O Corpo Rifado trata-se de uma tese onde procuro acompanhar a trajetória da protagonista de um filme brasileiro e sua tentativa de se reinventar diante das condições de possibilidade existentes naquele contexto. O Céu de Suely (2006) narra a história de Hermila, uma jovem que volta de São Paulo para sua cidade natal, no interior do Ceará, com seu filho pequeno. Ela aguarda a chegada de seu amor. Logo ela se dá conta de que Mateus não cumprirá com a promessa de encontrá-la. Diante disso, Hermila cria estratégias de sobrevivência enquanto sonha: sair daquele lugar custe o que custar. A tese lança um olhar possível sobre O Céu de Suely. Os itinerários de gênero e sexualidade experimentados por Hermila ao longo da trama fílmica ocupam o centro desta tese, bem como alguns itinerários de outras mulheres que fazem (parte de sua) história. O mergulho nesse filme específico foi regido tanto pelo aporte teórico que sustenta esta tese (especialmente a teorização desenvolvida por Judith Butler em composição com os estudos foucaultianos em torno da sexualidade e do poder) como pelo recurso metodológico escolhido (“etnografia de tela”). A pesquisa toma como ponto de partida o filme dirigido por Karim Aïnouz e a análise de enunciados que compõem e se articulam em torno (d)o gênero, (d)a sexualidade e (d)a brasilidade. Na análise que faço, procuro dar ênfase a enunciados performativos que indicam um lugar para a mulher, um modo de ser mulher (brasileira), um jeito de exercer a sexualidade, bem como, a enunciados que parecem subverter a ordem do gênero e da sexualidade. A partir do (e com o) filme, questiono: Que enunciados performativos são reiterados para a constituição de uma suposta identidade da „mulher brasileira‟? Que enunciados indicam possibilidades de resistência, subversão e ressignificação? Que outros enunciados parecem manter normas regulatórias do gênero e da sexualidade? Como a linguagem cinematográfica empregada neste filme produz sentidos, provoca deslocamentos, desestabiliza, mantém, visibiliza e invisibiliza determinados modos de ser mulher? Ainda que essas questões não sejam assertivamente respondidas na tese, elas indicam um percurso. O filme aponta para possibilidades de resistência e subversão e, no mesmo instante, aciona performativos de gênero e sexualidade. A ação de rifar-se pode ser lida como a possibilidade de agência da protagonista naquele contexto. Encerro, ao lado de Hermila, uma jornada compartilhada que nos convoca novamente ao deslocamento, outra vez na estrada. / O Corpo Rifado is a thesis where I try to follow the trajectory of a Brazilian film‟s protagonist and her attempt to reinvent herself in the conditions of possibility existing in her living context. The film O Céu de Suely (2006) tells the story of Hermila, a young woman who returns from Sao Paulo to her home town in the interior of Ceará, taking together her young son. She awaits the arrival of her lover, Mateus. But soon she realizes that he will not fulfill his promise of meeting her. From then on, Hermila creates survival strategies. At the same time, she dreams about leaving that place at all costs. The thesis looks at the possibilities given by the Film. The itineraries of gender and sexuality experienced by Hermila and ploted along the scenes occupy the center of this thesis, as well as some others routes taken by women who are part of the story. The immersion in this particular film was governed by both the theoretical approach that supports this thesis (especially the theory developed by Judith Butler in composition with the Foucauldian studies of sexuality and power) and the methodological approach chosen ("ethnography of the screen”). The research‟s starting point is the film (directed by Karim Aïnouz) and the analysis of statements organized around concepts of gender, sexuality and Brazilianness. In the analysis I try to emphasize the performative utterances that build a certain place for women, a certain way of being a woman (or a Brazilian woman) and a certain way to exercise sexuality, as well as the statements that seem to subvert the order of gender and sexuality. From and with the movie, I introduce the following questions: What performative utterances are repeated to form a supposed identity of the Brazilian woman? Which statements indicate possibilities of resistance, subversion and redefinition? What other statements seem to maintain regulatory standards of gender and sexuality? How the cinematographic language used in the film makes sense, causes displacement, destabilizes, maintains and renders certain ways of “being a woman” visible or invisible? While these questions are not answered assertively in the thesis, they indicate a route. The film points out to possibilities of resistance and subversion, and simultaneously, triggers gender and sexuality‟s performatives. The raffle‟s action can be read as the possibility of an agency of the protagonist in that context. Along with Hermila, I conclude a shared journey which, once more, calls to the displacement, on the road again.

O Corpo Rifado trata-se de uma tese onde procuro acompanhar a trajetória da protagonista de um filme brasileiro e sua tentativa de se reinventar diante das condições de possibilidade existentes naquele contexto. O Céu de Suely (2006) narra a história de Hermila, uma jovem que volta de São Paulo para sua cidade natal, no interior do Ceará, com seu filho pequeno. Ela aguarda a chegada de seu amor. Logo ela se dá conta de que Mateus não cumprirá com a promessa de encontrá-la. Diante disso, Hermila cria estratégias de sobrevivência enquanto sonha: sair daquele lugar custe o que custar. A tese lança um olhar possível sobre O Céu de Suely. Os itinerários de gênero e sexualidade experimentados por Hermila ao longo da trama fílmica ocupam o centro desta tese, bem como alguns itinerários de outras mulheres que fazem (parte de sua) história. O mergulho nesse filme específico foi regido tanto pelo aporte teórico que sustenta esta tese (especialmente a teorização desenvolvida por Judith Butler em composição com os estudos foucaultianos em torno da sexualidade e do poder) como pelo recurso metodológico escolhido (“etnografia de tela”). A pesquisa toma como ponto de partida o filme dirigido por Karim Aïnouz e a análise de enunciados que compõem e se articulam em torno (d)o gênero, (d)a sexualidade e (d)a brasilidade. Na análise que faço, procuro dar ênfase a enunciados performativos que indicam um lugar para a mulher, um modo de ser mulher (brasileira), um jeito de exercer a sexualidade, bem como, a enunciados que parecem subverter a ordem do gênero e da sexualidade. A partir do (e com o) filme, questiono: Que enunciados performativos são reiterados para a constituição de uma suposta identidade da „mulher brasileira‟? Que enunciados indicam possibilidades de resistência, subversão e ressignificação? Que outros enunciados parecem manter normas regulatórias do gênero e da sexualidade? Como a linguagem cinematográfica empregada neste filme produz sentidos, provoca deslocamentos, desestabiliza, mantém, visibiliza e invisibiliza determinados modos de ser mulher? Ainda que essas questões não sejam assertivamente respondidas na tese, elas indicam um percurso. O filme aponta para possibilidades de resistência e subversão e, no mesmo instante, aciona performativos de gênero e sexualidade. A ação de rifar-se pode ser lida como a possibilidade de agência da protagonista naquele contexto. Encerro, ao lado de Hermila, uma jornada compartilhada que nos convoca novamente ao deslocamento, outra vez na estrada. / O Corpo Rifado is a thesis where I try to follow the trajectory of a Brazilian film‟s protagonist and her attempt to reinvent herself in the conditions of possibility existing in her living context. The film O Céu de Suely (2006) tells the story of Hermila, a young woman who returns from Sao Paulo to her home town in the interior of Ceará, taking together her young son. She awaits the arrival of her lover, Mateus. But soon she realizes that he will not fulfill his promise of meeting her. From then on, Hermila creates survival strategies. At the same time, she dreams about leaving that place at all costs. The thesis looks at the possibilities given by the Film. The itineraries of gender and sexuality experienced by Hermila and ploted along the scenes occupy the center of this thesis, as well as some others routes taken by women who are part of the story. The immersion in this particular film was governed by both the theoretical approach that supports this thesis (especially the theory developed by Judith Butler in composition with the Foucauldian studies of sexuality and power) and the methodological approach chosen ("ethnography of the screen”). The research‟s starting point is the film (directed by Karim Aïnouz) and the analysis of statements organized around concepts of gender, sexuality and Brazilianness. In the analysis I try to emphasize the performative utterances that build a certain place for women, a certain way of being a woman (or a Brazilian woman) and a certain way to exercise sexuality, as well as the statements that seem to subvert the order of gender and sexuality. From and with the movie, I introduce the following questions: What performative utterances are repeated to form a supposed identity of the Brazilian woman? Which statements indicate possibilities of resistance, subversion and redefinition? What other statements seem to maintain regulatory standards of gender and sexuality? How the cinematographic language used in the film makes sense, causes displacement, destabilizes, maintains and renders certain ways of “being a woman” visible or invisible? While these questions are not answered assertively in the thesis, they indicate a route. The film points out to possibilities of resistance and subversion, and simultaneously, triggers gender and sexuality‟s performatives. The raffle‟s action can be read as the possibility of an agency of the protagonist in that context. Along with Hermila, I conclude a shared journey which, once more, calls to the displacement, on the road again.

Orientador: Kanavillil Rajagopalan / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem / Made available in DSpace on 2018-08-12T13:25:46Z (GMT). No. of bitstreams: 1 Avelar_MarcusVinicius_M.pdf: 864490 bytes, checksum: c20b90a7b86bf4d3251e6d4601d51c0b (MD5) Previous issue date: 2008 / Resumo: Esta dissertação tem por objetivo estudar - de uma perspectiva pragmático-discursiva - como são constituídas as identidades da chamada "diversidade sexual" nas Cartilhas do site Mix Brasil. A escolha do corpus justifica-se pela posição central que o referido site ocupa no engendramento (e popularização) de uma certa identidade gay e de outras identidades não heterossexuais. Os pressupostos teóricos encontram-se, sobretudo, nos últimos trabalhos de John L. Austin (e sua visão performativa da linguagem) e, também, no pensamento social contemporâneo que entende as identidades como sendo contingentes. Especificamente no campo dos estudos de gênero, Judith Butler é a referência principal. Busca-se, assim, lançar um novo olhar sobre a questão das identidades sexuais contemporâneas a partir do diálogo entre a lingüística e as demais ciências sociais. A análise do corpus mostrou que as identidades das Cartilhas do Mix Brasil são performatizadas de maneira hierárquica, numa escala que vai desde uma identidade ideal (a gay) até identidades marcadas por corpos abjetos (as travestis). Trata-se de uma estrutura aberta que, ao reinterpretar dois modelos distintos de prática sexual (aqui chamados "igualitário" e "hierárquico"), por um lado afirma a legitimidade de todas as orientações sexuais e, por outro, coloca as identidades marcadas por signos de feminilidade no local mais baixo de sua escala. / Abstract: This thesis aims at investigating - from a pragmatic-discursive perspective - the way identities of the so-called 'sexual diversity' are constituted in the Cartilhas of the Brazilian Internet site Mix Brazil. The corpus choice is justified given the centrality this site has when it comes to the engenderment (and popularization) of a certain gay identity as well as other non-heterosexual identities. The theoretical background comprises the later works of John Langshaw Austin (and his performative perspective on language), and the contemporary social thought that faces identities not as stable, but rather as contingent. As for the field of gender studies, Judith Butler is the main reference. I intend to approach the contemporary sexual identities issue from a dialogue between linguistics and other social sciences. The corpus analysis showed that the identities on Mix Brazil are performatized in a hierarchical fashion, on a scale that goes from an ideal identity (the gay one) to identities marked by abject bodies (the transvestites). The Cartilhas are organized as an open structure in which two distinct models of sexual practices (here called "egalitarian" and "hierarchical") are reinterpreted. On the one hand, the reinterpretation occurs in such a way that all sexual orientations have their legitimacy guaranteed. On the other hand, however, those identities marked by signs of femininity are placed at the bottom of the scale. / Mestrado / Mestre em Linguística

This thesis conducts a critical investigation into digital literature—a genre of literary expression that is integrated with, and articulated using, digital computing systems and infrastructures. Specifically, it presents a framework for evaluating the expressive capacities of this genre as it relates to particular conceptions of knowledge-making in the contemporary technocultural environment. This framework reveals how the generation of critical knowledge concerning digital literature, as crystallised through a reader’s material engagements with specific works, enacts a ‘performative’ conception of knowing and being, in which the observable world is treated as emerging in the real time of practice—as being articulated through the entanglement of human and nonhuman agencies, rather than existing as a fixed array of passive, unchanging primitives. Digital literature is presented subsequently as a model of this greater performative vision—as a means of evaluating the structures and processes that manifest it, particularly within digital systems, and for assessing its practical and political implications for art and culture more broadly. In so doing, this thesis aims to justify the value of engaging digital literature from a standpoint that is more expressly political, contending not only that these texts are revealing of key processes shaping digital activities, artefacts, and environments, but are enacting alternative vectors of thought and practice concerning them.

Depuis Austin et ses travaux sur les énoncés performatifs, il est d’acception commune que le langage ne sert plus seulement à décrire une réalité mais aussi à agir, à créer sa propre réalité. Si le droit est d’abord un langage avant d’être une norme, cette dernière dépendrait, tant dans sa nature que dans sa force, d'une faculté spécifique de son énonciation. Tel est le point de départ de l’étude sur la performativité du langage constitutionnel, une performativité qui en ferait un langage spécifique, pour un droit singulier. Sa particularité viendrait ainsi d’un acte de langage qui serait propre au dire constituant, un dire créateur d’un état de chose qui ne tiendrait son existence que de lui. Cette capacité créatrice du langage fait apparaître le langage constitutionnel comme un langage qui constitue un monde, un ordre juridique, plutôt qu’il le régulerait. La norme constitutionnelle se présente comme une norme qui n’est pas comme les autres, chargée d’une normativité atypique. C’est ici l’apport de la distinction searlienne entre les règles constitutive et normative. La règle constitutionnelle se singularise donc in fine vis-à-vis de la règle inférieure par sa dimension constitutive, indépassable, intransgressable, que le juge constitutionnel accepte et entretient à travers sa jurisprudence. / Since Austin and his work on performative sentences, it has been commonly accepted that language is no longer used only to describe a real fact, but also to act and create one’s own reality. If law is first and foremost a language before being a norm, the latter is likely to depend, both in its nature and its force, upon specific speech production. Such is the starting point of the research on the performativity of the constitutional language, a kind of performativity which can be regarded as language-specific for a particular type of law. Thus, its specificity may come from a speech act proper to constitutional statements and creating a situation which may only exist by it. This creative capacity of language shows the constitutional language as a language which constitutes a world, not simply to control it, but rather to order it legally. The constitutional norm appears to be a different one, full of atypical normativeness. This appertains to Searle’s distinction between constitutive and normative rules. In fine, the constitutional rule, therefore, calls attention to the inferior rule by its constitutive, impassable, and unbreakable dimension which the constitutional judge accepts and maintains through his jurisprudence.

The struggle for cultural intelligibility can be clearly articulated through intersections between race, class, and socioeconomic status. Judith Butler demystifies the societal symbols responsible for denoting gender through a discussion of a stable “reality” in relation to performativity. When superimposed over Butler’s gender work, class stratifications and their relevance to cultural intelligibility reflect similar concerns presented in Butler’s work. In this work, I argue that through subversive use of black female archetypes presented by Patricia Hill Collins, strategic language, and flamboyant displays of tangible wealth, characters on Bravo’s The Real Housewives of Atlanta consciously perform class to resist the policing of social boundaries and to highlight their position within liminal social spaces. However, as a result of their performativity, these women violate the liminal space by patrolling class boundaries from within their social circle.

The question of what constitutes femininity has been widely debated, not only in gender studies, but also in the broader social world. A venue for this debate is the 1985 documentary, Pumping Iron II: The Women, in which gender and femininity in particular become part of the central plot of the film when Bev Francis, a woman bodybuilder more muscular than any other competitor, enters the competition. While feminist scholars have analyzed gender and sport from a variety of interdisciplinary perspectives, little attention has been paid to female bodybuilding in particular. To fill this gap, this thesis will examine the ways in which Bev Francis’s portrayal in Pumping Iron II: The Women reinforces and challenges ideas about gender, femininity, and embodiment. In Pumping Iron II: The Women Francis performs gender subversion, actively rebelling against gender norms while the film adheres to rigid definitions of femininity, resulting in her punishment. I seek to understand how female bodybuilding symbolizes larger cultural tensions around feminine gender performativity.

The thesis dedicates to discourses of intersexuality in the novel Middlesex written by the American author Jeffrey Eugenides. For the analysis, the method of queer reading was deployed, within the broader perspective of cultural studies. After introducing the context of the novel, and the theoretical framework, three analytical chapters follow which seek queer moments on the background of critical reviews of the novel. First chapter focuses on heteronormativity, performativity, and identity politics. Second chapter is interested in the confession genre and subject in confession. Third, and last chapter closes the analysis with finding moments of queer pleasure.

Computer gaming is an important and growing form of popular media that has many cognitive and social benefits for players. It has also developed a reputation for being a white-male pastime and barring access for people who fall outside of that social grouping. While statistics show that this is increasingly not the case, certain games, particularly those that fall under the category of eSports, do attract largely male player bases. League of Legends is one such game. With Butler's Performativity Theory as a theoretical starting point, a qualitative sociolinguistic study was undertaken into the gendered dynamics of a male-dominated clan of League of Legends players. The data, collected primarily via audio-recordings of player interactions between games, is used as the basis for a sociolinguistic case study that looks at how performativity plays itself out in an environment that is characterised by a strong gender bias. With a focus on a Coloured female gamer in a League of Legends team, this paper explores the ways in which she and her teammates construct their own genders within this particular sociolinguistic context. The relationship between identity and desire, which has been a point of debate in sociolinguistics, is discussed in the context of the clan's interactions. Here I focus on the debate between Cameron and Kulick on the one hand and Bucholtz and Hall on the other. The paper looks into ways in which desire and identity interact with each other during sociolinguistic interaction. Moreover, issues around the construction of gender, race and sexuality are central to the study. The paper uses the data collected to look into the ways that social identities are collaboratively constructed, and contested. The discussion shows that while the team members replicate the gender binary, they do so by simultaneously reifying and challenging gendered norms. The study provides a compelling look into the ways in which gender identities are played with in interaction, and sheds some light on the fluidity of performative identity while simultaneously sketching out the ways that such performance is limited by its environment.

This interdisciplinary research bridging geography and fine art (‘geo-aesthetics’) follows contemporary artwork journeys from the studio into the public domain to discover how notions of value shift as the artwork travels. It seeks transfigurative nodes and their catalysts to explore how art matters: firstly how it becomes matter in the studio, and then how it comes to matter beyond the studio door. Two case studies at key moments of revaluation, a buy-out and a buy-in, both reveal responses to uncertainty that stress different kinds of collectivity. The first case study follows artistic practice and process in four studios in a Johannesburg atelier to investigate intrinsic value and finds ‘artistic thinking’. The second case study follows the assemblage of a private art collection managed from Cape Town, initially as an art fund, to investigate extrinsic valuation and finds ‘structural thinking’. These different modalities in the production and consumption circuitry of the artworld have unexpected correlations including shared artists and three linking concepts, namely, uncertainty, mobility, and the web. These in turn inform three observations: nested capacity, derivative value, and art as a public good. Two key findings emerge: contemporary art is itself a vector of value that performs meaning as it moves; and public interest is a central characteristic from which other valuations flow. The research uses repeat interviews, site visits and visual methods, which are triangulated with artwork trajectories to surface linkages between space and imagination. It offers a performative theory of value that speaks to an expanded new materialism. Applying an ecological framework allows a final transfiguration for an artworld ecosystem that (re)values contemporary art as part of an undercommons.