A pesquisa tem como objetivo analisar e relacionar as escritas de si do poeta e escritor russo Daniil Kharms (1905-1942): seus apontamentos em cadernetas, sua prosa quasebiográfica, como a novela A velha (1939), suas cartas e seus autorretratos, sobretudo na década de 1930, momento em que essas artes de si mesmo passam a interagir de forma mais pronunciada, quando o criador e sua obra se misturam de maneira muito peculiar. Como o estudo das cadernetas do escritor define ponto medular da pesquisa e este material ainda não foi publicado no Brasil, também será apresentada a tradução de parte de seus cadernos de anotações e do pequeno diário, que abarcam os anos de 1924 a 1940. Além disso, pelo próprio recorte do trabalho, foi delineada uma biografia cuidadosa do autor, um dos fundadores da Oberiu, o último grande grupo do vanguardismo russo, assim como foram definidos alguns diálogos (Krutchónykh, Khlébnikov, Bergson, Malévitch e tchinari) que marcaram o desenvolvimento artístico e filosófico de Daniil Kharms, um dos mais peculiares e talentosos artistas russos de vanguarda, hoje assemelhado a escritores como Franz Kafka, Eugène Ionesco e Samuel Beckett. / The objetive of this thesis is to analyse the self-writing of the Russian poet and writer Daniil Kharms (1905-1942): his notes in notepads, his almost-biographical prose, such as the novel Old Woman (1939), his letters and self-portraits, especially in the 1930s, a time when these arts about oneself start to interact in a more emphatic way, when the writer and his work mix up in a very particular way. As the study on his notepads defines the central element of this research and this material has not been previously published in Brazil, it will be also presented a translation of a part of his notepads and little diary, from 1924 to 1940. Furthermore, by the perspective taken in this study, a detailed biography of the author was conducted. Kharms was one of the founders of Oberiu, the last avant-garde Russian group. Hence, the study also debates the importance of the art and philosophy of Krutchónykh, Khlébnikov, Bergson, Malévitch e tchinari to the work of Kharms, who became one of the most singular and talented contemporary Russian authors, compared to Franz Kafka, Eugène Ionesco e Samuel Beckett.

Made available in DSpace on 2014-07-29T16:27:58Z (GMT). No. of bitstreams: 1 Dissertacaoo Aline Soares Lima.pdf: 6312597 bytes, checksum: dcf48198d022656685ddd224abba21e7 (MD5) Previous issue date: 2009-07-07 / This study investigates the self representations of transvestites in orkut and constitutive elements of their (cyber)identities, having the visuality as the focus and determinant axis. For this, the emphasis is given to pictures and self portraits, present in albums of their profiles on the site. We are interested in understanding what is the image they construct of themselves from physical reconstructions, aesthetic formulations, costumes, scenery, performances and a whole network of symbolic meaning which is important for them. Orkut, like many other social environments of the internet, comprehends speeches and narratives of individuals and social groups that describe, identify and represent themselves of the most varied ways and with the most diverse goals and interests. In order to understand how the self representations of transvestites are built on orkut, it was investigated initially some communities with trans thematic, then it was selected the profiles of two transvestites, with whom interviews were also conducted. Although this study focuses on the self representations in the orkut, other environments in cyberspace have been researched, as blogs and sites for transvestites. We conclude that there are multiple ways to represent transvestitely, not just the stereotypical, stigmatized and marginalized representations widespread by the media / Esse estudo investiga as autorrepresentações de travestis no orkut e os elementos constitutivos de suas (ciber)identidades, tendo como foco e eixo determinante a sua visualidade. Para isso, a ênfase é dada aos retratos e autorretratos, presentes nos álbuns de seus perfis no site. Interessa-nos entender qual é a imagem que constroem de si a partir de reconstruções corporais, de formulações estéticas, vestimentas, cenários, performances e de toda uma rede de significação simbólica que para elas importa. O orkut, assim como tantos outros ambientes de sociabilidade na internet, comporta discursos e narrativas de indivíduos e grupos sociais que se descrevem, se identificam e se autorrepresentam das mais variadas maneiras e com os mais diversos objetivos e interesses. Para compreender como se constituem as autorrepresentações de travestis no orkut, investigou-se inicialmente algumas comunidades com temática trans, selecionando-se em seguida os perfis de duas travestis, com as quais foram realizadas também entrevistas. Embora esse estudo focalize as autorrepresentações presentes no orkut, outros ambientes no ciberespaço foram pesquisados, como blogs e sites de travestis, para estabelecer um diálogo mais abrangente. Assim, o que se pode perceber é que há uma pluralidade de existências e representações possíveis das travestilidades, diferentemente do que as representações estereotípicas, estigmatizantes e marginalizantes, provenientes de distintas instituições sociais, sobretudo das mídias, podem fazer crer

The portrayal of Muslims in British mainstream media, particularly newspapers, is a subject of significant academic interest. Previous studies find that British newspapers frequently represent Muslims as a distinct and homogenous group, associating them with terrorist groups and framing them as a cultural threat. Orientalist representations have been observed, depicting Muslims as inherently problematic. Nevertheless, Muslims' own self-representation remains understudied and underexamined. This research analyses the discourse of the Muslim News, the oldest, most enduring English-language newspaper catering to Muslims in the United Kingdom. Using Corpus Analysis and Critical Discourse Analysis, this thesis explores the similarities and differences in the discourses of the Muslim News and British mainstream newspapers from 1998 to 2009. The findings reveal that, while reproducing some narratives observed in mainstream press, the Muslim News (the MN) is introducing new representations that 'pitch' alternative stories about Muslims in the media. While sustaining certain representations, such as the collectivisation of Muslims, the MN challenges mainstream discourse. It highlights Islamophobic attacks that Muslims are subject to, including their negative portrayal in mainstream press, and suggests that these hegemonic representations are part of a 'Muslim penalty'. Furthermore, the MN counters mainstream news by taking Muslims outside the frames of representation that associate them with terrorism, conflict and violence. Sports coverage consistently emerges in the MN as an important space to re-negotiate and reframe mainstream media discourses on Muslims. Sports stories maintain newsworthiness while enabling the MN to diverge from the negative coverage of Muslims in mainstream press and celebrate Muslim champions. Comparing such representations in a newspaper by and for Muslims to those produced by mainstream press further exposes contemporary Orientalist discourses and should be a subject of further study.

Drawing from my archival research on the Red Army Faction (RAF), also known as the Baader-Meinhof Gang, and the urban guerrilla movement active in the Bundesrepublik Deutschland from the 1970s, my dissertation works through the RAF to speculate about the compulsion towards self-representation inherent to subjectivity. Such compulsion proffers an urgent and recurrent imperative to speak what cannot be said or to conjure what does not exist. This work argues that the perils and the failures of such enunciation, in the face of its compulsory demand, are felt not only in speech but in choreographies of subjectivity performed in aesthetic convolutions of space, gesture, and intonation. These convolutions are subject-forming material productions, rather than reflections or echoes of a pre-existing coherent subject, and trouble the notion of self-representation to the extent that they produce and re-produce the self. While the body is formed by culture, it consistently circumvents the limits of the genres that govern speech communication, therefore, my work is concerned with tracing a mise en scne of self-production by emphasizing non-textual elements. The forms that this circumvention can take exceed the involuntary cry, gesture, uneven breath, or facial expression to include uses of space space that is implicated in the bodys formation but the public legibility of such circumventions is not guaranteed. This work aims to refunction the RAF's declaration of the body as a weapon to the body as a medium for communication and to approach the aesthetics of a body (anti)language that extends beyond the particularities of the urban guerrilla project to the situation of mundane subjectivity that repeatedly calls for enunciation. My dissertation is a performative text that deploys formal interventions such as collage, assemblage, photography, and interleaved texts meant to intrude upon the reader that target instrumental language use. To illustrate that the ongoing production of subjectivity of the urban guerrilla is not alien to that of the politically recognizable citizen, my work contemplates practices of contemporary art and the production of material objects of signification that engage in practices of citation and disguise the incoherence of our acts.

This thesis analyzes EU international climate policy discourses around the adoption of the Kyoto Protocol, its entry‐into‐force and the COP15‐negotiations in Copenhagen. Using EU‐press releases and employing Hajer’s argumentative approach, the main focus lies on discursive shifts and self representation. The thesis finds considerable discursive shifts, including a changing role of science, global responsibility and the economy. Findings also include the self‐representation of the EU changing from an emerging to an established and powerful actor but with a sharp rupture after COP15.

To many in the global North, the favelas of Rio de Janeiro are the most visible face of violence and poverty in Brazil. While the favela film genre (and its subset, the favela documentary) has received significant study, there is a gap in understanding how these filmic texts are created as a result of individual production processes. How do decisions made during the course of production translate into imaginaries, representations, and on-screen content? This research locates multiple forms of non- fiction video within the wider context of mediated representations of poverty and violence in favelas, identifying the tools, mechanisms, and specific tactics employed by both favela stakeholders and production personnel in the co-production of these often heavily-mediated images. Utilizing key informant interviews with Rio-based documentary production personnel actively shooting in favelas, this research highlights specific production processes to understand how implicit incentive structures embodied in production shape and influence representations of the favela space. These findings make the case for understanding non-fiction favela films as the product of a highly structured and nuanced, if asymmetrical, co-production between filmmaker and subjects, rather than a simple linear imposition of meaning from above. These results suggest that the combination of individual production strategies with ongoing changes within the city related to “pacification” serves to simultaneously undermine and re-inscribe traditional imaginaries and mediatic geographies of the favela space. / text

Today it is just as important to understand the content on social media platforms as the technology that are being used. With the help of technology the content does not need to be just words but can also be anything from videos to simple symbols. Taboo subjects like dick-pics are often swept under the rug as being too offensive to talk about. But if technology is to keep up with the content even the sensitive subjects need to be understood. Since anyone can send anything to anyone it is important to show how different people react. If the sender of a dick-pic thinks it is amusing, it is important to tell how the receiver may react. It can be a self-representation to send a dick-pic, just to show a new or a hidden side of oneself. It can also be a way to exercise power over another person as well as harassing the receiver with a sexual picture. But a dick-pic could also be just a joke sent to someone and a way of communicating with friends. This is a quantitative research with 120 participants answering a questionnaire which focused on sending and receiving dick-pics and the reason and reaction of sending dick-pics online. The study showed three main reasons for sending dick-pics and the reasons were categorised as following: language online, self-representation and power structures.

The purpose of this essay is to investigate how ethos and choice of persona are used for self-representation in the autobiography Kriget är slut (2010) by Morgan Alling. The essay uses theories of self-representation in accordance with Aristotle and Roger D. Cherry, among others. The method of the essay is a thorough close textual analysis, mainly in accordance with Stephen Browne's definitions. The result shows that Alling uses the persona to give a voice of narration and attitude to the story and that ethos is used to write narration convincingly.

A pesquisa tem como objetivo analisar e relacionar as escritas de si do poeta e escritor russo Daniil Kharms (1905-1942): seus apontamentos em cadernetas, sua prosa quasebiográfica, como a novela A velha (1939), suas cartas e seus autorretratos, sobretudo na década de 1930, momento em que essas artes de si mesmo passam a interagir de forma mais pronunciada, quando o criador e sua obra se misturam de maneira muito peculiar. Como o estudo das cadernetas do escritor define ponto medular da pesquisa e este material ainda não foi publicado no Brasil, também será apresentada a tradução de parte de seus cadernos de anotações e do pequeno diário, que abarcam os anos de 1924 a 1940. Além disso, pelo próprio recorte do trabalho, foi delineada uma biografia cuidadosa do autor, um dos fundadores da Oberiu, o último grande grupo do vanguardismo russo, assim como foram definidos alguns diálogos (Krutchónykh, Khlébnikov, Bergson, Malévitch e tchinari) que marcaram o desenvolvimento artístico e filosófico de Daniil Kharms, um dos mais peculiares e talentosos artistas russos de vanguarda, hoje assemelhado a escritores como Franz Kafka, Eugène Ionesco e Samuel Beckett. / The objetive of this thesis is to analyse the self-writing of the Russian poet and writer Daniil Kharms (1905-1942): his notes in notepads, his almost-biographical prose, such as the novel Old Woman (1939), his letters and self-portraits, especially in the 1930s, a time when these arts about oneself start to interact in a more emphatic way, when the writer and his work mix up in a very particular way. As the study on his notepads defines the central element of this research and this material has not been previously published in Brazil, it will be also presented a translation of a part of his notepads and little diary, from 1924 to 1940. Furthermore, by the perspective taken in this study, a detailed biography of the author was conducted. Kharms was one of the founders of Oberiu, the last avant-garde Russian group. Hence, the study also debates the importance of the art and philosophy of Krutchónykh, Khlébnikov, Bergson, Malévitch e tchinari to the work of Kharms, who became one of the most singular and talented contemporary Russian authors, compared to Franz Kafka, Eugène Ionesco e Samuel Beckett.

Made available in DSpace on 2014-07-29T15:22:30Z (GMT). No. of bitstreams: 1 Dissertacao Marcelo do Nascimento Melchior.pdf: 2046184 bytes, checksum: 6f3e048454a2cfc5cbd396c6b53f4ebb (MD5) Previous issue date: 2011-03-10 / A pesquisa faz uma análise a respeito da Produção Cinematográfica dos índios Xavante do estado de Mato Grosso. Buscando entender expressões e visões nas quais os próprios indígenas se auto representam em suas produções visuais. O mundo contemporâneo possibilita o acesso a novas tecnologias de forma prática e dinâmica. Desse modo as culturas que por assim chamamos de "minoritárias" estabelecem mecanismos de relações com estes novos processos em benefício próprio e do grupo, exemplo disso é o uso da câmera como um meio de produção de vídeos. Os indígenas de um modo geral e em particular a etnia Xavante, aos poucos mostram que é possível romper com os paradigmas de inferioridade cultural no qual foram vítimas no decorrer da história. Pois, muito do imaginário que perpassa a imagem do índio no cinema é perceptível de uma enorme carga preconceituosa não verossímil da realidade, verificamos isso se nos atentarmos diante dos filmes de ficção ou mesmo documentários, que enfocam sociedades indígenas que foram produzidos por não índios. O cinema brasileiro, desde o início, tematizou o índio em suas produções e por muito tempo esses filmes tiveram como referência não o índio real, mas aquele construído pela literatura romântica, marcadamente idealizado. Temos como questionamento principal entender as produções cinematográficas realizadas por cineastas indígenas, num olhar diferenciado, intercultural e dinâmico.