Conselho Nacional de Desenvolvimento Científico e Tecnológico / Esta dissertação busca analisar como Joan Riley, escritora jamaicana que vive na Inglaterra, expõe e denuncia em suas obras a submissão feminina diante da opressão e violência sexual sofridas por mulheres negras. Objetivamos apontar a crítica ao papel dos discursos patriarcal e pós-colonial, práticas de poder que tornam o contexto social das mulheres representadas em seus romances propício para o exercício do jugo masculino, através da exploração do silêncio de mulheres vítimas de abusos sexuais. O necessário recorte do objeto restringiu a análise às duas personagens centrais dos romances The Unbelonging (1985) e A Kindness to the Children (1992), mulheres cujas subjetividades foram anuladas pela objetificação de seus corpos e a desumanização de suas identidades / The present work aims at analyzing how Joan Riley, Jamaican writer who lives in England, exposes and denounces in her work the female submission in face of the oppression and sexual violence suffered by black women. The objective of the study is to point out the authors criticism of patriarchal and post-colonial discourses, power practices which insert the women represented in her fiction into the proper social context for the exercise of male domination, through her exploration of silence of women who are victims of sexual abuse. The necessary cut of the object restricted the analysis to the two central characters in the novels The Unbelonging (1985) and A Kindness to the Children (1992), women whose subjectivities were made null by the objectification of their bodies and the dehumanization of their identities

Submitted by Marlene Santos (marlene.bc.ufg@gmail.com) on 2016-08-09T20:56:55Z No. of bitstreams: 2 Dissertação - Jaqueline dos Santos Cunha - 2016.pdf: 8823231 bytes, checksum: c2c066d328b463a4799f3ca0f32ff38c (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Approved for entry into archive by Luciana Ferreira (lucgeral@gmail.com) on 2016-08-10T11:13:02Z (GMT) No. of bitstreams: 2 Dissertação - Jaqueline dos Santos Cunha - 2016.pdf: 8823231 bytes, checksum: c2c066d328b463a4799f3ca0f32ff38c (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Made available in DSpace on 2016-08-10T11:13:02Z (GMT). No. of bitstreams: 2 Dissertação - Jaqueline dos Santos Cunha - 2016.pdf: 8823231 bytes, checksum: c2c066d328b463a4799f3ca0f32ff38c (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Previous issue date: 2016-04-23 / Since around 1940s it has been debated about the impact of comic books in society. However, it was from no earlier than the 1970s, with the growing interest of scholars, they have come to be regarded as an artistic expression that can inform, criticize, maintain and/or subvert the norm. In an attempt to contribute to this discussion, this master dissertation investigates in a comparative perspective to what extent the comic books Miss Fury by Tarpé Mills and Wonder Woman by William Moultan Marston, both superheroine debuted in 1941, subvert the representation of the models of femininity in the 1940s. Tarpé Mills (1912-1988), throughout the Miss Fury, outlines an independent character, within the text, and an illustration that is coherent with the style of art that aligns the woman stereotypes of beauty and sensuality widespread at the time; she creates a super heroine and secondary characters marked by ruptures and continuity with the patriarchal discourses. In turn, William Moultan Marston (1893-1947) created within the text, a feminist superhero who would work as a new model of women, but like Miss Fury the illustration of Wonder Woman followed in affinity with the idea of promoting visual pleasure of the female body to the characters and readers, especially heterosexual readers. Thus, specifically, this dissertation analyzes the female representations and the ruptures with patriarchal discourse within the contradictory narratives. In order to accomplish my research goals, I have used the theories used in Women’s Studies (BEAUVOIR, 1949; WOLF, 2002) and in Comics Studies (MCCLOUD, 1995, 2006; WOLK, 2007). / Desde a década de 1940 tem se debatido acerca do impacto das histórias em quadrinhos na sociedade. No entanto, foi somente a partir da década de 1970, com o crescente interesse de pesquisadores acadêmicos, que elas passaram a ser analisadas como uma manifestação artística que pode informar, criticar, manter e/ou subverter a norma. Na tentativa de contribuir com essa discussão, esta dissertação investiga numa perspectiva comparada em que medida as produções quadrinísticas Mulher Pantera de Tarpé Mills e Mulher Maravilha de William Moutan Marston, ambas super-heroínas debutadas no ano de 1941, subvertem os modelos de representação da feminilidade na década de 1940. Tarpé Mills (1912-1988), por meio de um texto que delineia o perfil de uma personagem independente e de uma ilustração que coaduna com o estilo de arte que alinha a mulher aos estereótipos de beleza e sensualidade difundidos à época, constrói uma super-heroína e personagens secundárias marcadas pelas ideias de ruptura e continuidade com os discursos patriarcais. Por sua vez, William Moutan Marston (1893-1947) criou, no âmbito do texto, uma super-heroína feminista que serviria como novo modelo as mulheres, mas a exemplo de Mulher Pantera a ilustração seguia em afinidade com a ideia de promoção do prazer visual do corpo feminino para os personagens e para os leitores, especialmente para leitores homens e heterossexuais. Assim, especificamente, o propósito é analisar as representações femininas e perceber as rupturas com o discurso patriarcal no interior das contraditórias narrativas. Para desenvolver a pesquisa a que me propus, lancei mãos dos estudos sobre mulher (BEAUVOIR, 1949; WOLF, 2002) e dos estudos sobre histórias em quadrinhos (MCCLOUD, 1995, 2006; WOLK, 2007).

Conselho Nacional de Desenvolvimento Científico e Tecnológico / Esta dissertação busca analisar como Joan Riley, escritora jamaicana que vive na Inglaterra, expõe e denuncia em suas obras a submissão feminina diante da opressão e violência sexual sofridas por mulheres negras. Objetivamos apontar a crítica ao papel dos discursos patriarcal e pós-colonial, práticas de poder que tornam o contexto social das mulheres representadas em seus romances propício para o exercício do jugo masculino, através da exploração do silêncio de mulheres vítimas de abusos sexuais. O necessário recorte do objeto restringiu a análise às duas personagens centrais dos romances The Unbelonging (1985) e A Kindness to the Children (1992), mulheres cujas subjetividades foram anuladas pela objetificação de seus corpos e a desumanização de suas identidades / The present work aims at analyzing how Joan Riley, Jamaican writer who lives in England, exposes and denounces in her work the female submission in face of the oppression and sexual violence suffered by black women. The objective of the study is to point out the authors criticism of patriarchal and post-colonial discourses, power practices which insert the women represented in her fiction into the proper social context for the exercise of male domination, through her exploration of silence of women who are victims of sexual abuse. The necessary cut of the object restricted the analysis to the two central characters in the novels The Unbelonging (1985) and A Kindness to the Children (1992), women whose subjectivities were made null by the objectification of their bodies and the dehumanization of their identities

Jouée par María Elena Velasco depuis la fin des années 1960, la India María met en scène une indienne « authentique » qui, malgré son statut et ses limitations sociales, dénonce le traitement des institutions auxquelles elle est soumise : les systèmes politique, judiciaire, économique et religieux. Néanmoins, lors des premières projections des films sur le grand écran, la critique portait essentiellement sur les aspects superficiels et a réprouvé la façon dont les indiens et le Mexique étaient représentés, car jugée réactionnaire. Au début des années 1990, des chercheurs ont commencé à étudier ses films en proposant une lecture « négociée » : ils s’intéressent à l’effet humoristique produit sur le public par sa performance et ses aventures, en même temps qu’ils reconnaissent l’ambigüité du personnage et des narrations, tout en soulignant les discours ethnique et de classe. À travers l’analyse de Tonta, tonta pero no tanto (Bête, bête, mais pas trop) de Fernando Cortés (1972), Ni de aquí ni de allá (Ni d’ici ni de là-bas) de María Elena Velasco (1988), et Sor Tequila (Sœur Tequila) de Rogelio González (1977), mon mémoire contribue à cette lecture en étudiant trois sujets : le stéréotype cristallisé dans ce personnage, afin de démontrer comment celui-ci permet une critique de la société mexicaine ; les nouveaux enjeux culturels auxquels le système néolibéral affronte les autochtones ; et la transformation du masculin et du public à travers une construction alternative du féminin. / Played by María Elena Velasco since the late 1960s, La India María brings to life an “authentic” indigenous woman who despite her social standing and limitations, denounces the treatment of institutions to which she’s subjected: the political, judicial, economic, and religious systems. However, since her first appearances in theaters, critics have focused more on superficial aspects of her performance, judging that indigenous peoples and Mexico were represented in a reactionary way. Since the beginning of the 1990s, researchers have proposed a “negotiated” reading of her movies: they paid attention to the effects Velasco’s humorous performance and adventures had on her audience, but they also recognized the ambiguity of the character and storylines, all the while stressing the ethnic and class discourses. Through the analysis of Tonta, tonta pero no tanto (Foolish, Foolish But Not so Much) by Fernando Cortés (1972), Ni de aquí ni de allá (Neither From Here nor From There) by María Elena Velasco (1988), and Sor Tequila (Sister Tequila) by Rogelio González (1977), my thesis contributes to this reading by studying three subjects: the stereotype as represented by this character, in order to show how it criticizes Mexican society; the new cultural challenges that the Neoliberal system presents to indigenous peoples; and the transformation of masculine gender models and the public through an alternative construction of feminine gender models. / Representada por María Elena Velasco desde finales de la década de 1960, La India María encarna una indígena “auténtica” que no obstante sus limitaciones y su posición social es capaz de denunciar el tratamiento de instituciones a las cuales está sometida: el sistemas político, el judicial, el económico y el religioso. Sin embargo, desde su debut en la pantalla grande, la crítica se concentró esencialmente en los aspectos superficiales de su interpretación, juzgándola reaccionaria por la manera de representar a los indígenas y a México. Desde comienzos de la década de 1990, algunos investigadores comenzaron a estudiar sus cintas proponiendo una lectura “negociada”: teniendo en cuenta los efectos cómicos que su interpretación y sus aventuras tenían sobre su audiencia, pero reconociendo la ambigüedad del personaje y de las narrativas, y considerando los discursos étnico y de clase. A través del análisis de Tonta, tonta pero no tanto de Fernando Cortés (1972), Ni de aquí ni de allá de María Elena Velasco (1988), y Sor Tequila de Rogelio González (1977), mi memoria contribuye a esta lectura con el estudio de tres temas: el estereotipo encarnado por la India María para demostrar que su uso critica a la sociedad mexicana; los desafíos culturales para los indígenas con la entrada del sistema neoliberal; y la transformación de lo masculino-público a través de una construcción alternativa de lo femenino.

Jouée par María Elena Velasco depuis la fin des années 1960, la India María met en scène une indienne « authentique » qui, malgré son statut et ses limitations sociales, dénonce le traitement des institutions auxquelles elle est soumise : les systèmes politique, judiciaire, économique et religieux. Néanmoins, lors des premières projections des films sur le grand écran, la critique portait essentiellement sur les aspects superficiels et a réprouvé la façon dont les indiens et le Mexique étaient représentés, car jugée réactionnaire. Au début des années 1990, des chercheurs ont commencé à étudier ses films en proposant une lecture « négociée » : ils s’intéressent à l’effet humoristique produit sur le public par sa performance et ses aventures, en même temps qu’ils reconnaissent l’ambigüité du personnage et des narrations, tout en soulignant les discours ethnique et de classe. À travers l’analyse de Tonta, tonta pero no tanto (Bête, bête, mais pas trop) de Fernando Cortés (1972), Ni de aquí ni de allá (Ni d’ici ni de là-bas) de María Elena Velasco (1988), et Sor Tequila (Sœur Tequila) de Rogelio González (1977), mon mémoire contribue à cette lecture en étudiant trois sujets : le stéréotype cristallisé dans ce personnage, afin de démontrer comment celui-ci permet une critique de la société mexicaine ; les nouveaux enjeux culturels auxquels le système néolibéral affronte les autochtones ; et la transformation du masculin et du public à travers une construction alternative du féminin. / Played by María Elena Velasco since the late 1960s, La India María brings to life an “authentic” indigenous woman who despite her social standing and limitations, denounces the treatment of institutions to which she’s subjected: the political, judicial, economic, and religious systems. However, since her first appearances in theaters, critics have focused more on superficial aspects of her performance, judging that indigenous peoples and Mexico were represented in a reactionary way. Since the beginning of the 1990s, researchers have proposed a “negotiated” reading of her movies: they paid attention to the effects Velasco’s humorous performance and adventures had on her audience, but they also recognized the ambiguity of the character and storylines, all the while stressing the ethnic and class discourses. Through the analysis of Tonta, tonta pero no tanto (Foolish, Foolish But Not so Much) by Fernando Cortés (1972), Ni de aquí ni de allá (Neither From Here nor From There) by María Elena Velasco (1988), and Sor Tequila (Sister Tequila) by Rogelio González (1977), my thesis contributes to this reading by studying three subjects: the stereotype as represented by this character, in order to show how it criticizes Mexican society; the new cultural challenges that the Neoliberal system presents to indigenous peoples; and the transformation of masculine gender models and the public through an alternative construction of feminine gender models. / Representada por María Elena Velasco desde finales de la década de 1960, La India María encarna una indígena “auténtica” que no obstante sus limitaciones y su posición social es capaz de denunciar el tratamiento de instituciones a las cuales está sometida: el sistemas político, el judicial, el económico y el religioso. Sin embargo, desde su debut en la pantalla grande, la crítica se concentró esencialmente en los aspectos superficiales de su interpretación, juzgándola reaccionaria por la manera de representar a los indígenas y a México. Desde comienzos de la década de 1990, algunos investigadores comenzaron a estudiar sus cintas proponiendo una lectura “negociada”: teniendo en cuenta los efectos cómicos que su interpretación y sus aventuras tenían sobre su audiencia, pero reconociendo la ambigüedad del personaje y de las narrativas, y considerando los discursos étnico y de clase. A través del análisis de Tonta, tonta pero no tanto de Fernando Cortés (1972), Ni de aquí ni de allá de María Elena Velasco (1988), y Sor Tequila de Rogelio González (1977), mi memoria contribuye a esta lectura con el estudio de tres temas: el estereotipo encarnado por la India María para demostrar que su uso critica a la sociedad mexicana; los desafíos culturales para los indígenas con la entrada del sistema neoliberal; y la transformación de lo masculino-público a través de una construcción alternativa de lo femenino.

Text in Afrikaans / I wanted to investigate the way people experienced confessional pastoral therapy by conducting a qualitative research study. The role of the pastor were examined as well as the effect of discourses of power and ethics in pastoral counseling. I interviewed clients who were counseled by pastors of the AFM Church (Apostolic Faith Mission). The research supposes that knowledge and power discourses have a major influence in pastoral counseling which is often not accounted for. I wanted to see how clients experienced the effects of these discourses of power and ethics. I furthermore wanted to see how these power discourses could result in clients feeling subordinate to the pastor and his knowledge and the effect that these feelings might have on them. The purpose of this study was not to generalize the experiences of the participants, but rather to set a contextual background of the experiences of power in confessional pastoral counseling. / Practical Theology / M. Th. (Pastorale Terapie)

Patriarchal discourse has lead to the marginalisation of women, children and teenagers. The aims of this research were to deconstruct patriarchal discourse; to empower teenagers to speak out for themselves; to facilitate teenagers' identifying, questioning and 'interviewing' of important problems in their lives, and to let teenagers' voices be heard by adults. Post-modern social construction discourse, post-modern and feminist theologies were used to challenge patriarchal discourse. A narrative, pastoral approach was used to assist teenagers to accomplish these aims. Using externalisation, three problems (Depression; Drugs and Alcohol; Verbal, Physical and Sexual Abuse) were exposed for what they really are, and how they influence many teenagers' lives. Alternative stories of how teenagers stand up against these problems were told. The teenagers decided to inform parents and teachers of their lived experiences in three letters. These three interesting, innovative letters are included in this dissertation. / Practical Theology / M. Th. (Practical Theology with specialisation in Pastoral Therapy)

Text in Afrikaans / I wanted to investigate the way people experienced confessional pastoral therapy by conducting a qualitative research study. The role of the pastor were examined as well as the effect of discourses of power and ethics in pastoral counseling. I interviewed clients who were counseled by pastors of the AFM Church (Apostolic Faith Mission). The research supposes that knowledge and power discourses have a major influence in pastoral counseling which is often not accounted for. I wanted to see how clients experienced the effects of these discourses of power and ethics. I furthermore wanted to see how these power discourses could result in clients feeling subordinate to the pastor and his knowledge and the effect that these feelings might have on them. The purpose of this study was not to generalize the experiences of the participants, but rather to set a contextual background of the experiences of power in confessional pastoral counseling. / Philosophy, Practical and Systematic Theology / M. Th. (Pastorale Terapie)

Patriarchal discourse has lead to the marginalisation of women, children and teenagers. The aims of this research were to deconstruct patriarchal discourse; to empower teenagers to speak out for themselves; to facilitate teenagers' identifying, questioning and 'interviewing' of important problems in their lives, and to let teenagers' voices be heard by adults. Post-modern social construction discourse, post-modern and feminist theologies were used to challenge patriarchal discourse. A narrative, pastoral approach was used to assist teenagers to accomplish these aims. Using externalisation, three problems (Depression; Drugs and Alcohol; Verbal, Physical and Sexual Abuse) were exposed for what they really are, and how they influence many teenagers' lives. Alternative stories of how teenagers stand up against these problems were told. The teenagers decided to inform parents and teachers of their lived experiences in three letters. These three interesting, innovative letters are included in this dissertation. / Philosophy, Practical and Systematic Theology / M. Th. (Practical Theology with specialisation in Pastoral Therapy)