Submitted by Geandra Rodrigues (geandrar@gmail.com) on 2018-07-26T13:10:15Z No. of bitstreams: 1 beatrizsouzabarral.pdf: 1685550 bytes, checksum: d0fee4eb8f98d4c67c23a24f56568135 (MD5) / Approved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2018-07-26T13:46:22Z (GMT) No. of bitstreams: 1 beatrizsouzabarral.pdf: 1685550 bytes, checksum: d0fee4eb8f98d4c67c23a24f56568135 (MD5) / Approved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2018-07-26T13:46:39Z (GMT) No. of bitstreams: 1 beatrizsouzabarral.pdf: 1685550 bytes, checksum: d0fee4eb8f98d4c67c23a24f56568135 (MD5) / Made available in DSpace on 2018-07-26T13:46:39Z (GMT). No. of bitstreams: 1 beatrizsouzabarral.pdf: 1685550 bytes, checksum: d0fee4eb8f98d4c67c23a24f56568135 (MD5) Previous issue date: 2018-05-02 / Um desafio para as escolas de zonas rurais é a distribuição de alunos em salas multisseriadas. Multisséries é o nome dado às turmas que em sua constituição possuem crianças de idades diferentes e em níveis de aprendizagem diferentes sobre a responsabilidade de um professor (a). Em uma mesma sala de aula têm-se crianças de anos de escolarização diferentes. Exemplo: 1º e 2º ano juntos em um mesmo espaço. Esta organização é motivo de questionamentos negativos de famílias, professores e gestores, até mesmo por remeterem à época das professoras leigas que tinham a função de oferecer a primeira escolarização para os filhos dos coronéis. A multissérie é vista de forma negativa, mas será realmente um problema? Há muitas pesquisas e dados estatísticos que confirmam as limitações do sistema seriado adotado como padrão hegemônico para atender aos interesses do capital. No entanto, a multissérie está invisibilizada apesar de existir desde o início da escolarização no Brasil. Por isso, esta pesquisa objetiva registrar, analisar e divulgar os resultados positivos de trabalhos das multisséries baseados nas práticas pedagógicas das professoras da E.M. Francisco Augusto de Oliveira, defendendo-as como território de resistência das comunidades rurais e demonstrando como há outras possíveis formas de organização que atendam as diferentes demandas do processo de ensino e aprendizagem, transgredindo o paradigma seriado urbano. Essa escola foi denominada desde dois mil e quinze como “do campo” pelos seus gestores, localiza-se na comunidade de São Domingos da Bocaina, Lima Duarte, Minas Gerais, não sendo esta proposta pedagógica uma reivindicação da comunidade. A metodologia da pesquisa é qualitativa, realizada com ênfase no trabalho das professoras das multisséries, dispostas a realizá-la de forma colaborativa e avaliar conjuntamente os resultados junto à pesquisadora que utilizou os instrumentos de rodas de conversa, entrevistas semi-estruturadas, conversas informais e observação participante no estágio de pedagogia realizado conjuntamente com a pesquisa. Ibiapina, Hage, Caldart, Arroyo, Freire, os cadernos da SECAD, as diretrizes e legislações que envolvem a Educação do Campo contribuíram nas análises das realidades coletadas.Percebemos, com o campo dessa pesquisa, que uma reflexão sobre as práticas docentes e o que elas significam para os sujeitos em formação que somos, produzem diferenças nos objetivos que se pretende alcançar e numa postura de maior responsabilidade social na vida dos nossos alunos. / One challenge for schools in rural areas is the distribution of students in multi-grade classrooms. Multiseries is the name given to classes that in their constitution have children of different ages and different levels of learning about the responsibility of a teacher. In the same classroom there are children from different years of schooling. Example: 1st and 2nd year together in the same space. This organization is the subject of negative questions of families, teachers and managers, even to refer to the time of the lay teachers who had the function of offering the first schooling for the children of the colonels. The multiseriesis viewed negatively, but is it really a problem? There is much research and statistical data that confirm the failure of the serial system adopted as the hegemonic standard to meet the interests of capital. However, the multiseriesis invisibilized despite having existed since the beginning of schooling in Brazil. Therefore, this research aims to register, analyze and disseminate the positive aspects of the multiseries based on the pedagogical practices of the teachers of EM Francisco Augusto de Oliveira, defending them as resistance territory of rural communities and demonstrating how there are other possible forms of organization that meet The different demands of the teaching and learning process. This school was denominated from two thousand and fifteen like "of the field" by its managers, it is located in the community of San Domingos of the Bocaina, Lima Duarte, Minas Gerais, not being this pedagogical proposal a claim of the community. The methodology of the research is qualitative, carried out with the teachers of the multiseries, managers, researcher and the research group TRAME. All willing to carry it out in a collaborative way and jointly evaluate the results together with the teachers of the multiseries. With talk wheel, semistructured interviews, informal conversations and participant observation. Ibiapina, Hage, Caldart, Arroyo, Freire, Fernandes, the SECAD notebooks, the guidelines and legislation that involve Field Education will contribute to the analysis of the realities collected.We realized with the scope of this research that a reflection on the teaching practices and what they mean for the subjects in formation that we are, produce differences in the objectives that are intended to achieve and in a posture of greater social responsibility in the lives of our students.

Le réalisateur espagnol Eloy de la Iglesia (1944-2006) est l’auteur de vingt-deux longs métrages réalisés entre 1966 et 2003. Sa vaste filmographie recouvre une période décisive de l’histoire de l’Espagne contemporaine, avec laquelle elle établit un dialogue constant. Plébiscité par le public, Eloy de la Iglesia s’attira les foudres de la censure qui surveilla de près sa production et l’inimitié d’une grande partie de la critique, y compris progressiste, qui lui reprocha immanquablement son opportunisme, sa démagogie, son penchant immodéré pour la provocation et son mauvais goût flagrant. Notre étude porte sur l’intégralité de la filmographie du réalisateur et met en lumière son extrême cohérence interne autour de deux axes majeurs : la marginalité et la transgression. Cinéaste situé à la périphérie des principaux courants et des tendances esthétiques majoritaires, Eloy de la Iglesia a pu mener à bien une œuvre personnelle et prolifique, à la croisée du cinéma d’auteur et du cinéma populaire, dans laquelle nous voulons voir le projet original d’analyser la société espagnole à partir de ses marges et sous l’angle de la transgression des normes et des valeurs dominantes. Son cinéma antiélitiste et résolument installé dans la culture de masse fait mine d’accepter les règles et le langage du cinéma commercial pour mieux les subvertir de l’intérieur. Il y introduit des sujets tabous et polémiques et développe un discours critique radical sur la réalité contemporaine espagnole. / Spanish director Eloy de la Iglesia (1944-2006) is the author of twenty-two feature films made between 1966 and 2003. His vast filmography covers a crucial period in the history of contemporary Spain, with which it is in constant dialogue. Acclaimed by audiences, Eloy de la Iglesia incurred the wrath of the Film Censorship Board (which kept a close watch on his work) and the hostility of many critics, including the most progressive ones, who inevitably rebuked him for opportunism, demagogy, excessive penchant for provocation and blatant bad taste. Our study focuses on his entire filmography and highlights its extreme internal coherence around two main axes: marginality and transgression. Always on the margins of major cinematic movements and aesthetic tendencies, Eloy de la Iglesia managed to develop a personal and prolific work at the crossroads of art-house and popular cinema; an original project to analyse Spanish society from its fringes and through transgression of dominant norms and values. His anti-elitist cinema, deeply rooted in mass culture, pretends to accept the rules and language of commercial cinema to better subvert them from within, by introducing taboo and controversial topics and developing a radical critical discourse on contemporary Spanish reality.

Thesis Abstract The thesis examines manifestations of transgression in Robert Coover's The Public Burning (1977), Hunter S. Thompson's Fear and Loathing in Las Vegas: A Savage Journey to the Heart of the American Dream (1971), William S. Burroughs' Naked Lunch (1959) and The Nova Trilogy (1961-1967), and Kathy Acker's Empire of the Senseless (1988) on a structural and thematic level. Georges Bataille's theory of escalated excess and Michel Foucault's theory of the transgression-limit power dynamics, outlined in Chapter One, provide the theoretical framework through which the texts are analyzed, as through concepts of the spectacle, the carnival, taboo, and the Situationist détournement practice. The nature of the American Dream Machine is explored in regards to its chief components of control; the American war on abstractions, American exceptionalism, and the American Dream, examined through their contradictory connotations and historical relevance. The thesis proposes that despite their anti- systemic drive, the selected texts are complicit with and dependent on the American Dream Machine in perpetuating their power play. In Chapter Two, the hyperbolization of American Cold War propaganda rhetoric is analyzed in Coover's The Public Burning. Chapter Three details Thompson's gonzo writing against the...

The present thesis investigates the commercial sex hygiene films produced between the years 1914 and 1919 in the United States, during the last years of the Progressive Era. Rejected and prohibited as soon as five years after their apparition, the sex hygiene films’ position within the industry, as well as the cinematic techniques they incorporated, will be analysed through the concept of the Low Other. The first part of the thesis aims to delineate the used concepts, as well as integrate the sex hygiene film into a wider cultural, social, and political framework. The second part explores the films’ aesthetic construction, then focuses on a textual analysis of the narrative and non-narrative methods implied by three particular sex hygiene films. Finally, the thesis concludes that the films used a series of cinematic methods to create a Low Other on-screen, yet these very methods ultimately played a part within their suppression as a Low Other body of culture.

L’objet de cette thèse de doctorat est un homme d’État (diplomate, politique et stratège) de la guerre du Péloponnèse qui a marqué la production littéraire de son siècle, avant de devenir une figure historique présente dans la littérature grecque et latine jusqu’à la fin de l’Antiquité tardive. Son dessein n’est pas de composer une nouvelle biographie d’Alcibiade, mais de proposer une étude renouvelée du personnage en prenant en considération les spécificités du corpus littéraire (genres, aspects fragmentaires, éloignement chronologique, idéologies etc.) et en intégrant les sources archéologiques et épigraphiques, trop peu mobilisées dans les précédentes études biographiques.Le titre de la thèse, Alcibiade entre hybris et tolma (entre démesure et audace) chez Thucydide, décrit par les termes grecs eux-mêmes l’ambivalence du portrait d’Alcibiade dans le corpus des sources littéraires. Il est l’homme des excès, de la démesure, des violences, de l’audace et des grands projets. Son sous-titre, Approche critique des sources, indique la nécessité d’un réexamen détaillé d’un vaste corpus de textes antiques. Nous démontrons cette nécessité dans notre introduction, tout en établissant les problèmes inhérents au texte de Thucydide. / The subject of this PhD is actually a stateman (a diplomat, a politician, a strategist) of the Peloponnesian war who influenced the literary production of his century even before he became a historical figure in Greek and Latin literature, up until late Antiquity. The purpose of this dissertation is not to write a new biography of Alcibiades but to carry out a renewed study of the character by taking into account the specificities of the literary body of works (genres, fragmentary aspects, distance in time, ideologies, etc.) and integrating archaeological and epigraphic sources which have been sidelined too often in previous biographies.The dissertation’s title itself, Alcibiades, between hybris and tolma (between immoderation and boldness) in Thucydides’ work describes even in Greek the ambivalence of Alcibiades’ portrait in literary sources. He is a man of excess, of transgression, of violence, of boldness and great perspectives. The subtitle, A critical approach of sources, indicates that it is necessary to reexamine in a detailed way a vast and detailed body of works. The introduction shows that this reexamination is necessary, though it also shows how difficult it is to study Thucydides’ text.

The enemies are at the gates. Being dazzled by their golden jewels - or perhaps fascinated by their handsome leader - a girl makes a pact with them and betrays her city and her own kin. However, instead of the promised reward, she is killed by her beneficiary. In a particular variant of this story, the girl's name is Tarpeia and the city is Rome, the agreed reward are golden bracelets of the hostile Sabines and the murder weapons are their shields being worn - surprise! - on their left arms together with the jewels. The rendering of this scene in the Roman visual arts is of the primary interest of this thesis. As a particular event linked tightly to the legendary history of Rome, the Punishment of Tarpeia is generally believed to lack any closer iconographic parallels in the Etruscan and Greek arts; sometimes it is even supposed that the traitress is portrayed as a kind of heroic figure, not a negative one. Having analysed the surviving scenes of the Punishment of Tarpeia, I put that opinion into question suggesting they were artificially designed and composed in full accordance with the traditional imagery of the trespassers in the Greek and Etruscan visual arts. To support my assumption, I turn to scrutinize the compositions as well as minor details of contentually related scenes in the Greek and...

Cette recherche porte sur la redéfinition de l'exploitation du travail reproductif féminin par les mères célibataires et les épouses sans enfant au Maroc, à travers une pratique qualifiée d'adoption sauvage. En effet, au Maroc, l'adoption est appréhendée sous la forme de la kafala, un acte juridique par lequel l'éducation et les besoins d'un enfant sont pris en charge par un tuteur qui, cependant, ne lui transmet ni son nom ni son héritage, respectant le mode de parenté tel qu'établi par l'islam sunnite.En particulier, est étudié le rôle des inégalités vécues par les mères célibataires et les épouses sans enfant, lors de la transgression de la kafala à travers l’échange secret d'un enfant encore non né. Ce dernier bafoue les codes religieux, légaux et sociaux. Cette étude met en lumière et situe le phénomène dans un cadre de transformations sociales et de libéralisation des marchés au Maroc.La recherche s'inscrit ainsi dans la sociologie du développement à travers l'étude d'une nouvelle conséquence de la pauvreté impliquant l'exploitation de certaines femmes et de leur corps par d'autres femmes. / Doctorat en Sciences politiques et sociales / info:eu-repo/semantics/nonPublished

This thesis brings to light the women of the Kalbeliya community, a caste of snake charmers from Rajasthan. Since this practice has been deemed illegal in India since 1972, Kalbeliyas have found an alternative by replacing snakes with dancing women. Increasingly popular in Rajasthan, this practice called Kalbeliya dance or cobra dance, involves the presence of women dressed as cobras on stage, performing gestures directly inspired from the dangerous reptile. On stage, they are generally accompanied by professional musicians from various Muslim communities of the region. Since the creation of this dance, fewer and fewer men participate to their family’s economy. In fact, it is their dancing wives who become the sole provider of the household. This situation is at the very least unusual considering that Kalbeliya women – as are most women from the region of Rajasthan – practice purdah, a strict form of segregation of living spaces. This segregation is characterized by the dividing of the spaces allocated to women. It is usually expressed by an interdiction prohibiting women from leaving their home alone and without a veil as well as being prohibited from holding any form of remunerated employment. Consequently, the access to the public sphere is generally the jurisdiction of men, thus limiting the emergence of women in the cultural and economical spheres of the community. The objective of this thesis is therefore to demonstrate how the cobra dance participates in transforming the gender dynamics of the Kalbeliyas. Starting from the assumption that the purdah somehow forms the cornerstone of feminine ideals in the region of Rajasthan, this thesis will demonstrate that the dance infringes on several codes of conduct on many levels, as well as on the expectations of men and women and so, it contributes to transforming the gender dynamics within the community. A sub-objective of this thesis will be the discussion of concrete gains that women may obtain through dance. These gains can be observed especially in the capabilities, agencies and the living standards of these dancing women. This thesis is based on two field trips in India: a preliminary field trip (2013/2014) and another that occurred in 2017/2018, adding up to more than one year of research in Rajasthan. Established on participatory action research and collaborative anthropology, the methods recommended to obtain data are mainly participant observation as well as the gathering of semi-structured interviews, life stories and lifelines. Through an intersectional analysis of gender roles, this research will show that these cobra women embody a liminal role in which they must both infringe and respect the gender norms in effect in the region. Hence, the cobra dance allows the infringement of many codes of conduct associated with women in northern India. This thesis will demonstrate that these infringements are involved in normalizing certain changes in the gender dynamics. Following the completion of this study, it will be possible to see the advantages and inconveniences of the dancing in the daily lives of the women who practice cobra dancing. If in certain cases the dance can create more vulnerability to the dancers, we will see that it also offers considerable and multiple opportunities of agency. However, it will be shown that these gains are not without risks and that they remain fragile; they may be easily revoked, perhaps disappear due to different factors that will be clarified in this study. This thesis will thus bring to light the strategies of negotiation that these women use through their role as dancers to carry out their personal projects, their family duties and even, improve their living standards. / Cette thèse porte sur les femmes de la communauté Kalbeliya, une caste de charmeurs de cobras du Rajasthan. Cette pratique étant désormais illégale en Inde depuis 1972, les Kalbeliya ont contourné cette réalité juridique en remplaçant le serpent par une femme danseuse. De plus en plus populaire au Rajasthan, cette pratique nommée danse Kalbeliya ou danse cobra implique la présence de femmes sur scène parées en cobra et exécutant une gestuelle directement inspirée du dangereux reptile. Lors des concerts, elles sont désormais généralement accompagnées de musiciens professionnels issus de différentes communautés musulmanes de la région. Depuis l’avènement de la danse, de moins en moins d’hommes participent à l’économie de leur famille. En effet, ce sont plutôt leurs femmes danseuses qui deviennent les uniques pourvoyeuses du foyer. Cette situation est pour le moins inusitée considérant que les femmes Kalbeliya — comme la majorité des femmes de la région du Rajasthan — pratiquent la purdah, une forme stricte de ségrégation des espaces de vie. Cette ségrégation est caractérisée par une division des espaces accordés aux femmes et s’exprime habituellement par une interdiction de sortir de la maison seule et non voilée ainsi que par l’impossibilité d’avoir un emploi rémunéré. De ce fait, l’accès à la sphère publique est généralement l’apanage des hommes, limitant ainsi l’émergence des femmes dans les sphères culturelles et économiques de la communauté. Cette thèse aura donc pour objectif de démontrer comment la danse cobra participe à transformer les dynamiques de genre chez les Kalbeliya. En prenant comme prémisse que la purdah constitue en quelque sorte le socle de la construction des idéaux de la féminité dans la région du Rajasthan, cette thèse démontrera que la danse transgresse à plusieurs égards de nombreux codes de conduites et d’attentes associés aux hommes et aux femmes et donc, qu’elle contribue à transformer les dynamiques de genre à l’intérieur de la communauté. Cette thèse aura aussi comme sous-objectif de discuter des gains concrets que les femmes peuvent obtenir à travers la danse. Ces gains peuvent s’observer plus particulièrement chez ces femmes danseuses à travers leurs capabilités, agentivités ainsi que dans leurs conditions de vie. Cette thèse est basée sur deux terrains en Inde : un préliminaire (2013/14) et un autre qui a eu lieu en 2017/18, totalisant en tout plus d’un an de recherche au Rajasthan. Ancrées dans la recherche-action participative et l’anthropologie collaborative, les méthodes préconisées à l’obtention des données sont principalement l’observation participante ainsi que la collecte d’entretiens semi-dirigés, de récits et de lignes de vie. À travers une analyse intersectionnelle des rôles de genre, cette recherche démontrera que ces femmes cobra habitent un rôle liminaire dans lequel elles doivent à la fois transgresser et respecter les normes de genre en vigueur dans la région. De ce fait, la danse cobra permet la transgression de nombreux codes de conduite associés aux femmes en Inde du Nord. Cette thèse démontrera que ces transgressions participent à normaliser certains changements dans les dynamiques de genre. Au terme de cette étude, il sera possible de voir les avantages et les inconvénients de la danse dans le quotidien de ces femmes qui pratiquent la danse cobra. Si dans certains cas, elle vulnérabilise davantage les danseuses, on verra qu’elle offre aussi de considérables et de multiples possibilités d’agentivité. Toutefois, il sera démonté que ces gains ne se font pas sans risques et qu’ils demeurent fragiles ; ils peuvent leur être facilement révoqués, voire disparaître en raison de différents facteurs qui seront explicités dans cette étude. Cette thèse mettra donc en évidence les stratégies de négociation que ces femmes utilisent à travers le rôle de danseuse pour réaliser leurs projets personnels, leurs devoirs familiaux et même, améliorer leurs conditions de vie.

The rise of social media has emerged the social phenomena called cancel culture, where individuals hold influencers and endorsed brands accountable for perceived immoral actions. Cancel culture originates from a desire for social justice, where the consequences of those cancelled could be temporary and long-lasting reputational damage. The behavior to cancel is individually complex and has many different drivers influencing the performance of behavior.  Despite its significant impact, cancel culture within research is just in its early stage and has received limited research from a qualitative perspective. Previous studies have researched cancel culture through the perspective of consumer power, celebrity transgressions, psychological drivers, and social identity. Moreover, previous research has studied the intended behavior to cancel, not the actual performance to cancel. There still remains a research gap in understanding the personal and social drivers that influence the process to cancel an influencer and endorsed brand. By this, it led us to our research question: “What are the personal and social drivers that could influence the behavior to engage in cancel culture?”. With an aim to provide a deeper understanding of the complex phenomena of cancel culture between consumers, influencers and the endorsed brands. By examining drivers such as norms, beliefs, values and traits our study seeks to shed light on the drivers and how they influence the behavior of cancel culture.  The findings revealed an interesting insight from the consumer perspective. An actual cancellation has a higher chance of occurring if the influencer's action is perceived to cross an moral barrier of a follower. However, our study found that subjectivity increases complexity of the behavior as every individual has their own moral barrier. For example, if the action is perceived to clash with the followers’ personal beliefs and values, cancellation might occur, however another individual might not perceive the action to cross their moral barrier. Moreover, our study found that the desire of social belongingness and social acceptance has a significant role when making a decision to cancel. From our study we have revealed that cancel culture is both an individual and social phenomenon, where the influence of one's own personal drivers is just as influential as the social influence. More specifically, followers' idea of their self- concept is just as influential as the pressure from their social environment. In conclusion, personal and social drivers influence the decision to cancel an influencer and endorsed brands. However, as subjectivity matters, these personal and social drivers influence the process differently for each individual. From a managerial perspective, our findings could contribute to influencer marketing strategies trying to improve their selection process or response strategy if an cancellation would occur.

No one is perfect, and that includes the brands that we use. Therefore, there will inevitably come a time in a brand’s existence where a transgression occurs that will harm their relationships with its customers. The decision to forgive a brand after a transgression is a complex and individual process that evolves over time. With the rise of social media, the ease with which negative word-of-mouth can be spread is an increasing challenge for brands to manage. However, social media usage tends to differ between people from different generational belongings, or cohorts. As a testament to the fact that you are shaped by the time you grow up in, this paper analyzes how brand forgiveness differs between consumers from the generational cohorts of Generation X and Generation Z. Furthermore, it was investigated whether brand image is a decisive factor that affects the consumer’s willingness to forgive. This study suggests that a certain brand image implies increased expectations toward the brand, which affects the forgiveness process. The willingness to forgive does, however, differ depending on the generational cohort. In contrast to consumers from Generation Z, Generation X are more inclined to forgive a brand after a transgression.