No description available.

O objetivo deste trabalho é demonstrar como a teoria semiótica greimasiana pode corroborar a tradução de SCUM Manifesto de Valerie Solanas, publicado em 1968, para o português. Inicialmente é possível indicar, por meio dos níveis fundamental, narrativo e discursivo do percurso gerativo do sentido, uma orientação semiótica sobre a construção do sentido no texto original. A análise semiótica permitiu verificar a revolta do sujeito scum com o sujeito homem, bem como a presença de um ethos colérico no texto, possibilitando, desse modo, uma tradução, carregada na acidez, para a língua portuguesa. Posteriormente a constatação da revolta e da cólera presentes em SCUM Manifesto, foi feita uma breve comparação deste com outros textos, também feministas e publicados na década de sessenta, para poder, numa perspectiva da análise do discurso, verificar a localização e papel social do manifesto de Solanas. A análise comparativa de SCUM Manifesto com os demais textos feministas, por meio dos temas e figuras abordados e tom empregado, permitiu confirmar o texto de Solanas como ultrafeminista / The aim of this paper is to show how semiotics by Greimas can contribute for the translation of SCUM Manifesto by Valerie Solanas, published in 1968, to Portuguese language. It is possible to identify, through the analysis of surface and deep structures of generative process, the semiotics orientation to the construction of the sense present in the source text. The semiotic analysis made it possible to verify the revolt of the subject scum against the subject men and permitting the translation to Portuguese language to be aggressive. After confirming the presence of revolt and cholera in SCUM Manifesto, the text was also compared to other feminist texts from the sixties to determine, in a Discourse Analysis perspective, its location and social role among them. The comparison of themes, figures and tones of speech confirmed the text by Solanas to be a ultra-feminist one

O objetivo deste trabalho é demonstrar como a teoria semiótica greimasiana pode corroborar a tradução de SCUM Manifesto de Valerie Solanas, publicado em 1968, para o português. Inicialmente é possível indicar, por meio dos níveis fundamental, narrativo e discursivo do percurso gerativo do sentido, uma orientação semiótica sobre a construção do sentido no texto original. A análise semiótica permitiu verificar a revolta do sujeito scum com o sujeito homem, bem como a presença de um ethos colérico no texto, possibilitando, desse modo, uma tradução, carregada na acidez, para a língua portuguesa. Posteriormente a constatação da revolta e da cólera presentes em SCUM Manifesto, foi feita uma breve comparação deste com outros textos, também feministas e publicados na década de sessenta, para poder, numa perspectiva da análise do discurso, verificar a localização e papel social do manifesto de Solanas. A análise comparativa de SCUM Manifesto com os demais textos feministas, por meio dos temas e figuras abordados e tom empregado, permitiu confirmar o texto de Solanas como ultrafeminista / The aim of this paper is to show how semiotics by Greimas can contribute for the translation of SCUM Manifesto by Valerie Solanas, published in 1968, to Portuguese language. It is possible to identify, through the analysis of surface and deep structures of generative process, the semiotics orientation to the construction of the sense present in the source text. The semiotic analysis made it possible to verify the revolt of the subject scum against the subject men and permitting the translation to Portuguese language to be aggressive. After confirming the presence of revolt and cholera in SCUM Manifesto, the text was also compared to other feminist texts from the sixties to determine, in a Discourse Analysis perspective, its location and social role among them. The comparison of themes, figures and tones of speech confirmed the text by Solanas to be a ultra-feminist one

Syftet med min uppsats har varit att undersöka hur en romankaraktär kan förstås utifrån två analytiska ramar, intermedialitet och kaosnarration. Undersökningen består utav en inledande registrering av de intermediala elementen, en efterföljande fördjupning och slutligen en kortare, kaosnarratologisk analys där romanen placeras i en passande kontext.

Este projeto analisa quatro filmes da América Latina que têm como ponto comum o fato de estarem centrados em personagens que realizam viagens em seus países de origem (dois filmes) e na América do Sul (outros dois). O objetivo é demarcar nestas obras construídas sob a necessidade do deslocamento, dados constitutivos de identidade e pertencimento a uma dada geografia física e humana. Os que percorrem a América Latina são Diários de Motocicleta, dirigido pelo brasileiro Walter Salles e El viaje la aventura de ser joven, do cineasta argentino Fernando Ezequiel Pino Solanas. Os que centram suas narrativas em território nacional são Central do Brasil, também de Walter Salles, e Facundo, la sombra del tigre, do diretor argentino Nicolás Sarquís. O estudo aborda a relação dessas obras com o contexto cultural e político da América Latina dos anos 60, com destaque pontual a Brasil e Argentina, e discute como se apropriam do gênero road movie. Defende, ainda, que os quatro expõem e traduzem uma das tensões centrais da pós-modernidade, que é a sua convivência com o universo cultural da chamada modernidade sólida. Tal procedimento deriva principalmente da condição de percorrer a estrada e nela afirmar uma identidade configurada por valores quase sempre idealizados e nostálgicos, formando um conjunto de filmes que expressa a persistência das ficções-nacionais e pan-continentais no cinema contemporâneo de Brasil e Argentina. / This project will analyze four Latin American movies that have in common the fact of being centered in characters that travel around their country of origin (two movies) and South America (two other movies). The objective is to demarcate in these movies, which were built under the need of displacement, relevant information regarding the identity and belonging of a given physical and human geography.The two movies that take place in Latin America are Diários de Motocicleta, directed by the Brazilian Walter Salles and El viaje la aventura de ser joven, from the Argentinean filmmaker Fernando Ezequiel Pino Solanas. The other two movies that focus their narratives on national territory are Central do Brasil also from Walter Salles and Facundo, la sombra del tigre from Argentinean director Nicolás Sarquís. The study addresses the relationship of these works with the political and cultural context in Latin America on the 60s, with focus on Brazil and Argentina, and discusses how these movies also appropriate the road movie style. It also defends the idea that these movies expose and reflect one of the central tensions of post-modernity, which is its coexistence with the cultural universe called solid modernity. This procedure comes mainly from the condition of riding the road and on it reaffirming an identity shaped by values that are, almost always, idealized and nostalgic, forming a set of films that express the persistency of national fixation and pan-continental for Brazil and Argentinas contemporary cinema.

Este projeto analisa quatro filmes da América Latina que têm como ponto comum o fato de estarem centrados em personagens que realizam viagens em seus países de origem (dois filmes) e na América do Sul (outros dois). O objetivo é demarcar nestas obras construídas sob a necessidade do deslocamento, dados constitutivos de identidade e pertencimento a uma dada geografia física e humana. Os que percorrem a América Latina são Diários de Motocicleta, dirigido pelo brasileiro Walter Salles e El viaje la aventura de ser joven, do cineasta argentino Fernando Ezequiel Pino Solanas. Os que centram suas narrativas em território nacional são Central do Brasil, também de Walter Salles, e Facundo, la sombra del tigre, do diretor argentino Nicolás Sarquís. O estudo aborda a relação dessas obras com o contexto cultural e político da América Latina dos anos 60, com destaque pontual a Brasil e Argentina, e discute como se apropriam do gênero road movie. Defende, ainda, que os quatro expõem e traduzem uma das tensões centrais da pós-modernidade, que é a sua convivência com o universo cultural da chamada modernidade sólida. Tal procedimento deriva principalmente da condição de percorrer a estrada e nela afirmar uma identidade configurada por valores quase sempre idealizados e nostálgicos, formando um conjunto de filmes que expressa a persistência das ficções-nacionais e pan-continentais no cinema contemporâneo de Brasil e Argentina. / This project will analyze four Latin American movies that have in common the fact of being centered in characters that travel around their country of origin (two movies) and South America (two other movies). The objective is to demarcate in these movies, which were built under the need of displacement, relevant information regarding the identity and belonging of a given physical and human geography.The two movies that take place in Latin America are Diários de Motocicleta, directed by the Brazilian Walter Salles and El viaje la aventura de ser joven, from the Argentinean filmmaker Fernando Ezequiel Pino Solanas. The other two movies that focus their narratives on national territory are Central do Brasil also from Walter Salles and Facundo, la sombra del tigre from Argentinean director Nicolás Sarquís. The study addresses the relationship of these works with the political and cultural context in Latin America on the 60s, with focus on Brazil and Argentina, and discusses how these movies also appropriate the road movie style. It also defends the idea that these movies expose and reflect one of the central tensions of post-modernity, which is its coexistence with the cultural universe called solid modernity. This procedure comes mainly from the condition of riding the road and on it reaffirming an identity shaped by values that are, almost always, idealized and nostalgic, forming a set of films that express the persistency of national fixation and pan-continental for Brazil and Argentinas contemporary cinema.

This essay examines the intersection of Valerie Solanas' radical feminist manifesto, the S.C.U.M. (Society of Cutting Up Men) manifesto, and her attempted assassination of Andy Warhol in 1968, proposing that the latter can be understood as a sophisticated piece of performance art. Solanas' manifesto, penned in 1967, challenged societal norms, advocating for the overthrow of patriarchal structures. Through a lens of performativity theory, which emphasizes the performative nature of language and actions, this essay reinterprets Solanas' actions as deliberate expressions of her feminist beliefs. Tracing Solanas' life, from her early struggles to her involvement in the avant-garde art scene of New York City, highlighting her interactions with Warhol's Factory and her provocative works. Solanas' attempted assassination of Warhol, while initially perceived as a psychotic act, is reframed as a conscious enactment of her manifesto's principles, challenging dominant power dynamics. By reframing the assassination attempt as a form of performance art, this essay sheds new light on Solanas' legacy, emphasizing the transformative potential of art as a tool for social critique and change. / Denna uppsats undersöker skärningspunkten mellan Valerie Solanas radikalfeministiska S.C.U.M. (Society of Cutting Up Men) manifestet, och hennes försök att mörda Andy Warhol 1968. Undersökningen framhåller att det senare kan studeras som ett sofistikerat performanceverk. Solanas manifest utmanade rådande normer och förespråkade avskaffandet av patriarkala strukturer. Genom ett nyttjande av performativitetsteorin, som betonar den performativa naturen av språk och handlingar, omvärderar denna uppsats Solanas handlingar som medvetna uttryck för hennes feministiska övertygelser. Solanas försök att mörda Warhol, som vid sin tid uppfattades som en psykotisk handling, omvärderas i texten som en medveten förkroppsligande av hennes manifestets principer. Att omvärdera mordförsöket som en form av performancekonst, lyser texten ett nytt ljus på Solanas arv och betonar konstens transformerande potential som ett verktyg för social kritik och förändring.

Uppsatsen har tre syften, alla beträffande Sara Stridsbergs översättning av amerikanskan Valerie Solanas radikalfeminstiska SCUM Manifesto från 1968: att göra en övergripande karaktäristik av översättningen, att undersöka och presentera nyckelord i översättningen, samt att beskriva samspelet mellan Stridsbergs förord och översättning. Med textanalysmodeller av Yvonne Lindqvist, Lennart Hellspong och Per Ledin genomförs textanalyser av översättningen i stort, av ett urval av nyckelord och av förordet. Resultaten visar på att Stridsberg gjort en fri översättning med fokus på språk och stil, och att förordet kompletterar översättningen och bjuder in läsaren till olika sätt att läsa manifesttexten på. I diskussionen avhandlas resultatens betydelse i förhållande till tidigare forskning och vad mina resultat betyder utifrån André Lefeveres teorier om att ideologiska och poetologiska faktorer är det viktigaste vid översättsval. Uppsatsens slutsats är att Stridsberg översatt texten i huvudsak som litterär text istället för som politisk kortare skrift eller längre pamflett, och att förordet presenterar Stridsbergs ingång till texten och hjälper läsaren att göra en litterär läsning av manifestet. / This essay has three purposes, all relating to the Swedish translation of Valerie Solanas’s SCUM Manifesto by Sara Stridsberg. These are: to do a characterization of the translation, to investigate and present keywords in the translated text, and to describe the interplay between Stridsberg’s foreword and translation. Models for text analysis by Yvonne Lindqvist, Lennart Hellspong and Per Ledin are applied for investigating both the general translation, a selection of the keywords and the foreword. The results indicate that Stridsberg’s translation is a free one, where the focal points are style and diction, and also that the foreword is a supplement to the translation that invites the reader to different ways in which to read the manifesto. The discussion deals with both the question of what my results mean in relation to previously existing research, and what they mean according to André Lefeveres theories about ideology and poetics being the most important factors when making choices in tranlation. The conclusion of the essay is that Stridsberg translated the text mainly as a literary text as opposed to as a political brochure or pamphlet, and that the foreword presents Stridsberg’s perspectives on the text and helps the reader do a literary reading of the manifesto.

This study aims to examine the norm-breaking body in Sara Stridsbergs literary fantasy Drömfakulteten (2006) or The Faculty of Dreams (English translation, 2019) which explores Valerie Solanas’ life. Solanas is known for the feminist text SCUM Manifesto (1968, Swedish translation, 2003) and for shooting the artist Andy Warhol.  Solanas has a very distinct separation between body and mind that is apparent in the novel. She ignores her body and whishes not to be aware of it. She only ever thinks about her manifesto, which becomes her mind. To explore the norm-breaking body, my essay is based on Mikhail Bakhtin’s theories of the grotesque body. In this work, I also present different theories that have been inspired by the grotesque, for instance; the female grotesque and the gurlesque. While the grotesque focuses more on the body as a biological organism, the female grotesque and gurlesque focus more on how the female body and femininity is perceived in society and how they break the societal norms. The women are making a “spectacle of themselves”, in Mary Russo’s words. I want to apply these theories on the protagonist, Valerie Solanas, and analyze how the grotesque and norm-breaking body is portrayed in the novel. To further the exploration between body and mind I have the decided to analyze the meaning of the manifesto for Solanas, and also the narrator’s role in how her body is described to the reader.

In this thesis I use the radical, pro-violent organization the Weathermen as a framework to examine women and feminisms complex relationships with violence. My thesis attempts to show the many belief systems that second wave feminists possessed concerning the role(s) of women and violence in revolutionary organizations. Hence, by using the Weathermen as a framework, I discuss various feminist essentialist and pacifist critiques of violence. I also include an analysis of feminists who, similar to the Weathermen, embraced political violence. For example, radical feminists Robin Morgan and Jane Alpert criticized the Weathermens violent tactics while other feminists such as Ti-Grace Atkinson and Valerie Solanas advocated that women pick up the gun in order to destroy patriarchal society. In addition, I analyze the stereotypes of the violent female, which have often been supported by feminists and non-feminists alike. Thus, the stereotyped nature of the violent female does not allow for the complexities that accompany the many reasons why women commit politically motivated crimes. Understanding the role women played in the Weathermen is an important task because womens roles and representation in radical, New Left organizations have often been ignored, overlooked and reproduced by revisionist analyses. Though revolutionary groups from the sixties and seventies were important and progressive in many ways, my thesis will examine the phenomenon of silencing womens voices in these organizations and how this silencing inspired women to find voice in their own movements. Furthermore, I am also interested in radical second wave feminists belief systems and histories concerning violence, particularly since they have rarely been delved into by historians or feminist researchers.