected linear narrative is another defining aspect of écriture féminine that echoes in Lee’s work. Kärleken och hatet departs from the poetic format and uses an extensive number of intertextual references that activate the infinite textual potential and destabilize uniform meaning as it continues towards other literary contexts. Through subjectivity and the fragmented, non-uniform subject Lee aligns with the strategies of écriture féminine while giving voice to the lived bodily experience of the Other. The spiral works as a returning yet opening motion through the metaphorical imagery and the narrative as repetition with a slight shift that re-negotiates the production of meaning. With this spiraling motion, Lee addresses revolutionary time and enforces a return to the repressed experience of the body while insisting on difference as a continuous process.

Entre os inúmeros personagens criados e eternizados por Eça de Queirós ao longo de sua produção, o diabo talvez seja aquele que menos recebeu atenção das análises críticas voltadas às obras do escritor. Longe de ser uma personagem dita marginal, pois está presente desde os primeiros textos até as obras derradeiras desenvolvidas por Eça, o diabo parece mesmo ter sido preterido por suas figurações quase sempre pequenas e/ou supostamente despretensiosas. Pretendemos neste trabalho volver o olhar para essa personagem na obra de Eça de Queirós, confirmando nossa hipótese de que com poucas, mas sistemáticas aparições, Satanás desempenha um papel fundamental na produção do escritor, especialmente quando ele procura fazer menções a conceitos do individualismo moderno e criticar a Instituição religiosa oficial de Portugal, a Igreja Católica, bem como tudo o que estivesse voltado a ela e à sua atuação no país. Principiamos averiguando quem é Satanás, como este mito floresceu e, principalmente, o papel da Igreja em sua criação, formalização e atualização ao longo dos séculos até nossos dias. Posteriormente, para compreendermos a concepção do diabo que Eça veicula em suas obras, dedicamos atenção ao diabo literário, ou seja, às diversas formas e maneiras pelas quais o demônio figurará na literatura, principalmente por intermédio do mito fáustico e dos sentidos que autores da literatura francesa dos séculos XVIII e XIX, da qual Eça foi leitor, atribuíram-lhe, quase sempre utilizando-o como paladino do pensamento individualista. Ainda, antes de partirmos para nossa leitura crítica, analisaremos o diabo da religiosidade popular portuguesa, o qual parece ter sido também fonte de inspiração para Eça compor seus diabos, devido a uma série de valores controversos agregados à figura demoníaca por essa forma peculiar de viver a religião. Finalmente, na última parte do trabalho, passaremos às análises das figurações do diabo em obras das diversas fases da produção do escritor, indo dos textos das Prosas Bárbaras, passando pelos diabos de O Mandarim e A Relíquia até chegarmos aos diabos das Vidas de Santos. Concluiremos nosso trabalho confirmando a hipótese de que o diabo não é somente mais uma personagem secundária menor veiculada por Eça de Queirós, mas sim uma das principais, quando os assuntos desenvolvidos em seus textos foram as apologias voltadas ao individualismo moderno e a permanente crítica direcionada à Instituição religiosa. / Among the innumerous characters created and eternalized by Eça de Queirós all along his production, the devil perhaps is the one who less received attention from the critical analysis of the writers works. Far from being called a marginal character, for it is present since the early texts till the last works developed by Eça, the devil really seems to have been omitted by his mostly small and/or supposedly unpretentious figurations. In this work we intend to turn our eyes to this character in Eça de Queirós work, confirming our hypothesis that with few, but systematic appearances, Satan plays a fundamental role in the writers production, especially when he tries to mention concepts of modern individualism and to criticize the official religious institution of Portugal, the Catholic Church, as well as everything which was related to it and to its actuation in the country. We start by verifying who Satan is, how this myth has blossomed, and mainly, the role of the church in his creation, formalization and actuation all along the centuries until nowadays. Subsequently, to comprehend the conception of the devil that Eça conducts in his works, we dedicate our attention to the literary devil, or else, to the several forms and ways in which the demon will feature in literature, mainly by intermediate of the Faustian myth and the senses which authors from the French literature in the XVIII and XIX centuries, from which Eça was a reader, attributed to him, mostly using him as a paladin of the individualist thought. Yet, before leaving for our critical reading, we will analyze the devil of the Portuguese popular religiosity, that seems also to have been source of inspiration for Eça to build up his devils, due to a series of controversial values aggregated to the demoniac picture by this peculiar way of living the religion. Finally, in the last part of the work, we will go to the analysis of the devils figurations in the works of the several phases of the writers production, starting with the texts of Prosas Bárbaras, going to the devils of O Mandarim e A Relíquia till we get to the devils of Vidas de Santos. We will conclude our work confirming the hypothesis that the devil is not only another minor secondary character conducted by Eça de Queirós, but one of the main ones, when the subjects developed in his texts were the apologies regarding to the modern individualism and the permanent criticism directed to the Religious Institution.

O percurso que nesta dissertação se pretende seguir consiste em buscar elementos no pensamento de Norbert Elias, principalmente em sua teoria do Processo Civilizador, aliando a ênfase no caráter figuracional da dinâmica social (sem dicotomia entre indivíduo e sociedade, mas uma percepção de não separação entre ambos), para pensar sobre a constituição emocional dos sujeitos em interação. Ao definir as emoções como aspecto-chave a ser mapeado na obra do referido autor, procurar-se-á direcionar um olhar especial sobre os pontos dolorosos do processo constante que é amadurecer, tornar-se um indivíduo autossuficiente no estágio em que vivemos da modernidade, lançando mão ainda de autores que figuraram entre os referenciais teóricos do autor alemão. / The route that this dissertation intends to follow is to find elements in the thought of Norbert Elias, primarily in his theory of the Civilizing Process, combining the emphasis on figurational character of social dynamics (no dichotomy between individual and society, but a perception of not separation of both), to think about the emotional makeup of individuals in interaction. By defining emotions as key aspect to be mapped in the work of that author search will direct a special look on the pain points of the process constant that is mature, become self-sufficient an individual stage of modernity in which we live, throwing hand still authors who were among the theoretical frameworks of the German author.

Submitted by Márcio Maia (marciokjmaia@gmail.com) on 2016-08-25T22:56:44Z No. of bitstreams: 1 arquivototal.pdf: 3276909 bytes, checksum: da8c8df7aacd9cb401a5a3defbc72609 (MD5) / Made available in DSpace on 2016-08-25T22:56:44Z (GMT). No. of bitstreams: 1 arquivototal.pdf: 3276909 bytes, checksum: da8c8df7aacd9cb401a5a3defbc72609 (MD5) Previous issue date: 2015-11-30 / A SCHOOL "CALL CARANDIRU": a story of power figurations, constitutes an investigation that includes the history of figurations and power relations that are established in the scenario of a school in the city of Santa Rita / PB, nicknamed "Carandiru" . In this context were observed, elementary school II courses of the morning and afternoon shifts, with a view to understand and analyze the processes under Elijah's perspective, this research is a qualitative research whose guiding methodology to figurational theory and Elias processes ( 2000), which is to examine the micro without forgetting their connections and interdependencies with the macro, understanding individual actions as belonging to the social and interconnected whole, also addressed the iconology with the appreciation of photographs of the searched scene. Understanding the formation of groups within that school and the power relations that are established in this scenario is the overall goal, specific objectives were: to reflect on the role of groups in this environment, address the method of organization of students, understand the process of leadership and discuss the territorial those groups at school. Outside groups have been identified as OKD (okaida) and the US (state), that influence and inspire the formation of internal subgroups, BDC (Tram Cyclone), BDI (Bonde of Irate), among others, and directly reflect in everyday school life. / UMA ESCOLA CHAMADA “CARANDIRU”: uma história das figurações de poder constitui-se numa investigação que contempla a história das figurações e relações de poder que se estabelecem no cenário de uma escola da cidade de Santa Rita/PB, apelidada de “Carandiru”. Nesse contexto, foram observadas turmas do ensino fundamental II dos turnos manhã e tarde, numa perspectiva de entender e analisar os processos sob a perspectiva de Norbert Elias. Esta pesquisa é uma investigação qualitativa que tem como metodologia norteadora a teoria figuracional e dos processos de Elias (2000), que consiste em analisar o micro sem esquecer suas conexões e interdependências com o macro, entendendo as ações individuais como pertencentes e interligadas ao todo social. Abordamos, também, a iconologia com a apreciação de fotografias do cenário pesquisado. Entender as formações de grupos dentro dessa escola e as relações de poder que se estabelecem nesse cenário é o objetivo geral, os objetivos específicos, foram: refletir sobre o papel dos grupos nesse ambiente, abordar o método de organização dos alunos, entender o processo de liderança e discutir a territorialização desses grupos na escola. Foram identificados grupos externos como OKD (okaida) e EUA (estado), que influenciam e inspiram a formação de subgrupos internos, BDC (Bonde da Cyclone), BDI (Bonde dos Irados), entre outros, e refletem diretamente no cotidiano escolar.

O percurso que nesta dissertação se pretende seguir consiste em buscar elementos no pensamento de Norbert Elias, principalmente em sua teoria do Processo Civilizador, aliando a ênfase no caráter figuracional da dinâmica social (sem dicotomia entre indivíduo e sociedade, mas uma percepção de não separação entre ambos), para pensar sobre a constituição emocional dos sujeitos em interação. Ao definir as emoções como aspecto-chave a ser mapeado na obra do referido autor, procurar-se-á direcionar um olhar especial sobre os pontos dolorosos do processo constante que é amadurecer, tornar-se um indivíduo autossuficiente no estágio em que vivemos da modernidade, lançando mão ainda de autores que figuraram entre os referenciais teóricos do autor alemão. / The route that this dissertation intends to follow is to find elements in the thought of Norbert Elias, primarily in his theory of the Civilizing Process, combining the emphasis on figurational character of social dynamics (no dichotomy between individual and society, but a perception of not separation of both), to think about the emotional makeup of individuals in interaction. By defining emotions as key aspect to be mapped in the work of that author search will direct a special look on the pain points of the process constant that is mature, become self-sufficient an individual stage of modernity in which we live, throwing hand still authors who were among the theoretical frameworks of the German author.

Entre os inúmeros personagens criados e eternizados por Eça de Queirós ao longo de sua produção, o diabo talvez seja aquele que menos recebeu atenção das análises críticas voltadas às obras do escritor. Longe de ser uma personagem dita marginal, pois está presente desde os primeiros textos até as obras derradeiras desenvolvidas por Eça, o diabo parece mesmo ter sido preterido por suas figurações quase sempre pequenas e/ou supostamente despretensiosas. Pretendemos neste trabalho volver o olhar para essa personagem na obra de Eça de Queirós, confirmando nossa hipótese de que com poucas, mas sistemáticas aparições, Satanás desempenha um papel fundamental na produção do escritor, especialmente quando ele procura fazer menções a conceitos do individualismo moderno e criticar a Instituição religiosa oficial de Portugal, a Igreja Católica, bem como tudo o que estivesse voltado a ela e à sua atuação no país. Principiamos averiguando quem é Satanás, como este mito floresceu e, principalmente, o papel da Igreja em sua criação, formalização e atualização ao longo dos séculos até nossos dias. Posteriormente, para compreendermos a concepção do diabo que Eça veicula em suas obras, dedicamos atenção ao diabo literário, ou seja, às diversas formas e maneiras pelas quais o demônio figurará na literatura, principalmente por intermédio do mito fáustico e dos sentidos que autores da literatura francesa dos séculos XVIII e XIX, da qual Eça foi leitor, atribuíram-lhe, quase sempre utilizando-o como paladino do pensamento individualista. Ainda, antes de partirmos para nossa leitura crítica, analisaremos o diabo da religiosidade popular portuguesa, o qual parece ter sido também fonte de inspiração para Eça compor seus diabos, devido a uma série de valores controversos agregados à figura demoníaca por essa forma peculiar de viver a religião. Finalmente, na última parte do trabalho, passaremos às análises das figurações do diabo em obras das diversas fases da produção do escritor, indo dos textos das Prosas Bárbaras, passando pelos diabos de O Mandarim e A Relíquia até chegarmos aos diabos das Vidas de Santos. Concluiremos nosso trabalho confirmando a hipótese de que o diabo não é somente mais uma personagem secundária menor veiculada por Eça de Queirós, mas sim uma das principais, quando os assuntos desenvolvidos em seus textos foram as apologias voltadas ao individualismo moderno e a permanente crítica direcionada à Instituição religiosa. / Among the innumerous characters created and eternalized by Eça de Queirós all along his production, the devil perhaps is the one who less received attention from the critical analysis of the writers works. Far from being called a marginal character, for it is present since the early texts till the last works developed by Eça, the devil really seems to have been omitted by his mostly small and/or supposedly unpretentious figurations. In this work we intend to turn our eyes to this character in Eça de Queirós work, confirming our hypothesis that with few, but systematic appearances, Satan plays a fundamental role in the writers production, especially when he tries to mention concepts of modern individualism and to criticize the official religious institution of Portugal, the Catholic Church, as well as everything which was related to it and to its actuation in the country. We start by verifying who Satan is, how this myth has blossomed, and mainly, the role of the church in his creation, formalization and actuation all along the centuries until nowadays. Subsequently, to comprehend the conception of the devil that Eça conducts in his works, we dedicate our attention to the literary devil, or else, to the several forms and ways in which the demon will feature in literature, mainly by intermediate of the Faustian myth and the senses which authors from the French literature in the XVIII and XIX centuries, from which Eça was a reader, attributed to him, mostly using him as a paladin of the individualist thought. Yet, before leaving for our critical reading, we will analyze the devil of the Portuguese popular religiosity, that seems also to have been source of inspiration for Eça to build up his devils, due to a series of controversial values aggregated to the demoniac picture by this peculiar way of living the religion. Finally, in the last part of the work, we will go to the analysis of the devils figurations in the works of the several phases of the writers production, starting with the texts of Prosas Bárbaras, going to the devils of O Mandarim e A Relíquia till we get to the devils of Vidas de Santos. We will conclude our work confirming the hypothesis that the devil is not only another minor secondary character conducted by Eça de Queirós, but one of the main ones, when the subjects developed in his texts were the apologies regarding to the modern individualism and the permanent criticism directed to the Religious Institution.

Avhandlingen tar sin utgångspunkt i två sammanvävda tendenser, den ökade förekomsten av psykisk ohälsa bland unga och skolors uppdrag att främja hälsa. Larmen om att ohälsa bland unga ökar har skett i takt med att skolans hälsofrämjande arbete allt starkare efterfrågas. Hur skolans hälsofrämjande arbete på så vis fått en alltmer generell prägel som innefattar hela skolan och alla elever samt vad detta innebär för skolans verksamhet är frågor som diskuteras i denna avhandling. Forskningsfrågorna formuleras såsom hur produceras hälsa som olika figurationer i skolors hälsofrämjande arbete och vad producerar i sin tur dessa figurationer. Figurationer förstås här som samtidigt stabila och temporära figurer eller uttryck. De sätter fokus på göranden som formar hälsa till olika formationer, språkligt och diskursivt men också materiellt och affektivt utifrån ett post-konstruktionistiskt perspektiv (Lykke, 2010). Inom ramen för detta perspektiv sammankopplas teorier och begrepp från Michel Foucault, Donna Haraway, Karen Barad, Bruno Latour och Ann-Marie Mol. Det formar en teoretisk apparatur med möjligheter att undersöka hälsa och skolors hälsofrämjande arbete genom att utmana uppdelningar av ting, texter, kroppar, känslor och diskurser. Här blir inte bara människor utan också materialiteter aktiva aktörer i produktionen av hälsa. Det görs med ett etnografiskt tillvägagångssätt där fenomenet hälsa spåras i två skolpraktiker, skol- och hälsopolitiska policytexter och ett manualbaserat hälsofrämjande program kallat DISA (Depression in Swedish Adolescens). Spårandet följer fyra figurationer av hälsa; hälsa som plats, hälsa som kompetens, hälsa som känslor och hälsa som könad kropp. Genom dessa figurationer återkommer komponenterna kontroll och förändring. Hälsa produceras i relation till kontroll och förändring som en förmåga att kontrollera och förändra såväl egna tankar och känslor som omgivning. Spårandet av hälsa har skett i och genom praktiker som syftar till förändring, en förbättrad hälsa, men som genom en önskan om kontroll framförallt producerar stabiliserande och faslåsande effekter. Hälsa, känslor och lärande blir genom spårningen ytterligare sammanvävda aspekter vilket i avhandlingen förstås som en hälsofiering av skola där ett hälsofrämjande arbete ska vara del av hela skolan och riktas mot alla elever. Samtidigt spåras hur materiella, diskursiva och affektiva aktörer är delaktiga i händelser som inte går att förutse, bestämma eller kontrollera. Det formades händelser där texter, rum, manualer, spiraler, lappar, soffor och kroppar blev aktiva genom att koppla samman, beröra och producera hälsa. På så vis framträdde hur önskan om kontroll både är tillfällig och imaginär. Avslutningsvis konstrueras och diskuteras begreppet tekno-biopedagogik och hur det kan göra det möjligt att undersöka hur pedagogiska praktiker tillsammans med kroppar och materialiteter formar biopolitiska processer. Därutöver artikuleras en figuration av hälsa som omsorg med en utvidgad teoretisk diskussion om vad den skulle kunna innebära, dels sammankopplat med skolors hälsofrämjande arbete, dels sammankopplat med en forskningspraktik. / This thesis examines two interwoven movements highlighted in education during the last decades, and articulated here as a decline in young people's mental health and as school's increasing efforts to prevent ill-health. Promotion of health in education has been enacted throughout history employing various constructions of health. In recent decades, there have been profound changes, making it relevant to examine this issue. The aim of this thesis is to examine how health is produced within different figurations of health in apparatus of schools' health promotion. The two research questions are: How are figurations of health produced in school health promotion? and What are these figurations of health producing in relation to school health promotion? In this thesis health and schools health promotion is examined from the theoretical position of post-constructionism (Lykke, 2010). Post-constructionism offers a web of theories that in different ways articulate how meaning, matter, language and reality are interconnected and together produce figurations of health. In order to investigate the research questions, an ethnographic tracing is conducted. The ethnographic tracing is carried out in two practices, education and health policies, and participant engagement in a manual-based school health promotion program called DISA (Depression in Swedish Adolescence). Within these two practices four figurations of health are traced:  health as place, health as competence, health as feelings, and health as gendered body. Here, health is produced through boundaries articulating a desire for control. Entangled with this desire health becomes an individual competence to control and change thoughts and feelings as well as the surroundings. The figurations also contribute to a healthification of education. This healthification is intertwined to learning and hereby school health promotion becomes involved in the entire school and all students. The tracing of figurations also disclose how the intra-actions of materialities, discourses and affects together produce tensions with a potential to challenge the stabilizing boundaries. This takes place within events that are neither predicable nor controllable, making the production of health in school health promotion both more complex and more hopeful. In conclusion, I construct and discuss the concept of techno-biopedagogy. In relation to this concept I ask how it is possible to produce a health promotion practice with that intervene carefully in school health promotion.

No description available.

The aim of this thesis was to examine the conditions for democratic bildung-oriented education for students in the school science discourse. This is something that the Swedish curriculum is based on and thereby the education should develop students' capacity for social, political and cultural awareness. The theoretical framework used is grounded in critical didactics and feminist theories which assume that students should feel involved and get their voices heard. The Swedish national test in chemistry (2009-2012) and student answers (198n) from one of the items in the 2009 test have been analyzed using discourse analysis. The first study explored the norms and values present in the national tests in chemistry, in relation to people, society and nature. The second study focused on student’s evaluative language in their free-text answers to one of the items. Thereby attitudes in student answers were projected in relation to the norms and values found in the first study. Finally, the student answers were used once more in a third study, where students’ positioning in relation to the scientific discourse in the chemistry test (2009) was explored, as well as which feminist figurations these subject positions express. The results show that the national tests harbor an elitist image and anandrocentric bias.The normative message is that students should adopt an objective, rational, non-judgmental and non-emotional role. Topics connected to young people’s everyday life, that might interest students, are rare. Contrary to the normative messages mediated by the tests, students use evaluative and embodied language to a high extent in their answers. They choose to write about topics that are close to their everyday life and they show that they are emotionally engaged. Through feminist figurations theories used in the third study one can see how the student-subject positions offer resistance in different ways. This is shown in their criticism of science and technology, human society and nature. The students' responses have embraced an embodied chemistry that can be interpreted as teaching based on bildung and deliberative discussions.

Cette thèse propose d’interroger un dispositif de groupe thérapeutique à médiation sensorielle olfactive. Il a été créé comme une modalité d’accueil et d’écoute de sujets criminels, rencontrés dans le cadre d’une pratique en service psychiatrique en milieu carcéral. Ce dispositif innovant se fonde sur le besoin de créativité suscité par la confrontation avec une forme de clinique de l’extrême. Le choix de l’olfaction, comme modalité de contact, ouvre un champ de réflexion original, au carrefour de la philosophie, de la psychologie développementale, des neurosciences et de la psychanalyse. La notion « d’acte-sentir » est une proposition de modélisation des processus en jeu au contact du médium sensoriel olfactif. Proposé dans des pratiques groupales ou individuelles, le médium sensoriel olfactif favorise l’émergence de formes primaires de symbolisation, considérées comme des traces d’une subjectivité en déroute. Cette écoute du langage sensori-moteur et de ses formes particulières, suscitées par la mobilisation de l’odorat, est une proposition d’un abord psychothérapeutique de sujets aux prises avec des souffrances inexprimables voire insoutenables, engageant le clinicien « corps et âme ». / This thesis questions an innovative group setting, using an olfactive medium. It was started to meet and to listen to criminal patients in a psychiatric ward in prison. This new practice relys on the need to invent a way to react to the extreme seriousness of the mental illnesses in this ward. The choice of smell, as mean to get in touch, opens a wide field of reflections at the cross roads of philosophy, developmental psychology, neurosciences and psychoanalytical theory. “L’acte-sentir” the sensing-act is a proposal to pattern the different processes linked to smell as a medium. This work fits in groups or individual set-ups. Primary forms of symbolization appear with this medium, and illustrate a lost subjectivity. Listening to these words and helping associative work, is therapeutic with these suffering patients, who cannot speak easily. This work request a full body and mind implication. Use of the sens of smell to attempt to make sens to nonsense.