Submitted by Jessica de Cássia Rossi null (jessicacrossi@yahoo.com.br) on 2016-10-05T23:00:49Z No. of bitstreams: 1 A desconstrução discursiva da mulher brasileira na mídia portuguesa - a intersecção dos marcadores da diferença.pdf: 1696987 bytes, checksum: 8a78aad835c9ab319af333880af627e0 (MD5) / Approved for entry into archive by Juliano Benedito Ferreira (julianoferreira@reitoria.unesp.br) on 2016-10-10T19:37:13Z (GMT) No. of bitstreams: 1 rossi_jc_dr_mar.pdf: 1696987 bytes, checksum: 8a78aad835c9ab319af333880af627e0 (MD5) / Made available in DSpace on 2016-10-10T19:37:13Z (GMT). No. of bitstreams: 1 rossi_jc_dr_mar.pdf: 1696987 bytes, checksum: 8a78aad835c9ab319af333880af627e0 (MD5) Previous issue date: 2016-08-01 / As experiências das mulheres brasileiras imigrantes têm merecido atenção da mídia portuguesa desde a chamada "segunda vaga" migratória, cujo marco temporal data de 1999. A feminilização dos fluxos migratórios confere centralidade às questões de gênero, as quais só podem ser entendidas em sua complexidade quando interseccionadas com outros marcadores sociais como nacionalidade, raça/etnia e classe. A fim de compreender como a mídia lusitana veio reportado este fenômeno, foram analisados nesta tese dois importantes periódicos locais, o lisboeta Público e Jornal de Notícias, do Porto. A partir da locução “mulher brasileira” e das palavras de busca “brasileira/s” chegou a um universo de 162 notícias, as quais foram organizadas em categorias classificatórias e analisadas em diálogo com os estudos feministas e pós-coloniais. Reiterações, cristalizações e tensionamentos relativos à experiência destas brasileiras imigrantes são problematizadas nesta pesquisa a partir de referencial foucaultiano. Considerando que os discursos são mais que atos de fala descritivos e sustentados por signos, procurou-se, justamente, sublinhar este “mais” no esforço de fazê-lo aparecer, procurou-se descrever seus sentidos. Os resultados mostram que os periódicos analisados tendem a reproduzir visões colonialista e sexistas relativas às experiências destas mulheres, ainda que, em um deles, voltado para o público lisboeta, de classe média, tenda a problematizar o preconceitos e estereótipos aos quais estas imigrantes estão sujeitas, a homogeneização das experiências, ali reportadas tende a reiterar percepções sexualizadas, erotizadas e/ou vitimarias das brasileiras. Invisibilizando-se vivências que não são facilmente alocadas nessas chaves de classificação. / The experiences of immigrants Brazilian women have come to the attention of the Portuguese media since the so-called "segunda vaga" immigration, which in timeframe date 1999. The feminization of migration flows gives centrality to gender issues, which can only be understood in its complexity when intersect with other social markers such as nationality, race / ethnicity and class. In order to understand how the media came Lusitanian reported this phenomenon, were analyzed in this thesis two major local newspapers, the Lisbon's Público and Jornal de Notícias, ot the Porto. From the expression "Brazilian woman" and the search words "Brazilian/s" reached a universe of 162 news, which were organized in classificatory categories and analyzed in dialogue with feminist studies and postcolonial. Reiterations, crystallization and tensions on the experience of these immigrants are Brazilian problematized this research from foucaultiano reference. Whereas the discourse are more than acts descriptive speech and sustained by signs, sought to precisely underline this "mais" in the effort to make it appear, he tried to describe his senses. The results show that the periodicals analyzed tend to reproduce colonialist and sexist views on the experiences of these women, although in one of them, facing the Lisbon audience, middle class, tend to question the prejudices and stereotypes to which these immigrants are subject the homogenization of experience, there tends to reiterate reported sexualized perceptions, eroticized and/or victimizers of Brazil. Unfeasible to experiences that are not easily allocated to this classification keys.

Le voyage des étudiants africains en situation coloniale constitue le sujet d’une mise en scène récurrente dans la littérature africaine d’expression française des années cinquante. À l’époque des combats décoloniaux, politiques et idéologiques, certains écrivains comme Cheikh Hamidou Kane, Camara Laye ou Aké Loba font de l’expérience de la colonisation culturelle le cœur de leurs œuvres littéraires. Leurs textes portant sur le voyage pour études des héros vers la France s’articulent autour d’une isotopie narrative, spatiale et existentielle : une migration en forme d’impasse, reposant sur quantité de promesses trahies, de rêves aux perspectives brisées, d’expériences de déréliction mortifère. L’étude du fonctionnement littéraire de la déception progressive des personnages d’élèves africains colonisés permet de mettre au jour le processus de subjectivation qui détermine leur horizon bouché. Car les trompe-l’œil idéologiques de l’entreprise coloniale dissimulent un mouvement de capture existentielle qui arraisonne les personnages et les transforme en sujet de domination. Depuis le tournant des indépendances politiques, le traitement littéraire de ces aventures échouées continue d’interroger le temps présent. Ces êtres tendus entre des espaces et des univers de valeurs antagoniques questionnent la négociation des identités postcoloniales. Comme si, en entrant dans la fabrique du personnage colonisé, partant à la rencontre de ses mécanismes et de ses modèles, nous avions rendez-vous avec les formes contemporaines de leur développement mondialisé. / The travels of African students in a colonial situation are a recurring subject in Frenchspeaking African literature of the 1950s. At the time of de-colonial, political and ideological struggles, some writers such as Cheikh Hamidou Kane, Camara Laye or Aké Loba have put the experience of cultural colonization at the heart of their literary work. Their writings, aboutthe study trips of the main characters to France, are based on a spatial and existential isotopy: a dead-end migration, based on many betrayed promises, dreams with broken perspectives, experiences of deathly dereliction. The study of the literary device of the progressive disenchantment of these characters – African, colonized students – allows to shed light on thesubjectivation process that shapes their barred horizons. Indeed, the ideological deceit of the colonial endeavor hides a movement of existential capture that grabs the character and makes them subjects of domination. Since the turning point of political independencies, the literary outlook on those failed adventures keeps interrogating our present times. These beings, stretched between spaces and universes of opposed values, question the negotiation of postcolonial identities. As if, by entering the mold of the colonized character, by going to meet its mechanisms and models, we had an appointment with the modern-day shapes of their globalized development.

This thesis is a response to a lacuna in musicology, namely the near absence of postcolonial and decolonial epistemologies. Employing both diachronic and synchronic perspectives, it provides a historical overview of the institutional positioning of musicology as an academic discipline founded on structures of expectation and exploitation indebted to Western imperialism. This longer historical view is accompanied throughout by an examination of ethics in its institutionalised forms, specifically in the domains of knowledge production and the university. The thesis maintains that while such ostensibly ethical underpinnings may promise redress on the basis of the violence inflicted by an imperialist past, the discourse employed in its application in fact serves to strengthen the ideological hold of Western hegemony and, in so doing, betrays the promise of reparation that ethics is ordinarily understood to encompass. The thesis examines different aesthetic and epistemological manifestations of the postcolonial, considering at length Steve Reich's string quartet, Different Trains (1988), Philip Glass's opera, Waiting for the Barbarians (2005), and Philip Miller's choral work, REwind: A Cantata for Voice, Tape and Testimony (2006). Both content and style weave these works together as they engage, by means of a post-minimalist aesthetic, stream-of-violence narratives intimately bound up with the postcolonial condition. Of particular importance in the consideration of these musical texts is the urgent necessity for epistemological transformation, marked in musicology as the lack of post- and decolonial perspectives. Finally, the thesis grapples with the (im)possibility of complicit scholarship that must, through its very expression, wound its subject.

Quelques critiques universitaires ont été écrites sur des spectacles récents prenant pour thématique le conflit israélo-palestinien, mais il n’existe pas d’étude d’ensemble à ce sujet. Par ailleurs, depuis le début des années 2000, plusieurs recherches se sont attachées à préciser les relations qu’entretiennent le théâtre et la politique. Cette thèse vise à approfondir cette réflexion à partir des transferts culturels d’œuvres israéliennes et palestiniennes vers la France, des années 1970 à nos jours.Pour ce faire la méthodologie mise en œuvre articule historiographie du théâtre, histoire des représentations théâtrales et étude du champ de production culturelle en diachronie. Elle a permis de mettre en évidence la persistance de l’Orientalisme renforcé par le déphasage historique entre la France et Israël et l’inégal développement entre la France et la Palestine. La représentation théâtrale peut offrir un espace de résistance aux assignations identitaires subies par les artistes d’Israël et de Palestine, ou bien reproduire les rapports de domination lisibles à travers le degré de légitimité des dramaturg(i)es. La thèse rappelle la complexité des rapports de domination qui ne sont pas réductibles au racisme ou à un « choc de civilisations » mais relèvent d’une hégémonie culturelle entretenue par les institutions théâtrales et universitaires, et critiques dramatiques. Ces instances de légitimation sont analysées ici en tant que productrices d’un discours idéologique dont l’étude remet en question la posture de neutralité qui accompagne l’autonomie de l’art. / In a limited scope, academic critiques have been written on recent productions on the theme of the Israeli-Palestinian conflict, still there exists no comprehensive study on the subject. Additionally, several studies have focused on clarifying the relationship between theatre and politics since the early 2000s. The thesis aims to expand on this line of thought, deriving from cultural transfers of Israeli and Palestinian works to France, from the 1970s to the present day.The methodology implemented articulates theatre historiography, history of theatrical performances and the study of the cultural production field in diachrony. The methodology allowed for the highlighting of the persistence of Orientalism, reinforced by the historic phase-shift between France and Israel and the unequal development between France and Palestine. The theatrical performance can either offer a space of resistance to the identity assignements suffered by artists from Israel and Palestine, or can reproduce domination relations that are legible through the degree of legitimacy of the theatre performances and performers. The thesis evokes the complexity of relations of dominance that are not reducible to racism or a "clash of civilizations" but are a cultural hegemony maintained by theatrical and academic institutions, and drama reviewer. These instances of legitimation are analyzed here as producers of an ideological discourse, the study of which challenges the posture of neutrality that accompanies the autonomy of art.

The present thesis compares media representations of Yekîneyên Parastina Jin (YPJ or the Women’s Protection Units), an all-female Kurdish military organisation, in British media versus the organisation’s own media outlets, with the aim to see how they differ, more specifically in terms of representations of their ideological agency. By utilizing critical discourse analysis (CDA) in combination with postcolonial theory, the media construction of four soldiers’ deaths have been scrutinized in 30 media texts in order to provide a deeper understanding of the hegemonic discourses and sociocultural practices which underpin these constructions. The result shows a discrepancy in terms of representations of YPJ’s ideological agency. On the one hand, YPJ adopts an explicit effort to assert their ideology through a propagandistic discourse that emphasises their values of resistance, freedom, egalitarianism, gender emancipation and democratic confederalism, portraying their fighters as fearless martyrs and heroines that are determined to die for their cause. On the other hand, the UK media represent YPJ’s ideology in generic ways in which hidden ideological ‘us vs. them’ representations are deeply rooted in a broader naturalised Western hegemonic discourse, with portrayals of YPJ’s fallen soldiers mostly characterised by sensationalism and victimisation. One part of such hidden ideological agenda is the way in which YPJ constantly gets included in, and excluded from, ‘us’ (the West), depending on who the enemy is, in addition to mainly receiving media coverage in direct relation to ISIS, a common Western enemy. The result is a representation that endorses YPJ’s fight within a hegemonic Western discourse, neglecting their ideological agency. This has sociocultural implications since such hegemonic discourse misrepresents YPJ’s struggle, constructing their fight mostly as part of a Western counterterrorist strategy, which further legitimises the Western power to construct history based on its own premises and claims of truth.

No description available.

This thesis is crafted as an explorative theoretical essay, which aims to disclose the continuities and shifts in constructions of Italian post-war identity through the lenses of Marxist theory and postcolonial film analysis. The research will attempt to locate three paradigmatic cases of post-war Italian cinema and their authors in relation to the historical context, as well as coeval political and theoretical developments in the country. In order to produce a cartography of the Italian social landscape and its spaces of marginality and exclusion, the reader will be guided through this analysis by following the adventures of a paradigmatic character type, whom I will call “the wanderer”, a figure whose itinerant quality reflects the marginality of a social position and attitude that can be summed up by as the “art of getting by” (l’arte di arrangiarsi). As I will show, this position and attitude play a central role in defining a particular identity in relation to established social norms. To trace the transformation of this character, then, is also to trace transformations in the nation’s self-understanding in relation to class, race, gender, and the external world. My interpretation is built on two main theoretical premises. The first one is Gayatri Spivak’s contention that the importance of aesthetics, and aesthetic education, lies in their capacity to mediate between idealism and empiricism, or ethics and social reality. The second premise follows Fredric Jameson’s hypothesis about the creative quality of realism as an aesthetic paradigm, assuming that its primary aim and function is not a representative one, but one of active re-creation of the social reality anew. For me, these two premises are linked by the primary role they assign to aesthetic representation – as connected with imagination – in creating new grounds for social change.

Die Dissertation untersucht problematische Beziehungen zwischen Kolonialismus, Wissen und kuratorischen Praktiken, da diese sich auf Sammlungen beziehen, die in lokalen Museen im Nordosten Thailands mit dem ‚Sakralen‘ zu tun haben oder damit verbunden sind. Diese qualitative Forschung verwendet einen theoretischen Rahmen, der sich aus der postkolonialen Theorie, der Akteur-Netzwerk-Theorie und Mikhail Bakhtins chronotopischem und dialogischem Ansatz ableitet. Zwei Hauptargumente der Studie sind, lokale Museen als ‚Museumsverstrickungen‘ und ‚verstrickte Museen‘ zu sehen. Zunächst spricht diese Dissertation dagegen, diese lokalen Museen entweder als ‚nicht-professionelle‘ oder als‚ nicht-westliche‘ Museen zu betrachten. Stattdessen schlägt sie vor, sie als in den kolonialen Kontexten Südostasiens verortet zu verstehen und ihre Praktiken als Antworten auf, sowie Gesprächspartner im Dialog mit, vorherigen Museen zu sehen, die die gleichen Materialsammlungen sammeln und kuratieren und die vom Kolonialismus und Nationalismus beeinflusst wurden. Überdies schlägt diese Dissertation vor, diese lokalen Museen nicht ausschließlich als ‚indigene Museen‘ zu betrachten, sondern sie als ‚verstrickte Museen‘ zu betrachten, die das Ergebnis von Koexistenzen und Interaktionen verschiedener Arten von Wissen sind, die sich auf unterschiedliche Weise aus Religionen, Magie und Wissenschaft ergeben. Im Nordosten Thailands beinhaltet das Kuratieren heiliger Dinge – wie Buddha-Reliquien und religiöse Statuen - den Umgang mit erkenntnistheoretischen Unterschieden, die im Buddhismus, Hinduismus, Animismus, in der Magie und so weiter begründet sind. Diese Unterschiede führen zu vielfältigen dialogischen Praktiken, die sich dem Heiligen widmen, z.B. Verdienstabgabe, Opfergabe, Verehrung und Wünsche äußern. Diese Praktiken erscheinen manchmal neben wissenschaftlichen Museumspraktiken. / The thesis examines problematic relationships between colonialism, knowledge and curatorial practices as these relate to collections that are concerned, or linked, with ‘the sacred’ in local museums in Northeast Thailand. This qualitative research deploys a theoretical framework derived from post-colonial theory, actor-network theory and Mikhail Bakhtin’s chronotopic and dialogical approach. Two major arguments of the study are about seeing local museums as ‘museum entanglements’ and ‘entangled museums’. Firstly, this thesis argues against seeing these local museums as either ‘non-professional’ or ‘non-western’ museums. Instead, it proposes to understand them as situated in the colonial contexts of Southeast Asia, and to see their practices as responses to, and interlocutors in dialogue with, prior museums that collect and curate the same material collections, and that have been influenced by colonialism and nationalism. Secondly, instead of seeing these local museums exclusively as ‘indigenous museums’, this thesis proposes to see them as ‘entangled museums’ that are a result of co-existences and interactions of different kinds of knowledge, which diversely derive from religions, magic and science. In Northeast Thailand, curating sacred things – such as Buddha relics and religious statues, involves dealing with epistemic differences that are based in Buddhism, Hinduism, animism, magic, and so on. These differences lead to diverse dialogic practices dedicated to the sacred e.g. merit-making, offering, worshipping and making wishes. These practices sometimes appear alongside scientific museum practices.

No description available.

A la croisée d’enjeux aussi bien philosophiques, politiques, qu’anthropologiques, cette thèse en études théâtrales vise à théoriser la notion de « drame figuratif » en analysant l’esthétique singulière que développe Kossi Efoui dans son œuvre dramatique. Dramaturge, philosophe et romancier, né en 1962 au Togo, Kossi Efoui annonce par ses positions politiques et ses partis pris poétiques, dès la pièce Le Carrefour, le tournant esthétique majeur que prendront les dramaturgies d’Afrique noire francophones et des diasporas au début des années 1990. Traversé par l’histoire coloniale et l’histoire des migrations, son théâtre interroge le corps diasporique et remet en question les déterminismes identitaires construits par le discours historique et l’essor du capitalisme depuis les traites négrières. Cette esthétique procède d’un geste théâtral qui relève d’une écriture de la figuration, et dont nous interrogeons le paradoxe afin d’en définir les modalités dramaturgiques. Car dans ce théâtre, le contenu discursif est marqué par une omniprésence du corps, alors que sa représentation fait l’objet d’une quête pour les personnages qui en sont le plus souvent dépourvus. Travaillée par divers modes de production du texte (intertextualité, transtextualité, fragmentation, décomposition, assemblage, geste du plateau) l’écriture dramaturgique opère toutes sortes de détours qui relèvent des univers du masque et des arts de la marionnette et explorent le corps scénique et les dispositifs théâtraux en vue d’un processus de résilience. En analysant cette dramaturgie du détour marionnettique nous questionnons la présence des corps et des voix dans le matériau textuel lui-même, leurs liens avec le plateau, et l’existence possible d’un geste plastique produisant une figure qui émanerait de l’écriture, pour prendre place sur « les lieux de la scène », selon la formule fétiche de Kossi Efoui. Le corps convoque ici des territoires d’ordre politique et se fait l’écho des traumas qui nous hantent et nous mettent collectivement à l’épreuve. En faisant de l’espace théâtral une interface mnémonique, l’écriture emprunte des voies de création transdisciplinaires qui renouvellent notre conception de la dramaturgie et déploient ce que nous identifions comme « une esthétique du drame figuratif ». / At the crossroads of philosophical, political and anthropological issues, this dissertation in theatre studies aims to theorize the notion of "figurative drama" through analyzing Kossi Efoui's aesthetics in his dramatic work. A playwright, philosopher and novelist, born in 1962 in Togo, Kossi Efoui’s political and poetical choices foreshadowed, from his first play Le Carrefour, the major aesthetical turn taken by the dramaturgies of French-speaking sub-Saharan Africa and diasporas at the beginning of 1990s. Shaped by colonial history and the history of migrations, Kossi Efoui’s theater put the diasporic body in question, as well as the identities that were assigned by historical discourses and by the rise of capitalism since the time of the slave trade. This aesthetics is the result of a theatrical attitude based on a figurative writing. By questioning this paradoxical attitude, this dissertation shows how it is translated into dramaturgical choices. Indeed, in Kossi Efoui’s theater, on one side the body is everywhere in discourses, while on the other side it’s missing on stage: the characters are most often deprived of a body and looking for one. Shaped by various ways of producing text (intertextuality, transtextuality, fragmentation, decomposition, assembly, gesture of the stage) the dramaturgical writing makes a detour via the universe of the mask and the puppetry arts, thereby exploring the actor’s body and the theatrical devices in order to create a process of resilience. By analyzing this dramaturgical detour via puppetry, this dissertation questions the presence of bodies and voices in the textual material itself and their relationships to the stage. It formulates the hypothesis of an attitude, producing a figure that comes from the writing and takes its place on stage (on les lieux de la scène, as Kossi Efoui calls it). The body becomes a political territory and summons up haunting traumas that put the collectivity to the test. By using the theatrical space as a mnemonic interface, the writing takes trans-disciplinary creative paths, renews our conception of dramaturgy and produces what we identify as "an aesthetics of figurative drama".