Esta é uma tese-testemunho, na qual um ativista de movimento social relata a longa experiência de construção de sua identidade política etnicorracial. Destaque para sua participação no debate público sobre ações afirmativas, veiculado principalmente no jornal Ìrohìn, de que foi editor. Sua trajetória e formação, suas experiências, realizações e tomadas deposição, assim como seus conflitos, são narrados da perspectiva de quem busca ressaltar a dimensão educacional do Movimento Negro. Nesse caminho, além de defender, como parte essencial da cultura brasileira, as estratégias de sobrevivência e de resistência à opressão e ao racismo desenvolvidas pela população negra, ressalta o impulso igualitário das ações do Movimento Negro e sua contribuição para avanços do conjunto da sociedade e da consolidação do processo democrático. / This is a testimonial thesis, in which a social movement activist recounts the long experience of building his ethnic-racial identity. A highlight on his participation in the public debate over affirmative actions, published mostly in the newspaper Ìrohìn, in which he was the editor. His career and shaping, experiences, achievements and statements, as well as his conflicts are narrated from the perspective of someone seeking to emphasize the educational dimension of the Black Movement. In this way, in addition to advocating - as an essential part of Brazilian culture - the strategies of survival and resistance to oppression and racism developed by black people, highlights the egalitarian impulse of the actions of the Black Movement and its contribution to the progress of the whole society and the consolidation of the democratic process.

La présente thèse doctorale étude le cinéma homosexuel subversif en Espagne au cours des années soixante-dix et quatre-vingt, envisageant ainsi une catégorie cinématographique inédite jusqu'à présent dans l'historiographie espagnole spécialisée. Ce cinéma est constitué des films de thématique gay et lesbienne qui transmettent des messages dont l'objectif est de transgresser l'hétéronormativité via différentes façons d'extérioriser l'homosexualité, de présenter des identités sexuelles et de genre alternatives ou d'exposer des discours qui remettent en question les tabous sociaux, culturels et politiques relatifs à la sexualité. Pour toutes ces raisons, afin d'étudier cette nouvelle catégorie cinématographique il a été indispensable aussi d'analyser les contextes politiques et culturels dans desquels s'est déroulée l'histoire de l'homosexualité au cours de ces mêmes décennies. / This Thesis proposes the study of Subversive Homosexual Films in Spain during the decades of the Seventies and Eighties. Thus raising a new conematographic category within specialized Spanish historiography. This type of cinema is composed of gay and lesbian themed films which transmit discourses aimed to transgress heteronormativity using different ways of externalizing homosexuality; presenting alternatives gender and sexual identities or by raising messages that challenge social, cultural and politicians taboos towards sexuality. Therefore, for the study of this new filmic categoryin depth; it is essential to analyze the political and cultural contexts in which the history of homosexuality was developed during these decades.

Among increased calls for "new narratives" of Haiti, this thesis seeks to honor Haitian traditions of intellectualism and resistance, centering on the life and legacy of martyred professor Janil Lwijis in post-earthquake student social movements. Based on oral histories with student activists at the State University of Haiti (UEH), this work explores student protest in Haiti through the voices, often at odds, of those en lutte; it explores how Janil is invoked and remembered, and argues that oral history can contribute to activist research and pose a challenge to dominant narratives. A legacy that is contested, differential claims to Janil's memory are infused with politics and history. This work seeks to understand contested claims to his memory through Marxist political economy, arguing that an interpretation of Haiti’s political economy is crucial to understanding the emergence of critical consciousness and social movements, political demands, and the symbols and meanings that characterize them.

The thesis critically assesses the decision-making process leading up to the acceptance of bill B 118 which approved Danish military action in the American-led multilateral coalition ‘Operation Iraqi Freedom’. The analysis will use coding through a qualitative content analysis to investigate the potential use and abuse of human rights framework by decision-makers, during this process. Theories of just war, activist military politics and the decision-making theory of perception and misperception are used to provide the foundation for the content analysis, as well as positioning the results in the context of the wider political sphere. Though the nature of the investigation does not allow for absolute conclusions, the findings demonstrated how human rights were indeed used as a tool of both persuasion in the hunt for support and as a means to legitimise actions.

Reading the book Perform or Else by Jon Mckenzie along with the social distancing, isolation, and all the ongoing challenging and forced experiences of the 2020-21 Covid-19 pandemic era, on one hand, and my interests in performance art and physicality, on the other hand, made me think how can I create a work that represents an image of the body, the concept of action, and the idea of togetherness which are all essential for performance art, and/or for any performance. All art disciplines combine theory and practice in order to depict the relationship between bodies, art, and education, and as history proves, theory is always intended to be put into practice. The theoretical and practical in this written thesis begins with its title This Is Not a Thesis; continues by furthering the idea of Perform or Else, asking instead Thesis or Else; and goes on to serve its purpose of being a theoretical concern, a narrative, a genre in and of itself, an exercise in authorship, and furthermore, function as a documentation of documentation of my art – performance – practice. The series of written pieces, performances (rejected proposals), and images (documents) compiled here are meant to create a space between authorship and performance art. This Is Not a Thesis demonstrates the rejection and acceptance of the same thing at the same time.

This work focuses on the research of contemporary Czech and Slovak visual art which critically reflects problems in the society. Due to the totalitarian past in former Czechoslovakia, this orientation of art made a specific genesis. It was established as a acknowledged part of art only in the last decade. The aim of my thesis was to analyze when and by which means the Czech and Slovak sphere of visual art became repoliticized. I research and analyze selected works of artists who are critically reacting to the problems of politics and society. I keep the chronological order of the artworks and exhibitions. Afterwards I focus on the two important topics in this field: feminism and queer issues. The engagement of the artworks was forced in the past and this fact has its result in the devaluation of the term. Part of my thesis examines the terms political art and activist art in the international and domestic context and proposes its definitions.

Magister Artium - MA / I read representations of Sojourner Truth in her Spiritual Narrative, The Narrative of Sojourner Truth with a focus on the portrayal of her unconventional character, through a close analysis of language, structure, photographs and narrative voice. Truth’s editor Olive Gilbert’s raises questions about whether the daguerreotype offers a more accurate form of representation than text. I explore the similarities and differences between visual and written portraits in representations of Truth as a unique figure. I question critical readings of Sojourner Truth’s dress in photographs as conservative, reading instead for a combination of conservative and subversive elements. I suggest that her interest in aesthetic forms such as dress and décor is symbolic of her yearning for home, her heritage, her agency, and unique taste. Her many references to her family indicate that she was more than just an empowered figure, but also one who still grieved. I read Truth’s description of domestic space as representing ambivalently, both her sense of loss, and her attempts to acquire agency. I consider how Truth attempts to recreate a sense of family and belonging through fragments of memory. In my reading of how she questions and extends conventional notions of family and community, I explore how she adapts and includes song, and quotations from the Bible in her sermons, by drawing on elements of African folktale and music. Most critics focus on Truth’s strong voice as an activist, there is little attention to the significance of spiritual solitude for her reimagining of community. I suggest that Truth offers alternative ideas of community as fluid rather than as fixed in one place. I explore how her ideas challenge the notion of nation as exclusive. I consider the genre of The Narrative by analyzing Olive Gilbert’s role as editor and writer. I propose that her role in The Narrative is a more complex one than suggested by critics, as it challenges conventional concepts of autobiography creating a conversation between two voices and lives.

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This paper uses Panofsky’s iconographic method to analyze images and texts belonging to two environmental activist organizations: Greenpeace and Extinction Rebellion. The purpose of the analysis is to gain an understanding of how design is used today to engage people in environmental activism. Two theories will be used to conduct the analysis; the first one is the theory of strategic activism which involves differentiating between radical activism and conventional activism. The second theory is Hall’s theory of representation which will be used to gain knowledge of how the organizations represent people in their imagery. The analysis show that Greenpeace show signs of conventional strategy and Extinction Rebellion show signs of radical strategy in their imagery. Lastly, I will discuss if the activist strategy shown in the organizations imagery correlates with their actions.

No description available.