O presente trabalho busca analisar e discutir a produção do espaço a partir das fases do processo de reestruturação, suas rupturas e continuidades, tendo como situação concreta a realidade urbana de São Gonçalo (RJ). Admite-se que as transformações produzidas pelas dinâmicas dos processos espaciais provocam descontinuidades a partir das quais pode-se definir as fases de ruptura e conectar os elementos dissolvidos em cada um desses momentos buscando a identificação das continuidades, tomando-as como fundamento para uma perspectiva histórica da produção do espaço. Propomos uma periodização analítica da realidade urbana de São Gonçalo, construída a partir da identificação das rupturas e da caracterização das continuidades, reveladas pelo movimento de reestruturação do espaço. Nesse sentido, tal síntese desenvolveu-se segundo as seguintes problematizações: (a) quais as rupturas caracterizam cada fase do processo de reestruturação do espaço em São Gonçalo e (b) qual a relação dessas com a realidade metropolitana fluminense? Considerando, uma perspectiva histórica na análise da produção do espaço, (c) quais as continuidades encobertas em cada momento de ruptura? Em São Gonçalo, a dinâmica de produção do espaço, pôde ser compreendida segundo dois momentos determinantes, o urbano-industrial e o metropolitano-financeiro, e considerada em três fases de reestruturação: a urbanização que precede a industrialização e é capturada por ela; a urbanização espoliadora; e a urbanização especulativa (ou financeira) que impõe à problemática urbana análises e interpretações para além do dualismo centro-periferia no contexto da atual conformação da metrópole e de sua região. / The present work intends to analyze and discuss the production of space resulting from a restructuring process and its phases, as well as its ruptures and continuities, taking as specific situation the urban reality of São Gonçalo (RJ). It is assumed that the transformations produced by the dynamics of the spatial processes lead to discontinuities from which one can define the phases of rupture and connect the dissolved elements in each of these moments aiming the identification of the continuities, taking them as a foundation for a historical perspective of the space production. We propose an analytical periodization of the urban reality of São Gonçalo, built from the identification of the ruptures and the characterization of the continuities, revealed by the space restructuring movement. In this sense, such a synthesis has developed according to the following problematizations: (a) what ruptures characterize each phase of the space restructuring process in São Gonçalo and (b) what is its relation with the Fluminense metropolitan reality? And, considering, a historical perspective in the analysis of space production, (c) what are the hidden continuities in each moment of rupture? In São Gonçalo, the dynamics of space production could be understood in two defining moments, the urban-industrial and the metropolitan-financial, and considered in three phases of restructuring: the urbanization that precedes industrialization and is captured by it; the spoiler urbanization; and the speculative (or financial) urbanization that imposes on the urban problematic analyzes and interpretations beyond the center-periphery dualism in the context of the current conformation of the metropolis and its region.

Cette recherche est consacrée à l’instruction en Afrique de l’Est allemande (Deutsch-Ostafrika : DOA), devenue au lendemain de la Grande Guerre un mandat britannique, le Tanganyika Territory, au sein de la British East Africa (BEA). Ce changement aurait pu entraîner des ruptures dans la politique scolaire, en particulier à l’endroit des Africains qui constituaient la majorité de la population aux côtés des Arabo-Swahili, des Indiens et d’une minorité d’Européens. Or, une logique de laisser-faire a prévalu durant la domination britannique qui s’est exercée dans le cadre d’un indirect rule, avec des moyens insuffisants accordés à l’enseignement. La formation d’auxiliaires, d’une main-d’œuvre qualifiée et d’agents intermédiaires pour les besoins de la colonisation reste primordiale dans les objectifs de la scolarisation, comme au temps de la DOA. Et en situation coloniale, les Arabo-Swahili et les Indiens continuent de jouer un rôle déterminant. Mosaïque de sociétés et de langues, la question linguistique s’avère fondamentale dans les enjeux scolaires sur ce territoire. À ce propos, des débats et des tensions virent le jour entre les différents acteurs éducatifs. Néanmoins, le kiswahili demeura pendant toute la période coloniale et au-delà.Malgré les discours et les enquêtes en vue d’une amélioration et d’une adaptation de l’enseignement, l’instruction du plus grand nombre ne figure pas au programme des écoles gouvernementales, davantage attachées à la formation d’une élite, que ce soit dans la DOA ou au Tanganyika Territory. La prise en charge de ce volet de l’enseignement reste dévolue aux établissements confessionnels tenus par les missionnaires, dont certains étaient présents depuis les dernières décennies du XIXème siècle. Mais les missionnaires poursuivent comme objectif essentiel l’évangélisation. La Seconde Guerre mondiale marque cependant une rupture dans la politique scolaire. Les associations et partis nationalistes, principalement la Tanganyika African National Union (TANU), s’approprient la question de l’instruction, surtout celle des Africains, pour préparer l’accession à l’indépendance. Ce pays si divers trouvera son unité grâce au chemin parcouru, souvent sinueux, pour adopter une langue commune africaine, le kiswahili, généralisé à l’époque coloniale allemande et à un homme, Julius Nyerere, qui va faire de l’instruction une priorité nationale. / This research is devoted to education in German East Africa (Deutsch-Ostafrika : DOA), which became Tanganyika Territory as a part of the British East Africa (BEA) in the aftermath of the Great War. This transition could have resulted in a discontinuity of school policy, particularly with regard to Africans who formed the majority of the population alongside Arabo-Swahili, Indians and a minority of Europeans. Instead, a strategy of laissez-faire prevailed during the British rule, which was a style of Indirect Rule that allotted insufficient means to education. The educational priorities, like at the time of DOA, were rather to train auxiliaries, create a skilled workforce and reinforce the intermediaries for the purpose of colonization. But even in this colonial context, Arabo-Swahili and Indians continued to play a decisive role. As a mosaic of societies and languages, the question of language proved pivotal in the educational discussions of the territory. Debates and tensions thus emerged between various educational actors; and yet, the Kiswahili persisted throughout the entire colonial period and beyond.Despite speeches and investigations meant to improve and adapt the educational system, education for the majority was not part of the program of government schools. These schools were far more concerned with training an elite during the German and British colonial periods. Education for the minorities was provided by religious schools run by the missionaries, some of them having existed since the last decades of the 19th century. Missionaries pursued evangelism as their main objective. However, World War II marked a rupture in school policy. Nationalist associations and parties, mainly the Tanganyika African National Union (TANU), appropriated the issues of education, especially African education, to prepare for independence. This diverse country finally achieved unity thanks to two factors: one, the efforts to adopt a common African language, Kiswahili, which was generalized during the German colonial era, and two, a man named Julius Nyerere, who made education a national priority. / Die vorliegende Arbeit befasst sich mit der Schulausbildung in Deutsch-Ostafrika (DOA). Nach dem Ersten Weltkrieg wurde das Tanganyika Territory, unter britisches Mandat gestellt, als Teil des Verbundes des British East Africa (BEA). Diese Zäsur brachte Umbrüche in der Schulpolitik mit sich, insbesondere für die afrikanische Bevölkerung, welche die Mehrheit der Bevölkerung stellten, vor arabischen Swahili, Indern und der europäischen Minderheit. Dennoch war die Zeit der britischen Vorherrschaft, im Rahmen der indirect rule, von einer Logik des Laisser-faire geprägt, und für die Ausbildung standen nur unzureichende Mittel zur Verfügung. Auch in dieser Zeit, wie auch schon während der deutschen Kolonialisation, blieb die Ausbildung von Hilfspersonal, qualifizierten Arbeitskräften und mittleren Verwaltungs-beamten das vornehmliche Ziel der Schulbildung. Unter den britischen Kolonialherren spielten weiterhin die arabischen Swahili und Inder eine wichtige Rolle. In diesem Puzzle aus verschiedenen Gesellschaften und Sprachen auf diesem Territorium war hinsichtlich schulischer Belangen die Frage nach dem Erlernen der Sprachen von fundamentaler Bedeutung. Diesbezüglich kam es zu Auseinandersetzungen und Spannungen zwischen den verschiedenen Akteuren der schulischen Bildung. Trotzem blieb das Kiswahili während der gesamten Kolonialzeit und auch über diese Zeit hinaus die vorherrschende Sprache.Trotz vieler Reden und Studien im Hinblick auf die Verbesserung und Anpassung des Unterrichts, das Unterrichten der Hauptzahl der Bevölkerung war nicht Ziel von der Regierung eingerichteten Schulen, die vornehmlich der Ausbildung der Elite dienten, sowohl unter der deutschen Kolonialherrschaft, als unter britischem Mandat. Das Unterrichten der anderen Bevölkerungskreise wurde konfessionnell getragenen Schulen überlassen, die von Missionaren geleitet wurden, die teilweise seit dem ausgehenden 19. Jahrhundert auf dem Territorium anwesend gewesen sind. Deren Hauptziel war jedoch die Mission. Der Zweite Weltkrieg bringt dennoch eine Zäsur in der Schulpolitik mit sich. Vereinigungen und nationalistische Parteien, insbesondere die Tanganyika African National Union (TANU), machen sich die Frage der Schulbildung, insbesondere die der afrikanischen Bevölkerung, zu eigen, mit dem Ziel des Erlangens der Unabhängigkeit. Dieses sehr vielseitige Land wird seine Einheit in dem gemeinsam beschrittenen, verschlugenen Weg finden in der Wahl einer gemeinsamen afrikanischen Sprache, dem Kiswahili, das während der deutschen Kolonialzeit durchgesetzt wurde, und durch Julius Nyerere, der die Schulbildung zu einer Frage von nationaler Wichtigkeit machte.

This article presents the results of an analysis of ceramics from the site of Huaca Pucllana carried out by Isabel Flores, director of the Huaca Pucllana Archaeological Project. This research is approached from the perspective of chronologicaldiferentiation, arriving at the continuities and changes that occurred in ceramics at the site during its construction and occupation by the Lima society from 530-650 AD. Five pottery types were identified that relate to three constructive phases and a final occupational phase. This paper describes the technological, formal, and decorative aspects of said pottery. / El presente artículo expone los resultados del análisis de la cerámica procedente del sitio Huaca Pucllana, correspondiente a las excavaciones arqueológicas dirigidas por la doctora Isabel Flores. Este análisis se ha abordado desde una perspectiva de diferenciación cronológica, resaltando las continuidades y los cambios ocurridos durante el lapso de construcción y ocupación del asentamiento, por la sociedad Lima, lo cual que abarca el periodo entre los años 530 d.C. y 650 d.C. Estacaracterización se realiza a partir de la diferenciación de cinco alfares, que están relacionados a tres etapas constructivas, y una fase final de ocupación del asentamiento. Se trata de resaltar el aspecto tecnológico, formal y decorativo de dicha cerámica.

Cette thèse fournit une description et une analyse détaillée du déroulement à l’heure actuelle des funérailles chez les Éton du Sud-Cameroun en privilégiant leur dimension sonore. Elle cherche en même temps à identifier la place qu’occupent les changements apportés par la colonisation et l’évangélisation, ainsi que les changements, plus récents, impulsés par l’ouverture de morgues, le développement des mass médias et la mobilité des populations. Fondé sur des matériaux recueillis de 2009 à 2013, ce travail s’attache donc à comprendre comment des expressions traditionnelles – polyrythmies, langage tambouriné et chants – cohabitent avec des pratiques importées – chants chrétiens, musiques de variété – au sein de cérémonies structurées par un dispositif spatio-temporel particulier, une répartition spécifique des rôles entre les participants et la récurrence d’un certain type d’interaction sonore (par exemple celle d’annonce/réponse). La diversité et l’abondance des sonorités étant indicatives de la puissance et du prestige du lignage du défunt, la plupart des familles cherchent à organiser de « grands deuils » où la présence sonore du mort et des deuilleurs est clairement mise en évidence. / This thesis provides a detailed description and analysis of the successive stages of present-day funeral ceremonies among the Eton of Southern Cameroon, emphasizing their sonic aspects. At the same time, it seeks to identify the role of changes introduced by colonization and evangelization, as well as more recent innovations linked to the opening of mortuary services, the development of mass-media communication and increased population mobility. Based on materials collected from 2009 to 2013, this work focuses on understanding how traditional expressions – polyrhythm, drum language and songs – coexist with imported practices – Christian songs, contemporary musical styles – in ceremonies structured by a distinctive spatio-temporal pattern, a specific distribution of roles among participants, and the recurrence of certain forms of sound-making (for example that of announcements/responses). The variety and number of sounds are indicators of the power and prestige of the lineage of the deceased; most families seek to organize “big ceremonies” where the sonic presence of the deceased and of the bereaved parents is clearly highlighted.

Submitted by JOSIANE SANTOS DE OLIVEIRA (josianeso) on 2018-08-02T14:01:04Z No. of bitstreams: 1 Fernanda Elisa Locatelli_.pdf: 5279852 bytes, checksum: 2a502efde018337a8405afef9753e176 (MD5) / Made available in DSpace on 2018-08-02T14:01:04Z (GMT). No. of bitstreams: 1 Fernanda Elisa Locatelli_.pdf: 5279852 bytes, checksum: 2a502efde018337a8405afef9753e176 (MD5) Previous issue date: 2018-04-02 / CAPES - Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / Abordamos o meio filme Avatar enquanto interações que mobilizam processos midiáticos. Esse é inserido em um contexto complexo, de midiatização, através da circulação (VERÓN, 2001), vista como interação entre atores, meios e instituições (1997) que se norteiam por lógicas de produção e reconhecimento que acionam discursos (2005). Compreende-se esses discursos como ações, que são objetivadas pelos atores e instituições em rede, a partir de suas percepções e afetações (DELEUZE, 1983) e que se relacionam com outros discursos prévios. Dessa forma, toda ação discursiva pressupõe operações anteriores, à montante, e reconhecimentos almejados, à jusante, formando um fluxo contínuo, sempre adiante (BRAGA, 2012). Nesse sentido, nosso objetivo é perceber lógicas que demonstram continuidades e defasagens em relação aos discursos produzidos por atores e instituições em rede, considerando as incertezas e indeterminações (FERREIRA, 2016a) presentes nas interdiscursividades. Para isso, partimos da constituição de um caso de investigação através do método de Ferreira (2012; 2016b; 2018) que delimita um percurso composto por inferências preliminares, dedutivas e indutivas, com incursão no campo de pesquisa e elaboração de um aporte teórico-metodológico pertinente. Nosso objeto empírico é o filme Avatar enquanto meio e discurso imerso em processualidades interacionais observáveis. Para análise dessas processualidades, elaboramos, através de relações cruzadas entre a abordagem de Deleuze e Verón, uma matriz de aplicação lógica a qual chamamos de matriz PAA (percepção, afecção, ação). Fizemos sua operacionalização na análise das ações discursivas, observando as interconexões entre produção, meio e recepção. Esse movimento nos permitiu perceber que os discursos, enquanto continuidades e defasagens, se apresentam como formação de agrupamentos por similaridade e pertencimento. Onde cada alteração de significação promove também um deslocamento de grupo de pertencimento, mas nunca isolamento discursivo. Ou seja, toda ação discursiva que permite a aproximação com um grupo, consequentemente, promove o afastamento com outro(s). E, frente ao movimento constante de percepções e afetações que geram novas ações, os agrupamentos vão se deslocando, demonstrando (res)significações em relação a um discurso de referência. / We approach the film Avatar as interactions that mobilize mediatic processes. It is inserted in a complex context of mediatization through circulation (VERÓN, 2001), seen as interaction between actors, media and institutions (1997) that are guided by production and recognition logics that trigger discourses (2005). These discourses are understood as actions, which are objectified by the network actors and institutions, based on their perceptions and affections (Deleuze, 1983) discourses and which are related to other previous discourses. In this way, all discursive action presupposes previous operations, upstream, and desired recognitions, downstream, forming a continuous flow, always ahead (BRAGA, 2012). In this sense, our objective is to perceive logics that demonstrate continuities and lags in relation to the discourses produced by network actors and institutions, considering the uncertainties and indeterminations (FERREIRA, 2016a) present in interdiscursivities. In order to do this, we start with the constitution of a case of investigation through the method of Ferreira (2012, 2016b, 2018) that delimits a course composed of preliminary, deductive and inductive inferences, with incursion into the research field and elaboration of a theoretical- methodological approach. Our empirical object is the Avatar movie as a medium and discourse immersed in observed interactional processes processualities. For the analysis of these processes, we elaborate, through cross-relations between the Deleuze and Verón approaches, a logical application matrix which we call the PAA matrix (perception, affection, action). We made its operationalization in the analysis of the discursive actions, observing the interconnections between production, media and reception. This movement allowed us to perceive that the discourses, as continuities and lags, present themselves as forming groupings by similarity and belonging. Where each change of meaning also implies a change of belonging group but never discursive isolation. That is, any discursive action that allows the approach with one group, consequently, promotes the distance with another (s). And, in the face of the constant movement of perceptions and affectations that generate new actions the groupings are moving, demonstrating new meanings in relation to a discourse of reference.

MA (English) / Department of English / See the abstract below

Raven Sinclair (2004) locates the social worker at the heart of the colonial project, carrying out violent and assimilative government policy in Canada (p.50). Social work's connections to colonialism have been consciously and some would say “innocently” mutually dependent (Rossiter, 2001; Heron, 2007). Social work responses over time have been criticized for being non-performative (Ahmed, 2004), upholding institutional power (Bunjun, 2014) and ignoring ongoing colonialism (Lawrence & Dua, 2005). This study explores how self-identified white social work managers and directors reflect on and understand their roles in relation to reconciliation policy. It looks at the way discourse interrupts or maintains ruling relations including white supremacy and other colonial continuities (Heron, 2007). “In order to avoid further complicity, in assimilative and colonial practices, non-indigenous helpers must develop a clear understanding of their privilege and of their professions’ complicity in past and present colonial practices embedded in their practice”(Baskin, 2016). Through qualitative interviewing the study used critical whiteness studies and critical discourse analysis with the concept of relational validity in mind (Tuck & Yang, 2018). “What is valid in research is that which resonates with people’s lives and informs their power to make change” (Tuck & Yang, 2018, p.xiii). The findings suggest that participants orientation to reconciliation in the workplace, is controlled and continually reinforced through state discourses (neoliberal, neocolonial, reconciliation). Interestingly, the findings also suggest that participants may be de-contextualizing AOP discourses to neutralize and depoliticize their professional roles in the colonial project, as well as to rationalize their reluctance to take action. This suggests current approaches are not adequate to address colonial continuities in an era of reconciliation. / Thesis / Master of Social Work (MSW)

Made available in DSpace on 2016-04-28T19:34:03Z (GMT). No. of bitstreams: 1 Nelci Vieira de Lima.pdf: 40974313 bytes, checksum: a222d03e9dbfad54dd48db76547c99c4 (MD5) Previous issue date: 2016-02-16 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This thesis is based theoretically on Historiography Linguistics, discipline whose methods instituted by Koerner (1996, 2014) and Swiggers (2009, 2012), allow us to draw our object of study, namely: the linguistic thought expressed by men of the century sixteenth and twenty­ first century about the orthographic issues involving the Portuguese language within the established time clippings. Serve in the theoretical basis also the work of Auroux (2009), whose considerations aim at the historian's role specification of linguistic ideas, which in our view is consistent with our role of historiographers of linguistics. As to the objectives, that approach prompts us to the understanding of how to unveil not only the linguistic thinking, but also political and ideological positioning of the Renaissance grammarians of Portuguese, Joao de Barros and Fernão de Oliveira, as well as the Portuguese intellectuals the twenty-first century, Vasco Graya Moura and Antonio Emiliano - who demonstrated against the Orthographic Agreement of 1990 - about the linguistic and orthographic issues of language. Corroborates the justification for carrying out our work, the prospect of Schilieben-Langue (1993, p.138), who matter to the description of the history of argumentative communities in which they discuss issues that relate to languages. Thus we have the background of human intervention in the language, or rather the Linguistic Policy, and more specifically, the issue of orthographic standard that is recurrent in history. As a hypothesis, we suggest that there is a confluence between the linguistic thought of men of two seasons marked precisely by their political-ideological attitude towards the language and orthographic issues. Now, taking into account that our analysis is constructed in order to relate ideas and linguistic practices in its social, cultural, political and institutional context (Cf. Swigger, 2009), and that the methodology of historical writing, which involves aspects of categorization, deep categorization and well-structured exhibition which allows the past to be rebuilt according to the categorization of the historian (Swiggers, 2012, p. 43), we can say, regarding the conclusions reached, this research fits into the hall a much continuist historiography, than, exactly, discontinuist. Aside from that, we can also say that what we had achieved here is the realization of a two historiographical dialogue, however, marked by an intersection point, which is observed by the very parallelistic structure of the writing of the thesis. Getting marked, precisely at this point of intersection, the continuities in the linguistic thought of the men of the two centuries that have positioned themselves politically and ideologically, before the language, worrying about the orthographic issues existing at different historic moments. Finally, we conclude that these men demonstrated, above all, a sense of ownership linked to a nationalist defense of the Portuguese language / Esta tese fundamenta-se teoricamente na Historiografia Linguística, disciplina cujos métodos, instituídos por Koerner (1996, 2014) e Swiggers (2009, 2012), permitem-nos delinear nosso objeto de estudo, qual seja: o pensamento linguístico manifestado pelos homens do século XVI e do século XXI a respeito das questões ortográficas que envolveram a Língua Portuguesa nos recortes temporais estabelecidos. Serve-nos de base teórica também o trabalho de Auroux (2009), cujas considerações visam a especificação do papel do historiador das ideias linguísticas, o que a nosso ver, se coaduna com o nosso papel, de historiógrafos da linguística. Quanto aos objetivos, este percurso impele-nos ao entendimento da forma como se desvelam, não só o pensamento linguístico, mas também o posicionamento politico-ideológico dos gramáticos renascentistas da língua portuguesa, João de Barros e Fernão de Oliveira, assim como dos intelectuais portugueses do século XXI, Vasco Graça Moura e Antônio Emiliano - que se manifestaram contra o Acordo Ortográfico de 1990 - a respeito das questões linguísticas e ortográficas da língua. Corrobora com a justificativa para a realização de nosso trabalho, a perspectiva de Schilieben-Langue (1993, p.138), para quem importa fazer a descrição da história das comunidades argumentativas, nas quais se discutem questões que dizem respeito às línguas. Assim, temos como pano de fundo a intervenção humana na língua, ou melhor, a Politica Linguística, e mais especificamente, a temática da norma ortográfica que se faz recorrente na historia. Como hipótese, sugerimos que haja uma confluência entre o pensamento linguístico dos homens das duas épocas, marcado, justamente, por sua postura política-ideológica frente à língua e as questões ortográficas. Ora, levando em consideração que nossa analise se constrói de forma a relacionar ideias e práticas linguísticas a seu contexto social, cultural, politico e institucional (Cf Swigger, 2009), e ainda que a metodologia da redação histórica, que envolve os aspectos de categorização, categorização profunda e exposição bem estruturada, que permite que o passado seja reconstruído de acordo com a categorização do historiógrafo (Swiggers, 2012, p. 43), podemos afirmar, em relação as conclusões obtidas, que esta pesquisa se insere no hall de uma historiografia muito mais continuísta, do que, propriamente, descontinuaste. Afora isso, resta-nos dizer que o que, aqui, se concretizou foi a realização de dois diálogos historiográficos, porem, marcados por uma ponto de intersecção, que se observa pela própria estrutura paralelística da redação da tese. Ficando marcadas, justamente nesse ponto de intersecção, as continuidades no pensamento linguístico dos homens, que se posicionaram, politica e ideologicamente, nesses dois séculos, perante a língua, preocupando-se com as questões ortográficas que a envolveram em diferentes épocas. Por fim, concluímos que esses homens demonstraram, sobretudo, um sentimento de posse vinculado a uma defesa nacionalista da língua lusitana

Drawing on the methods of feminist art history and my own knowledge of the field, this PhD gives an overview of “Russian” (Russian Empire, Soviet, post-Soviet) art history with women at its center. Starting in the late 18th century and spanning to the present-day, I critically examine women’s artworks, the social contexts in which those women find themselves, as well as their biographies. Thus, this thesis extends beyond strict media analysis as a central concern of feminist criticism. This text consist of five chapters. Chapter One begins at the end of the 18th century and covers women artists working throughout the Russian Empire up through the beginning of the 20th century. Thesis looks at specific women artists and how the path to professionalization opened up new doors while women were still largely excluded from elite artistic circles. This overview demonstrates how this occurred both in explicit social exclusion as well as implicitly – specifically in the ways that the portrayals of women in professional art shifted throughout the 19th century. The ambivalent nature of women’s simultaneous inclusion and exclusion from leading art institutions and groups serves as a defining feature of the art world of the Russian Empire. Chapter Two examines women’s roles in the avant-garde at the beginning of the 20th century. As has been recognized in much popular scholarship, women served as key players in the so-called “Russian Avant-Garde”. For instance, while many Western European artists at the time turned to the colonies of their respective empires for stimulation, many Russian avant-garde artists turned to local peasants. Precisely because of their more differentiated relationships, Chapter Two argues that these women artists produced very dissimilar work from their Western European counterparts. This was due both to questions of gender as well as power and colonialism. From there, thesis shows the ways in which women avant-garde artists made use of various media – especially textiles, porcelain, and book design. Chapter Three revolves around women artists in the Soviet Union. At first it examines how women were portrayed in Socialist Realism, which followed largely three archetypes: the collective farm woman, the sportswoman, and the ballerina. In this chapter focus is on how women navigated the slippery terrain of the social world of Socialist Realism by highlighting the role of its most successful example – Vera Mukhina. Tracing through Mukhina’s path from the avant-garde to Socialist Realism’s most famous female artists, the text reveals continuities between the two genres that have typically been overlooked in the literature. Indeed, Mukhina’s development suggests much more in common between the avant-garde and Socialist Realism than most male artists’ careers would indicate. Finally, this chapter discusses women artists who rejected Socialist Realism and produced so-called “unofficial” art – focusing on the (in)famous Bulldozer Exhibition of 1974. Chapter Four illuminates how women artists negotiated the enormous socio-political changes during Perestroika through past the dissolution of the Soviet Union. In the 1990’s, three prominent all-women art collectives emerged: the Factory of Found Clothes, the Cyber-Femin Club, and the Fourth Height. Based largely on interviews with the women who participated in the groups, text sketches out a general history of how they formed, produced art, and confronted questions of gender and society. Then, chapter four turns to women artists who worked mostly individually throughout the same period. In this thesis women artists from the 90’s are categorized based on their concepts of gender – women who flipped gender dynamics through their art, women who took radical stances toward gender through their art, and women who did not clearly challenge ideas of gender. In the text they are called the “flip-floppers”, the “radicals”, and the “quietists”, respectively. In Chapter Five, there is a break with the chronological approach of the previous chapters. Instead, first part compares the trial of Iuliia Tsvetkova in 2019 and the trial of Natalia Goncharova in 1910. Both women were accused of producing pornography and thus subject to prosecution. Through this comparison, one can see the continuities and ruptures of the gender dynamics in broader society then and now, particularly in relationship to art and art production. Second part of the chapter five, compares the so-called “Leningrad Feminists” of the 1970’s and Pussy Riot from the 2010’s. By highlighting how these two collectives used the imagery of the Virgin Mary in their work, the text draws out parallels between the two that have gone unnoticed, even by the artists themselves. This dissertation is thus fundamentally about connections. Connections, both visible and invisible, define the social constellations in which women artists participate. By drawing out these connections, this thesis reimagines Russian art history and propose new, albeit imperfect, in the words of Amelia Jones, genealogies. Such genealogies open the space for a deep reckoning with the canon.:Table of Contents Introduction But What is a Russian Woman Artist Anyway? Literature Review & Methodology Chapter Outline Chapter 1: Woman as Artist in the Russian Empire Imperialism and Internal Colonization Bridging Art Histories: Between the Russian Empire and the Western Empires The “Russian Empire” periods of Marie-Anne Collot, Élisabeth Vigée Le Brun, and Kristina Robertson Independent Foreign Women Artists, Operating Beyond Royal Patronage: Maria Gomion and Julie Hagen-Schwarz Representations of Local and European Women Artists in the Russian Empire: Comparing article “Russkie Khudozhnitsy” [Russian Women Artists] and Somov’s article “Zhenshchiny Khudozhnitsy” [Women Artists] Paths to Professional Art for Women Artists in the late Russian Empire Variety of Professional Strategies for Women Artists in the Russian Empire Challenges Faced by Women in the Imperial Academy of Arts: Marfa Dovgaleva, Avdotia Mikhailovna Bakunina, Sofia Sukhovo-Kobylina, and Katerina Khilkova Women Artists from the Russian Empire in the Académie Julian: Maria Bashkirtseff, Princess Maria Tenisheva, Maria Iakunchikova, and Elizaveta Zvantseva Female and Male Paths to Becoming an Artist: The Cases of Elena Polenova and Vasilii Polenov Women in the Wanderers and the World of Art Two Women Wanderers: Emily Shanks and Antonina Rzhevskaia Women in the World of Art and Related Circles: Anna Ostroumova-Lebedeva, Elizaveta Kruglikova, Elena Polenova, Maria Yakunchikova, and Zinaida Serebriakova Between Artist, Mother, and Model: Self-Representations of Women Artists Insisting on the Professional Self: Katerina Dolgorukaia, Katerina Chikhacheva, Sofia Sukhovo-Kobylina, Maria Bashkirtseff, Elizaveta Kruglikova, Anna Ostroumova-Lebedeva, Marianne Werefkin, and Teresa Ries The Fe[male] Gaze: Ol’ga Della-Vos-Kardovskaia, Tamara de Lempicka, and Zinaida Serebriakova Chapter 2: Women Artists Shaping the Avant-Garde Conceptualizing Avant-Garde in the Russian Empire Framing the “Feminine”: Noble and Peasant Femininities Women Artists and Religion: Natalia Goncharova and Marianne Werefkin Women Artists and Lubok: Sofia Kalinkina, Elizaveta Bem, and Maria Siniakova The Case of Natalia Goncharova: Between Two Worlds Looking West: Goncharova and Gauguin Looking East: Goncharova and Peasant Culture Craft in the Foreground: Women in Textile, Porcelain, and Book Design Women in Textile Design, Embroidery, and Factory Production: Natalia Davidova, Sonia Delaunay-Terk, Nadezhda Udaltsova, Vera Pestel, Ol’ga Rozanova, Varvara Stepanova, and Lubov Popova Women in Costume Design in the Early Soviet Union: Natalia Goncharova, Nina Genke-Meller, Alexandra Exter, Nadezhda Lamanova, Varvara Stepanova, Sonia Delaunay-Terk, and Vera Mukhina Women Artists and Futurist Books: Elena Guro, Natalia Goncharova, and Ol’ga Rozanova Women Artists and Children’s Book Illustration: Vera Ermolaeva, Elena Safronova, Alisa Poret, Tatjana Glebova, Maria Siniakova, Galina and Ol’ga Chichagovy, and others Women artists and Small Sculptural Forms (porcelain and ceramics): Natalia Danko and Alexandra Shekotikhina-Potozkaia Chapter 3: Women Artists in Socialist Realism and Unofficial Art Aligning Art History of the Soviet Union and Gender Studies Official Images of Women in the Soviet Union Kolkhoznitsa [Collective Farm Woman] Sportsmenka [Sportswoman] Balerina [Ballet Dancer] Socialist Realist Women Painters Women Artists in the Moscow School of Socialist Realism: Vera Orlova, Ekaterina Zernova, and Serafima Riangina Women Artists and the Leningrad School of Painting: Nadezhda Steinmiller, Evgenia Antipova, Vera Nazina, and others Women Socialist Realist painters from the Soviet Republics: Tetiana Iablonska, Vaiiha Samadova, the Sisters Aslamazian, Elene Akhvlediani, and others Women Artists as Soviet Sculptors Women as Sculptors before the Soviet Union: Elena Luksch-Makovskii, Maria Dillon, Teresa Ries, and Anna Golubkina A Case Study: Vera Mukhina the Soviet Sculptor – Between the Street and the Household Women Artists in Unofficial Art Some Aspects of Canonization of Women Artists of the Bulldozer Exhibit: Nadezhda Elskaia and Lydia Masterkova Artistic Couples in Soviet Unofficial Art and Their Visions of Eden Chapter 4: Women Artists in the Late Soviet Union and after Its Dissolution The Emergence of Women-Only Groups in the Post-Soviet Space: the Factory of Found Clothes (FFC), Cyber-Femin Club, the Fourth Height The Factory of Found Clothes (FFC): Ol’ga Tsaplia-Egorova and Natalia Gluklia-Pershina-Yakimanskaia The Cyber-Femin-Club: Alla Mitrofanova, Irina Aktuganova, Lena Ivanova, and Ol’ga Levina Chetvertaia Vysota [The Fourth Height]: Ekaterina Kameneva, Dina Kim, and Galina Smirnskaia Resisting Erasure: Women Artists from the 1990’s The Mirror Game or the Flip-Floppers: Anna Alchuk and Tania Antoshina The Radicals: Alena Martynova and Elena Kovylina The Quietists: Marina Perchikhina and Liza Morozova Curating the “Gender Turn” in the post-Soviet art: Natalia Kamenetskaia and others Chapter 5: Creating Parallel Histories Unacceptable Bodies: Trials against Natalia Goncharova in 1910 and Iuliia Tsvetkova in 2019 Bogoroditsa stan’ Feministkoi? Comparing the Leningrad Feminists and Pussy Riot Conclusion Illustrations Bibliography Additional Materials. Interviews.