本論文期望藉由探究《陽光下的葡萄乾》一劇，對非裔美人在面對社會困境以及白人意識型態時，如何發展自我認同的議題啟發新的思考。蘿琳．漢司白瑞以寫實的寫作手法，呈現非裔美人在美國一九五○年代種族隔離區的生活。種族隔離政策(segregation laws)中，空間具有特別的指涉意義，因此本文選擇米哈依爾．巴赫汀(Mikhail Bakhtin)的「時空型」(chronotope)理論作為本論文的基本架構。由於劇本和其當代歷史相互輝映，歷史背景的研究可以幫助理解劇中人物動機；反之，由解析劇中情節和人物行為，亦可推測非裔美人的未來發展。 本論文分為四個章節。第一章提供作者生平、劇本、評論、以及理論架構的基本介紹。第二章有兩個主題：呈現作品如何反映歷史，以及從社會背景的角度詮釋角色。其中，弗朗茲．法農(Frantz Fanon)的《黑皮膚，白面具》幫助解釋部分角色的同化行為。第三章顯示非裔美人如何在白人霸權之下建立自我認同：在社會上表達訴求以對抗白人霸權，在文化上接納非洲本能和美洲文化，及在家庭方面堅守傳承下來的家庭尊嚴。史都華．霍爾( Stuart Hall)的離散理論(diaspora)特別用來處理其中同時具有非洲和美洲本質的文化議題。第四章則是本論文的結論，總結作者寫本劇的信念和目的。 / This thesis studies A Raisin in the Sun and expects to bring new inspirations of how African Americans develop their own identities confronting social plights and white ideology. With the realistic writing style, Lorraine Hansberry truthfully depicts and reflects African Americans’ life in the segregated ghetto in the 1950s. As space carries significant meanings in the enforced segregation laws, Mikhail Bakhtin’s chronotope serves as the main theoretical framework of this thesis. The play is interconnected with its contemporary history, so we may interpret the characters by considering their historical background and infer the American blacks’ future path by scrutinizing the plot and actions in the play. This thesis consists of four chapters. Chapter One is an introduction to the author’s life, the play, the critical opinions, and the theoretical framework. In Chapter Two, there are two main issues: first, how this play reflects the historical background, and second, interpretation of characters in relation to their specific social contexts. Frantz Fanon’s Black Skin, White Masks is applied to explain the potential of assimilation of some characters. Chapter Three reveals how African Americans under the white hegemony find their own identities in social, cultural, and family perspectives. The gist is that they must strive for the improvement of their social status, embrace both African and American cultural roots, and stick to their family pride. Stuart Hall’s theory on diaspora is useful to deal with the cultural identity which ambiguously covers both African and American essences. Chapter Four is the conclusion of the thesis that sums up the author’s belief and intention in writing the play.

Submitted by Johnny Rodrigues (johnnyrodrigues@ufcg.edu.br) on 2018-10-10T18:07:42Z No. of bitstreams: 1 LAÍS MEDEIROS CAVALCANTE - DISSERTAÇÃO PPGH 2014..pdf: 8311281 bytes, checksum: c886c9fd1b03a87baa8b0c93c853395c (MD5) / Made available in DSpace on 2018-10-10T18:07:42Z (GMT). No. of bitstreams: 1 LAÍS MEDEIROS CAVALCANTE - DISSERTAÇÃO PPGH 2014..pdf: 8311281 bytes, checksum: c886c9fd1b03a87baa8b0c93c853395c (MD5) Previous issue date: 2014-03 / O texto, objetiva analisar, como as identidades transgêneras foram produzidas, significadas e ressignificadas pela cartunista Laerte Coutinho na primeira década do século XXI, mais especificamente no período entre os anos de 2009 e 2013. Para tanto, a pesquisa foi desenvolvida através das tirinhas que tal cartunista produz e publica em seu site chamado Muriel Total. Se lançará mão, ainda, de entrevistas que a mesma cedeu a programas de televisão, cruzando as falas de suas experiências com as tramas desenvolvidas por seus personagens. Nesse sentido, se pensou analisar como as categorias de gênero, corpo, sexualidades e identificações sofrem mutações ao longo do tempo e em determinados espaços, transformando assim as subjetivações dos sujeitos trabalhados, os transgêneros. Desta maneira, problematizo como Laerte Coutinho subjetiva as transformações identitárias e corporais as quais os sujeitos trans são submetidos e se submetem, assim como, quê condições foram necessárias, além de quê barreiras foram encontradas, para que tais processos acontecessem. Assim, realizou-se um diálogo com o arcabouço teórico da Teoria Queer, com destaque para Judith Butler, para pensar as questões de gênero e a abjeção de tais sujeitos. Ainda se trabalhou com Stuart Hall para a análise do que se refere aos processos de identificação, Guacira Lopes Louro, dentre outros. Me apropriei ainda do entendimento do conceito de fronteira utilizado por Deleuze e o de armário da epistemologia produzida por Eve Kosofsky Sedgwick. / The paper aims to analyze , how transgender identities were produced , expressed and re-signified by cartoonist Laertes Coutinho in the first decade of this century , more specifically in the period between the years 2009 and 2013 . Therefore, the research was developed through such strips cartoonist produces and publishes on its website called Total Muriel . It will attack also interviews that yielded the same television programs , crossing the lines of his experiences with the plots developed by its characters . Accordingly, it was thought to analyze the categories of gender, body , sexuality and IDs mutate over time and in certain areas, thereby transforming subjectifications the subjects worked , transgender . Thus , as Laertes Coutinho problematized the subjective identity and bodily transformations which trans subjects are submitted and submit , as well as what conditions were necessary , and what barriers were found to make these processes happen . Thus , there was a dialogue with the theoretical framework of Queer Theory , especially Judith Butler , to think gender issues and abjection of such subjects . Still worked with Stuart Hall for the analysis of the relation to the processes of identification, Guacira Lopes Blonde , among others . Yet appropriated the understanding of the concept of the frontier used by Deleuze and the epistemology of Eve Kosofsky Sedgwick produced by cabinet.

A critical investigation of the public/private distinction as it has been conceived in Anglo-American political thinking in the second half of the 20th century. A broadly held consensus has developed amongst many theorists that public/private does not refer to any single determinate distinction or relationship but rather to an often ambiguous range of related but analytically distinct conceptual oppositions. The argument of this thesis is that if we approach public/private in the search for analytic or conceptual clarity then this consensus is correct. Against this I propose that a number of the most dominant invocations of the distinction can be understood to express public/private as an irreducibly political dialectic that mediates the relationship between the subjective and objective side of social and political life. By locating these conceptually diverse invocations within a broader and more determinate framework of the historical development and contestation of the boundaries which establish the conditions for subjectivity, as the assertion of political agency, on the one hand, and which demarcate, police and defend these particular boundaries, as part of the objectively given character of social life and institutional organisation, on the other hand, then a more determinate character to public/private can be recognized. I then seek to explore the capacity of this model to capture and explain the peculiar post-war problematisation of public/private amongst a number of new left thinkers in Britain and America.