Environmental Justice defines the environment as the spaces where we live, work, and play. The Environmental Justice (EJ) Movement has traditionally used this definition to organize against toxics in communities. However, within EJ work, prisons or policing have often not been centralized or discussed. This means that the approximately 2.2 million people in prison are excluded from the conversation and movement. Additionally, communities and activists are identifying police and prisons as toxics in their communities, but an analysis of policing and prisons is largely missing in EJ scholarship. This thesis explores the intersection between prisons, policing, and pollution. It outlines how prisons, policing, and pollution are connected and reveals why this intersection is critical to understand in Environmental Justice (EJ) scholarship and organizing. Based on interviews with formerly incarcerated individuals in San Antonio, Texas, and a case study of the Mira Loma Women’s Detention Center in the Antelope Valley of California, this thesis expands the realm of EJ work to include and center the spaces of prisons and policing and complicates the definition of toxicity as it has been traditionally used and organized against in the EJ movement. I argue that policing and imprisonment are toxic systems to our communities and contradict and prevent the development of safe and sustainable communities. Thus, understanding prisons and policing as toxic to both people and to the environment, we should move toward abolishing these toxic systems and building alternatives to them. To this end, or rather, to this new beginning, [prison-industrial-complex] abolition should be explored as a framework within EJ to push us to fundamentally reconsider our ideas of justice, to better and differently approach the practice of making environmental justice available for all because abolition is not only about dismantling, but it is largely about building more just, safer, and more sustainable communities. This thesis brings abolition and EJ discourses together to assess the potential for coalition building between abolitionists and EJ activists to work toward a common goal of building safe, sustainable, and more just communities for everybody. I conclude that abolition should be embraced as a framework within EJ to liberate our carceral landscape and to imagine, and subsequently, create a new environmental and social landscape.

[pt] Para conhecer um país em construção: Mia Couto e seu olhar para Moçambique tem como objetivo central examinar de que forma o escritor constrói a sua obra de ficção, dialogando com o passado colonial, a guerra civil em Moçambique e a esperança de ver a sua nação erguida. Para alcançar este objetivo, serão utilizados dois livros de opinião, Pensatempos e Se Obama fosse africano, além de três livros de crônicas do escritor, Cronicando, O fio das missangas e Histórias absonhadas. Acredito que no decorrer das páginas desses livros Mia Couto reescreve importantes períodos de Moçambique, permitindo-nos compreender como foram os anos subsequentes à independência de seu país, a partir da perspectiva de um intelectual e cidadão moçambicano. Esse trabalho foi desenvolvido tomando como eixo norteador alguns textos de teóricos da crítica pós-colonial, tais como: Boaventura de Sousa Santos, Edward Said, Fátima Mendonça, Francisco Noa, Homi Bhabha, Margarida Calafate Ribeiro, Stuart Hall e Russel Hamilton. Foram também utilizados textos críticos que analisam a criação literária de Mia Couto, assim como textos históricos centrados no contexto em que as narrativas de Couto foram produzidas. / [en] To know a country under construction: Mia Couto and his eye for Mozambique is aimed at examining the intellectual devices with which the writer builds his fiction, discussing with the colonial past, the civil war in Mozambique and hope to see his nation raised. To achieve this objective will be used two book reviews, Pensatempos and Se Obama fosse africano, besides three books of chronics by Mia Couto, Cronicando, O fio das missangas and Histórias absonhadas. Rewriting important periods of Mozambique in his books, Mia Couto allows us to understand how the years following the independence of his country were from the perspective of an intellectual and Mozambican citizen. This work was carried out using as guiding texts by some theorists of the post-colonial criticism, such as Boaventura de Souza Santos, Edward Said, Fátima Mendonça, Francisco Noa, Homi Bhabha, Margarida Calafate Ribeiro, Stuart Hall and Russel Hamilton. Also used were critical texts that analyze the literary creation of Mia Couto, as well as historical texts focused on the contexts in which his narratives were produced.

Made available in DSpace on 2014-12-17T15:25:20Z (GMT). No. of bitstreams: 1 FranciscoIDO_DISSERT.pdf: 5166418 bytes, checksum: 5076fd689d41c7748dc2119fe45eff5b (MD5) Previous issue date: 2013-08-30 / The aims of this dissertation is to study formation of the Dutch view seeing the colonial scenery in screens by Frans Post, as well as, to perceive a colonial world constitution through landscape paintings by him with his natural and human representation. The artist was the first to portray South American views, after he landed in Pernambuco with retinue of Dutch governor of colony, John Maurice, Prince of Nassau-Siegen. Post, by his 24 years old, was designated to represent for Dutch people their colony. The text reflects on visual construction of natural and human aspects in landscapes by Dutchman and how that aspects were included in colonizer imaginary about the strange world of America. European (Dutch) look about their conquered possessions in the New World was charged with exoticism and imagination. In order to understand that view, it`s paramount to study imaginary pictures reared by Frans Post, on his return to the Netherlands, and notions of landscape and exotic, wild and unspoiled nature which the Dutch people had when they thought about the Dutch colony in America. Our principal (visual) sources of research are six paintings: Vista da S? de Olinda (1662), Vista das ru?nas de Olinda (undated), Engenho (undated), Engenho (1660), Vista da cidade Maur?cia e do Recife (1653), e Paisagem com rio e tamandu? (1649), all these canvases were painted when Frans Post returned to Europe. We seek to work through a methodology that focuses on investigation of primary visual and textual material, because these textual and pictorial representations reflect the 17th-century colonial view of colonial history themes of the - here called - Dutch America / O objetivo desta disserta??o ? estudar a constitui??o do olhar holand?s a partir da visualiza??o da paisagem colonial nas telas do pintor Frans Post. O tema deste trabalho ? perceber a constitui??o de um mundo colonial por meio das telas de paisagens de Frans Post, buscando entender este mundo pelos conceitos naturais e humanos representados nas pinturas do artista. Ele foi o primeiro pintor a retratar as paisagens sul-americanas quando veio embarcado, para o Pernambuco, com a comitiva do governador holand?s da col?nia, o pr?ncipe Jo?o Maur?cio de Nassau, quando tinha 24 anos, ficando respons?vel por representar as vistas da col?nia para os holandeses. O texto reflete sobre a constru??o visual dos aspectos naturais e humanos na paisagem do artista holand?s e como este passou a compor um imagin?rio do colonizador sobre o estranho mundo americano. O olhar europeu (holand?s) sobre as possess?es conquistadas no Novo Mundo era carregado de exotismo e imagina??o. Para compreender tal vis?o ? de suma import?ncia estudar as imagens imagin?rias que foram erigidas por Frans Post no seu regresso ? Holanda e as no??es de paisagens e da natureza ex?tica, selvagem e virgem que os neerlandeses tinham quando pensavam sobre a col?nia holandesa na Am?rica. Vamos utilizar primordialmente como fonte (visual) de pesquisa seis telas: Vista da S? de Olinda (1662), Vista das ru?nas de Olinda (sem data), Engenho (sem data), Engenho (1660), Vista da cidade Maur?cia e do Recife (1653), e Paisagem com rio e tamandu? (1649). Todas estas imagens foram produzidas quando Frans Post regressou ? Europa. Buscaremos trabalhar com uma metodologia que privilegie a leitura de fontes prim?rias visuais e textuais, pois estas representa??es textuais e pict?ricas refletem o olhar colonizador seiscentista dos temas da hist?ria colonial da Am?rica que vamos chamar aqui de holandesa

A formação deste trabalho tem como horizonte a comparação entre as obras Mayombe e Predadores do autor angolano Pepetela, principalmente no tocante a perspectiva nacional que está impressa em cada texto, todavia de maneiras diversas. A possibilidade de ler as obras de maneira muito próxima aos fenômenos históricos angolanos é aquilo que faz com que se projete sob os olhos a questão nacional que é tão cara à série literária angolana, principalmente caso se tenha em mente a formação do jovem país e a necessidade de construir a identidade. As obras em questão registram, em momentos diversos, esta construção e as nuances ideológicas no processo nacional, cada qual em uma época e quando olhadas uma em relação a outra, consegue-se depreender mais, primordialmente aquilo que está no âmbito ideológico da desconstrução e da perda de paradigmas, sejam eles políticos ou culturais. É o efeito da pós-modernidade que obriga a sociedade em questão a descobrir-se sem chão e sem certeza de nada, uma vez que não mais se pode falar de estado colonial, mas sim pós-colonial e, como tal, terra aberta a possibilidades, sejam elas propositivas ou niilistas com relação à formação nacional. Dessa maneira, para depreender mais que obviedades da relação dessas obras, deve-se ter em mente que as formações híbridas desse espaço obrigam o desapego teórico, caminhando na direção da colaboração entre as disciplinas de modo a captar significativamente algo deste contato. Assim, interrogar-se sobre as obras Mayombe e Predadores tanto no que toca nos pontos de contato quanto nos de repulsão é mais que exercício teórico, é questionar-se quanto à legitimidade do processo nacional que está subentendido nas duas obras. Pepetela, como uma espécie de demiurgo, registra aquilo que está fora do lugar, destoando a análise, e que aos poucos, apresenta como um acre sabor na boca de quem lê, aquilo em que se transformou o sonho de libertação angolana, justamente o antípoda do processo que se apossa e faz com que o capitalismo mais selvagem possível arrebate o sonho comunista de princípio, e que não mais é possível crer num Estado aos moldes do Ocidente do século XIX, mas simplesmente os frangalhos do mesmo. Entretanto, não se pode ler o contexto acima verificado de modo apenas negativo, uma vez que dele pode se verificar obras literárias complexas que não só dão conta da fotografia histórica, mas também de todo um trabalho de linguagem e de sentido que, para ser de fato apreciado, demanda o trabalho técnico hermenêutico de avanço e retrocesso, do micro ao macro, para que se produza algum conhecimento satisfatório a respeito das obras. / The formation of the horizon of this work is the comparison between the literary works of the author of Predadores and Mayombe, the Angolan writer Pepetela, specially at the perspective of Nation that is founded on each text, but in differently ways. The ability to read the works in very closely way to the Angolan historical phenomena is what makes this project closed to the national question, which is so relevant to the Angolan literary series, especially if you have in mind the formation of this young country and the need to build its own identity. The narratives in question express in different times this ideological construction and the variations in the national process, each one at the time, and when they are viewed one relation to another, it can be inferred more, primarily in what this ideological deconstruction and loss of paradigms whether political or cultural. It is the effect of post-modernity which requires the concerned company to find themselves without the ground and not sure of anything, since one can no longer speak of the colonial state, but post-colonial land and as such are open to possibilities they purposeful or nihilistic related to the nationally formation. Therefore, to remove more than superficialities of the relationship of these narratives we should keep in mind that the hybrid formations of this area require the detachment theory, moving toward the collaboration between disciplines in order to capture something significantly of the Contact. So ask yourself about the books Mayombe and Predators both in terms as the contact points as the points of repulsion is more than a theoretical exercise, question itself about the legitimacy of the national process that implied in the two works, makes Pepetela a kind of demiurge, whose records what is out of right place, diverging the analysis, and gradually presents as an acrid taste in the mouth of the reader, what it became the dream of Angola freedom, in the antithesis of the process which takes places and makes the most savage capitalism that destroyed the communist dream of beginning, and that is no longer possible to believe in a state along the lines of the West of the nineteenth century, but simply whats left of it. However, you cannot read the background above only for the negative way, because it can verify the complex literary works that not only realize in the historic photograph but also the work of language and meaning that to be truly appreciated by the reader it demands technical and hermeneutical work, from microspical to the macroscopical, to its bring a satisfactory knowledge about the works.

A presente dissertação tem por objetivo analisar elementos que constituem a nação argelina presentes num dos principais romances da literatura magrebina de língua francesa: Nedjma, do escritor argelino Kateb Yacine. A obra foi publicada em 1956, época caracterizada pelas tensões decorrentes do início da guerra de independência (1954-1962) que dividiam o país em dois, entre aqueles que preferiam uma Argélia francesa e aqueles que não renunciavam à luta por uma nação independente. As rupturas decorrentes da colonização francesa e as diversas invasões ao longo de sua história marcam a narrativa do romance, cuja análise demonstra que Nedjma vem à luz para afirmar a singularidade argelina. Afinal, sua escrita se faz nos interstícios do conflito entre duas culturas distintas e revela o engajamento político de Kateb. Para o desenvolvimento da análise interpretativa, este trabalho apoia-se em teorias que problematizam as consequências da colonização para os povos submetidos a esse regime. / The present dissertation aims to analyze the elements that constitute the Algerian nation presented in one of the founding novels of Maghrebian literature in French: Nedjma, by the Algerian writer Kateb Yacine. The work was published in 1956, which was a period characterized by the tensions resulting from the beginning of the war of independence (1954- 1962) that divided the country into two, between those who preferred a French Algeria and those who did not stop struggling for an independent nation. The ruptures resulting from French colonization and the various invasions throughout its history mark the narrative of the novel, which analysis point out that Nedjma comes to light to show the Algerian singularity. Moreover, this novel is written under the conflicts between two different cultures and reveals Kateb´s political engagement. On the development of interpretive analysis, this paper draws on theories on the consequences of colonization for the people under this regime.

Submitted by Renata Lopes (renatasil82@gmail.com) on 2016-03-28T11:57:18Z No. of bitstreams: 1 cristinavasconcelosmachado.pdf: 430345 bytes, checksum: 716c54bb03902ac64cb86c065e0c9797 (MD5) / Approved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2016-04-24T02:35:09Z (GMT) No. of bitstreams: 1 cristinavasconcelosmachado.pdf: 430345 bytes, checksum: 716c54bb03902ac64cb86c065e0c9797 (MD5) / Approved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2016-04-24T02:35:23Z (GMT) No. of bitstreams: 1 cristinavasconcelosmachado.pdf: 430345 bytes, checksum: 716c54bb03902ac64cb86c065e0c9797 (MD5) / Made available in DSpace on 2016-04-24T02:35:23Z (GMT). No. of bitstreams: 1 cristinavasconcelosmachado.pdf: 430345 bytes, checksum: 716c54bb03902ac64cb86c065e0c9797 (MD5) Previous issue date: 2013-04-03 / A presente dissertação propõe uma leitura comparada dos romances Um rio chamado tempo, uma casa chamada terra (2003), do moçambicano Mia Couto, e Las tinieblas de tu memoria negra (1987), do guiné equatoriano Donato Ndongo-Bidyogo, objetivando demonstrar como a estruturação das obras aponta para estratégias de negociação literária, estabelecidas na relação dialética entre o universo cultural africano e o europeu, que possibilitariam processos de descolonização simbólica. Para alcançar esse objetivo partimos de reflexões elaboradas por teóricos da Teoria Pós-colonial que sugerem que a Literatura Pós-colonial pode configurar-se como instrumento de luta nesse processo de descolonização, uma vez que essas produções literárias desenvolvem subterfúgios para romper com os modelos literários emanados pelas potências colonizadoras. Nesse sentido, o presente trabalho aponta que o modo com os escritores africanos trabalham com o idioma do colonizador, os processos de deslocamentos engendrados pelos sujeitos ficcionais e a escolha do modo de narrar propiciam um abertura dessas narrativas a esses processos de descolonização. O referencial teórico dessa pesquisa envolve reflexões de Amadou Hampaté Bâ (1979), Doreen Massey (2009), Kwame Anthony Appiah (1997), Mikhail Bakhtin (1993, 1997), Néstor Garcia Canclini (2011), Rogério Haesbaert (2007, 2010) e Thomas Bonnici (1998, 2005). / La presente disertación propone una lectura comparada de las novelas Um rio chamado tempo, uma casa chamada terra (2003), del mozambiqueño Mia Couto y Las tinieblas de tu memoria negra (1987), del guineo ecuatoriano Donato Ndongo-Bidyogo, objetivando demostrar como la estructuración de las novelas apunta para estrategias de negociación, establecidas en la relación dialéctica entre el universo cultural africano y el europeo, que posibilitarían procesos de descolonización simbólica. Para alcanzar ese objetivo, partimos de reflexiones elaboradas por teóricos de la Teoría Post-colonial que sugieren que la Literatura Post-colonial puede configurarse como instrumento de lucha en ese proceso de descolonización, ya que esas producciones literarias desarrollan subterfugios para romper con los arquetipos literarios emanados por las potencias colonizadoras. En ese sentido, el presente trabajo apunta que el modo como los escritores africanos trabajan con el idioma del colonizador, los procesos de desplazamientos engendrados por los sujetos de las ficciones y la elección del modo de narrar propician una apertura de esas narrativas a esos procesos de descolonización. El referencial teórico de esa investigación envuelve reflexiones de Amadou Hampaté Bâ (1979), Doreen Massey (2009), Kwame Anthony Appiah (1997), Mikhail Bakhtin (1993, 1997), Néstor Garcia Canclini (2011), Rogério Haesbaert (2007, 2010) y Thomas Bonnici (1998, 2005).

Submitted by Aline Batista (alinehb.ufpel@gmail.com) on 2015-04-02T20:32:55Z No. of bitstreams: 2 As dicotomias da Nação.pdf: 606825 bytes, checksum: d935990107e6c05b5e967a21cb4fa6cf (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) / Approved for entry into archive by Aline Batista (alinehb.ufpel@gmail.com) on 2015-04-03T01:22:37Z (GMT) No. of bitstreams: 2 As dicotomias da Nação.pdf: 606825 bytes, checksum: d935990107e6c05b5e967a21cb4fa6cf (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) / Made available in DSpace on 2015-04-03T01:23:59Z (GMT). No. of bitstreams: 2 As dicotomias da Nação.pdf: 606825 bytes, checksum: d935990107e6c05b5e967a21cb4fa6cf (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) Previous issue date: 2014-11-28 / Sem bolsa / Os estudos comparados têm permitido operar uma descentralização da literatura, promovendo uma abertura para o estudo de obras literárias até então consideradas periféricas. O estudo aqui apresentado realiza um comparativo entre as obras Eterna paixão (1994), de Abduali Sila, escritor guineense e Venenos de Deus, remédios do Diabo (2008), de Mia Couto, escritor moçambicano. Este construto teórico analisa temas como comunidades imaginadas, observadas pelos espaços externo (esfera pública) e interno (esfera privada) no período pós-colonial. Esse momento da história torna-se singular para as jovens nações africanas, porque é um período de tensões geradas por inúmeros aspectos culturais locais e questões ligadas à modernidade. As ideias para a reflexão e explanação das questões teóricas concernentes a este trabalho são iluminadas principalmente por Henry Lefebvre, Partha Chatterjee, Hommi Bhabha, Kwame Appiah e Stuart Hall, em relação ao espaço, as comunidades imaginadas, cultura, nação e identidade. Cada uma das obras observadas revelam a sua comunidade imaginada, isto é, criam uma imagem de nação para refletir acerca dos rumos que seus países tomaram após um longo período de colonização. Com efeito, constata-se a dificuldade de compreensão dos sujeitos em como lidar com os costumes e mitos locais em relação à modernidade. Desse modo, criam-se dicotomias da nação que manifestam as diferenças entre o local e o global e como estas diferenças acabam se conformando na construção da imagem nacional. / Comparative studies have allowed a decentralization of literature, fostering an openness to study literary work previously considered peripheral. The study presented here shows a comparison between two works - Eterna Paixão (1994), from Abduali Sila, a Guinean writer, and Venenos de Deus, Remédios do Diabo (2008), from Mia Couto, a Mozambican writer. The theoretical construct examines subjects as the imagined communities, observed by external spaces (public sphere) and internal spaces (private sphere) in the post-colonial period. This moment in history becomes unique for young African nations, because it is a period of tension generated by numerous local cultural aspects and issues related to modernity. The reflection and explanation of ideas of the theoretical questions concerning this research are mainly enlightened by Henry Lefebvre, Partha Chatterjee, Hommi Bhabha, Kwame Appiah and Stuart Hall, in relation to space, the imagined communities, culture, nation and identity. Each of the analyzed work reveals their imagined community, which means, they create an image of a nation to reflect on the path that their countries took after a long period of colonization. Indeed, subjects have had a difficulty in understanding and dealing with local customs and myths in relation to modernity. Thus, nation dichotomies are created and show the differences between the local and the global, and how these differences end up shaping the construction of national image.

(in English) This paper is based on field-work performed in a Thai Buddhist Temple (Wat) in Prague in the year 2016. The aim is to describe and in describing analyze rituals organized in and through the temple from a materialist phenomenological point of view, as well as based on an ideal-type Theravāda cosmology. In drawing on post-colonial philosophy, part of the focus lies also on the process of becoming other. This is achieved in situating practice and mimesis (based on the anthropologist Michael Taussig's theory) at the center of methodological inquiry. Each chapter is based on different expected and unexpected encounters at the Wat, and offers a possible solution to the issues that these encounters raised.

The social sciences have developed robust bodies of scholarship on expertise and professionalism, yet literary analyses of the two remain comparatively sparse. I address this gap in Boundaries of Knowledge by examining recent Anglophone fiction and showing that expertise and professionalism are central concerns of contemporary authors, both as subject matter in fiction and in their public identities. I argue that the novelists studied use and abuse expertise and professionalism: they critique professions as participant observers, and also borrow the mantle of expert credibility to bolster their own cultural capital while documenting the pitfalls of expertise in their fiction. My first chapter shows how acquired technical knowledge and professionalism are the central concerns of Ian McEwan’s Saturday. In the novel, Henry Perowne’s professionalism is the site from which various ethical and political debates radiate. Perowne—depicted as a rather heroic expert in comparison to the other novels studied in the dissertation—is disturbed by a total outsider in the form of Baxter, a man with no prospects or future, professional or otherwise. McEwan aligns himself more closely with Perowne: in part through extensive research for Saturday, he has developed a reputation as a public figure who straddles the “two cultures” of the sciences and humanities, a reputation that exists in a synergistic relationship with his particular brand of realist fiction, which emphasizes hard work and professional credibility. Next, I demonstrate how Zadie Smith’s On Beauty reveals a deep suspicion of academia, which in the novel serves to cut disciplinary experts off both from the world outside campus and from an appreciation of the subjects they study. Smith’s academic professionals are well-intentioned but unable to look beyond field-specific boundaries to appreciate their objects of study (and unintentionally harm outsiders along the way). Larger issues such as race are always present but at the margins of the interpersonal drama that plays out between the novel’s numerous characters. I read Smith herself as reluctantly accepting academic life, teaching at New York University while maintaining a qualified distance from American academia in articles and interviews. Chapters one and two are broadly about the advantages and drawbacks of expert knowledge, respectively. In my third chapter, Abdulrazak Gurnah offers the most circumspect view of experts yet with a fear of a “summarizing” expert or colonizer of knowledge that is only resolved by the arrival of a more authentic Zanzibari expert. In an analysis of Gurnah’s By the Sea, I show how professional networks--the United Kingdom’s immigration and refugee system, the colonial education system in Zanzibar, and the professoriate--raise questions about who is entitled to and capable of narrating people’s lives. These questions dovetail both with the novel’s shifting narrative form and with the concerns of Gurnah’s own work as a scholar of literature. Beginning with McEwan and ending with Gurnah, Boundaries of Knowledge travels from the most socially and economically secure, elite experts to those left behind by contemporary professionalism. My title reflects this troubled landscape of expert knowledge and professionalism: who knows what, the benefits and drawbacks of the accompanying cultural capital, and the barriers between various fields, sets of knowledge, and finally people.

Please read the abstract in the section 00front of this document / Thesis (DPhil)--University of Pretoria, 2008. / School of Public Management and Administration (SPMA) / unrestricted