La tension politique qui se développait en Colombie depuis les années 40 contre les idéologies conservatrices et les libéraux officieux et dissidents après les élections de 1946, a déclenché un sentiment de mécontentement qui a éclaté le 9 avril 1948 avec l’assassinat de Jorge Eliecer Gaitan, dirigeant libéral à Bogota. Cet événement, connu sous le nom El Bogotazo, provoqua des manifestations violentes, des meurtres, des agressions, de l’harcèlement, de la terreur et des troubles dans tout le pays. Comme conséquence, au cours des années suivantes, les guérillas libérales se sont organisées et pendant une décennie ont laissé plus de 200.000 morts dans le pays et ont provoqué des milliers de migrations rurales vers les grandes villes. Plus tard, certains dirigeants ont formé les guérillas communistes, après l'assassinat de plusieurs ex commandants démobilisés, qui perpétuaient le conflit armé dans le pays, dont certains survivent aujourd'hui. Les FARC, Forces Armées Révolutionnaires de Colombie-Armée Populaire, les plus anciennes du monde, puissantes et nombreuses en Colombie, sont actuellement en pourparlers de paix avec le gouvernement national à La Havane, Cuba. Ces pourparlers de paix sont dans leurs phases finales. L'ELN, l’Armée de Libération Nationale, le deuxième groupe de guérilla en importance et du nombre de combattants en Colombie, est en approchements préliminaires, tendant à entamer des pourparlers de paix avec le gouvernement. Ce conflit a produit un nombre immense de victimes (¡Basta ya!: 2013) et dans ce contexte, les dramaturges et activistes Patricia Ariza et Nohora Ayala proposent un projet artistique qui interroge les actions violentes du pays à partir de la perspective de la femme dans les conflits armés. Leurs productions s’inscrivent dans la création collective du Teatro La Candelaria, où la recherche s’infitre dans l’art de la scène, en déconstruisant la réalité socio-politique et en faisant parler les témoignages. Ainsi, ce travail se prendre sur six œuvres qui explorent les liminalités politico-corporelles qui se déconstruisent dans la mise en scène en tenant compte des réseaux complexes qui sont tissés à partir des femmes et les multiples Antigones créés dans le contexte historique du pays. En outre, l’analyse examine la notion de la corporalité à partir des corps non-absents (victimes de disparition forcée) qui montrent la déterritorialisation des corps dépossédés. Le premier chapitre de la thèse traitée propose une approche théorique centrée sur les concepts de la représentation, du théâtre, de la performance et de la théâtralité politique. Le chapitre mobilise également les notions de corps sans organes et corps dépossédés pour éclairer la coupure épistémologique entre le corps matériel et le corps des disparus dépossédés. Le deuxième chapitre analyse trois œuvres de Patricia Ariza: Antigone (2006), Mujeres en la Plaza (2009) et Somma Mnémosyne (2013), lesquelles montrent un exercice d’artivisme et d'engagement politique par rapport à l'histoire moderne de la Colombie. Le troisième chapitre présente trois œuvres de Nohora Ayala: Fémina ludens (1995), Piel (2010) et Rosas secas (2012) , où l’exploration du corps met en évidence les traces de la mémoire historique du pays. Finalement, le dernier chapitre propose un questionnement face à la réception du spectateur et la théâtralité du pays. / The political tension that developed in Colombia since the 40s, between conservative ideologies and, the divergency in the official liberal party and dissident liberal party, brought out a feeling of disagreement that collapsed when Jorge Eliecer Gaitan, leader of dissident party, was killed in Bogota on 9 April 1948. This event, well known as The Bogotazo, unchained violent protests, murders, assaults, harassment, terror and unrest throughout the country. As a result, in the subsequent years the liberal guerrillas were formed and over a decade the conflict ensued in more than 200,000 murders in the country and thousands of rural migrants in the cities. Later, some leaders formed the communist guerrillas who perpetuated the armed conflict in the country, some of them are known today as FARC, the oldest group of guerillas in the world and the most powerful in Colombia, and ELN. Actually, the FARC are in the final negotiation for peace in Havana, Cuba. This violent historical context has produced a staggering statistics of victims (Basta ya!, 2013), in which the artists and activist dramatists, Patricia Ariza and Nohora Ayala propose a new aesthetic that questions the violent actions of the country from women’s perspective. Their theatrical productions are part of the Collective Creation in the Teatro La Candelaria, where the research is faced with the aesthetics of the scene and confronted with the deconstruction of reality counted, telling or testimonials. This dissertation examines six plays by Ariza and Ayala whose political and bodily liminalities deconstruct dominant ideas of history, while illuminating the complex networks surrounding the women and the Antigones produced by the country. I explore the materiality of non-absent bodies (victims of forced disappearance) which exposes the deterritorialization of dispossessed bodies. The first chapter of the thesis discerns recent theoretical approaches to the concepts of representation, theater, performance and political theatricality which I have found pertinent for my examination of the work by Ariza and Ayala. At the same time, I elaborate on the notions of the body without organs and of dispossessed bodies in order to shed light on the epistemological break between the material present body and dispossessed bodies of the disappeared. In the second chapter, I analyze three plays by Patricia Ariza: Antigone (2006), Mujeres en la Plaza (2009) and Somma Mnemosyne (2013), which evince an exercise in artivism and engagement with the political history of Colombia. The third chapter presents three plays of Nohora Ayala: Fémina Ludens (1995), Piel (2010) and Rosas Secas (2012), where the body is part of a radical practice of questioning colombian historical memory. Finally, the concluding chapter examines the role of political and corporeal theatricality in engaging spectators’ critical participation in the work of Ariza and Ayala.

Submitted by Maicon Juliano Schmidt (maicons) on 2015-04-27T17:50:15Z No. of bitstreams: 1 Bruna do Nascimento Remus.pdf: 4792012 bytes, checksum: e0c337783ab90351e3b21a52c03d62cf (MD5) / Made available in DSpace on 2015-04-27T17:50:15Z (GMT). No. of bitstreams: 1 Bruna do Nascimento Remus.pdf: 4792012 bytes, checksum: e0c337783ab90351e3b21a52c03d62cf (MD5) Previous issue date: 2012-01-31 / Nenhuma / A globalização aparece hoje como um processo que permeia as mais diversas relações e contextos, influenciando as dinâmicas sociais, econômicas e culturais. Nesse cenário, fenômenos como a hibridação cultural proposta por Canclini e a compressão tempo-espaço exposta por Bauman aparecem influenciando as dinâmicas que nos envolvem. Como resultado das ações de todos esses processos, surgem alterações na lógica da construção de identidades, bem como na lógica de consumo, onde tais relações acabam acarretando em esvaziamentos dos territórios, (vistos como extensão das identidades e possuindo identidades próprias), e transformação destes em mercadorias. Nesse contexto surge o conceito de Cidades Criativas, que será discutido como a base desta pesquisa. Compreendido tal conceito, cenários para a cidade de Porto Alegre serão construídos e, a partir de uma lógica do design, se dará a reflexão que é o objetivo desta pesquisa: pensar Porto Alegre, através de uma ótica do design, no contexto das Cidades Criativas, gerando uma atualização deste conceito trazido para a área do design. / This research comes from the acknowledgment of globalization's actual stage that today seems to be a process that permeates the most complex relations and contexts, influencing the social, economical and cultural dynamics. As consequence of this process, phenoms such as the cultural hybridisation proposed by Canclini and the compression of time and space exposed by Bauman appear, altering the territorial dynamics, generating the emptying and retaking of territories, represented by the concepts of deterritorialization and reterritorialization. In this context of emptying cities, this research focuses on the comprehension of the concept of "creative cities" as a device of territorial valorization, reinventing and innovating the cities from their very own crises. The objective is to verify in the context of the studied project aspects of the strengths and weaknesses for the supplying of means so that the city of Porto Alegre can project as a creative city. The methodological approach happens through strategic design, understanding projective factors capable of evincing a creative logic for cities. As an empirical study, a case study was developed about “PortoAlegre.cc” project. This project is an initiative made in the city of Porto Alegre that furthers the participation of the population on the search for solutions of the city's problems. The analysis and discussion of the case happens through the methodology of scenario building oriented by design and complements itself in an experiment. The results point that “PortoAlegre.cc” project, while still not being able to supply the needed conditions to start a process of articulating the city as a creative city, is a fundamental initiative that represents a change in mentality about the process of co-creating a city.

The main objective of this thesis is to examine the theory of capitalism and its ontological foundations through the major works of Marx and Deleuze&amp / Guattari. In his monumental book called Capital, Karl Marx develops an account of capitalism based on his understanding of philosophy of which takes its roots from Hegel and Feuerbach. Additionally, English political economy and French socialism serve as reliable grounds for Marx&amp / #8217 / s analysis. In light of the writings of these historical precursors, Marx constitutes a profound critique of capitalist mode of production. On the other hand, Deleuze and Guattari, as the representatives of contemporary French philosophy, develop a different account of capitalism in their influential book called Anti-Oedipus. By relying upon Nietzsche, in Anti-Oedipus, Deleuze and Guattari examine capitalism in a non-dialectical manner. Despite the fact that they reject the major aspects of Marxian mode of thinking, they concentrate on the similar questions shared by Marx. The question of capitalism and its conception as an immanent system which reproduces itself by means of capital appears as the common problem that directs them to think analogously. In this respect, this thesis is an attempt to discover the points of ruptures and the points of continuities in two different account of capitalism.

Sushi is a widely consumed food in North America. Along with other ethnic cuisine and food items it is subject to fusion and localization. This thesis explores the transformation of sushi in Victoria, BC, on the basis of an extensive survey, participant observation, and interviews with producers and consumers. The physical and symbolic transformation of sushi is analyzed both from the vantage point of business and cultural trends. It is shown that sushi became a food item different to what is known as sushi in Japan. This makes Victoria as one of the North American markets which threatens the Japanese national identity. This study thus not only reveals the local process of transformation of sushi but also shows how a food item becomes a multi-vocal symbol. While consumed by North Americans as healthy and exotic in its transformed style, it becomes a politically significant concern of national identity in Japan.

Sushi is a widely consumed food in North America. Along with other ethnic cuisine and food items it is subject to fusion and localization. This thesis explores the transformation of sushi in Victoria, BC, on the basis of an extensive survey, participant observation, and interviews with producers and consumers. The physical and symbolic transformation of sushi is analyzed both from the vantage point of business and cultural trends. It is shown that sushi became a food item different to what is known as sushi in Japan. This makes Victoria as one of the North American markets which threatens the Japanese national identity. This study thus not only reveals the local process of transformation of sushi but also shows how a food item becomes a multi-vocal symbol. While consumed by North Americans as healthy and exotic in its transformed style, it becomes a politically significant concern of national identity in Japan.

The Ruderal Triptych is a narrative, fictional, artistic, research project. It centers itself on questions of ownership as a legal and physical machinery, that works within global extractive economies. I want to question what we are really producing when we produce architecture. For as it stands it might not be the study of space, a lofty exploration of homes and places, but a professional discipline. Tied to the economical organization of a commodity society. Ownership of land, as a means of production. As an organizational principle is the foundation of current nation states, where the plot is registered on the surface of the state and thereafter upon to the global hegemonic economy of speculation. While our profession is disciplined to work within this framework, what are we really doing when we build “sustainably” are we sustaining life? the earth? the industry or the institutions more broadly?  When we try to take Bennett, Maccormack or Haraway seriously what space is there in this system for the nonhuman actors of the world? No rat can sign a lease, they have to be spoken for by someone else. So the professional architecture comes into crisis when trying to address real sustainability.The purpose of this project is to try to imagine beyond property as constraint for the ideation of architecture, through a series of explorations, narratives, and Artifacts/drawings/paintings that together make up the triptych.

[pt] Resistência pode ser compreendida por sua concepção polissêmica em termos políticos, científicos e sociais, bem como pelas forças de ação dos sujeitos em suas diversas lutas. Para este trabalho de tese, buscamos compreender a resistência a partir das práticas espaciais dos sujeitos afetados direta e indiretamente pela territorialização do capital, que pode ser concebida por algumas abordagens como desenvolvimento, mas, de fato, os expulsa de seus espaços de vida para dar lugar a um aparato técnico social, constituindo uma intervenção na organização espacial desses lugares onde dadas territorialidades são negadas, cooptadas, ou de onde são expulsas. A luta se manifesta contra a desterritorialização e a exclusão territorial dos sujeitos subalternos, mostrando-nos que a territorialização do capital leva ao surgimento do que denominamos práticas espaciais de resistência. Nesse sentido, estudamos os conflitos que emergiram ao longo do eixo do Arco Metropolitano do Rio de Janeiro, obra infraestrutural do Programa de Aceleração do Crescimento (PAC), inaugurada em 2014. O Arco propôs uma nova dinâmica espacial para o espaço metropolitano do Rio de Janeiro, especialmente para a região conhecida como Baixada Fluminense, onde passa grande parte da extensão do Arco (71km) e foi produzida uma série de remoções e conflitos em suas adjacências no decorrer da obra pela territorialização dos investimentos logístico-industriais. Tomamos como área de estudo das manifestações das práticas espaciais de resistência três comunidades da Baixada Fluminense afetadas pela implantação do Arco Metropolitano: os casos das comunidades de Vila de Cava, em Nova Iguaçu; Marajoara, em Japeri; e Sol da Manhã, em Seropédica. As três foram atingidas direta ou indiretamente pelo Arco Metropolitano, tanto pela obra em si quanto pelos capitais que se territorializaram devido às condições do baixo preço da terra, da localização estratégica para logística e dos incentivos ficais concedidos pelas respectivas prefeituras e pelo governo do estado do Rio de Janeiro, que promoveram expulsões diretas e brancas dessas comunidades. Partimos da tese de que as práticas espaciais de resistência, ao mesmo tempo que se integram, expressam o movimento contra o processo de desterritorialização provocado pelas transformações espaciais nas adjacências do Arco Metropolitano do Rio de Janeiro. Nosso objetivo geral é analisar as práticas espaciais expressas nas táticas de resistência dos moradores das comunidades de Vila de Cava, Marajoara e Sol da Manhã, localidades do entorno do Arco Metropolitano do Rio de Janeiro, táticas essas que se contrapõem às formas atuais de territorialização do capital ainda marcadas pelas renovadas formas de expropriação e espoliação do capital em ação conjunta com o Estado. Dada análise tem como aportes teórico-conceituais a concepção de resistência de Scott em diálogo com Foucault, a de sujeito segundo Butler, a de desenvolvimento geográfico desigual de Harvey e a de desterritorialização de Haesbaert, em convergência com a abordagem do conceito de expulsões conforme Sassen. Com isso, elaboramos um sistema interpretativo de tal processo, lendo a resistência a partir das dimensões de insurgência, sobrevivência e subordinação, através da tríade espaço, cotidiano e ação, desenvolvida por Ferreira. / [en] Resistance can be understood by its polysemic conception in political, scientific, and social terms, as well as by the forces of action of the subjects in their various struggles. For this thesis, we seek to understand resistance from the spatial practices of subjects directly and indirectly affected by the territorialization of capital, which can be conceived by some approaches as development, but, in fact, expels them from their living spaces to give rise to a technical social apparatus, constituting an intervention in the spatial organization of those places where such territorialities are denied, co-opted, or expelled. The struggle manifests itself against the deterritorialization and territorial exclusion of subaltern subjects, demonstrating that the territorialization of capital leads to the emergence of what we call spatial resistance practices. The Arch proposed a new spatial dynamic for the metropolitan area of Rio de Janeiro, especially for the region known as Baixada Fluminense, where a large part of the extension of the Arch (71km) goes through, and a series of removals and conflicts was produced in its surroundings during the work due to the territorialization of logistical-industrial investments. Three communities in Baixada Fluminense affected by the implementation of the Metropolitan Arch were taken as our study area on the manifestations of spatial resistance practices: the cases of Vila de Cava, in Nova Iguaçu; Marajoara, in Japeri; and Sol da Manhã, in Seropédica. The three communities were directly or indirectly affected by the Metropolitan Arch, both by the work itself and by the capitals that were territorialized due to the conditions of the low price of land, the strategic location for logistics and the tax incentives granted by the respective city halls and by the government of Rio de Janeiro, which promoted direct and white expulsions from these communities. We start from the thesis that the spatial resistance practices, at the same time that they are integrated, express the movement against the process of deterritorialization caused by the spatial transformations in the vicinity of the Metropolitan Arch of Rio de Janeiro. Our general objective is to analyze the spatial practices expressed in the resistance tactics by the residents of the communities of Vila de Cava, Marajoara and Sol da Manhã, locations around the Metropolitan Arch of Rio de Janeiro. These tactics are opposed to the current forms of territorialization of the capital still marked by the renewed forms of expropriation and plunder of capital together with the State. This analysis has as theoretical-conceptual contributions Scott s conception of resistance in dialogue with Foucault, the subject according to Butler, Harvey s uneven geographical development, and Haesbaert s deterritorialization, in convergence with the concept of expulsions according to Sassen. Thus, we elaborated an interpretative system of this process, reading the concept of resistance from the dimensions of insurgency, survival, and subordination, through the triad space, everyday life, and action, developed by Ferreira.

No description available.

In the immediate post-independence period, forms of state-sponsored Irish nationalism were pre-occupied with exclusive cultural markers based on the Irish language, mythology and folk traditions. Because of this, a postcolonial examination of how such nationalist forms of identity were fetishised is necessary in order to critique the continuing process of decolonization in Ireland. This dissertation investigates Brian O’Nolan’s engagement with dominant colonial and nationalist literary discourses in his fiction and journalism. Deleuze and Guattari define a ‘minor’ writer’s role as one which deterritorializes major languages in order to negotiate textual spaces which question the assumptions of dominant groups. Considering this concept has been applied to postcolonial studies due to the theorists’ linguistic and political concerns, this dissertation explores the ‘minor’ literary practice of Brian O’Nolan’s authorial personae and writing techniques. Through the employment of Deleuze and Guattari’s concept of the deterritorialization of language alongside Walter Benjamin’s models of the flâneur and translation, and Claude Lévi-Strauss’s concept of bricolage, this thesis examines the complex forms of postcolonial narrative agency and discursive political resistance in O’Nolan’s work. While O’Nolan is often read in biographical terms or within the frameworks of literary modernism and postmodernism, this thesis aims to demonstrate the politically ambivalent nature of his writing through his creation of liminal authorial selves and heterogeneous narrative forms. As a bi-lingual author, O’Nolan is linguistically ‘in-between’ languages and, because of this, he deterritorializes both historical and literary associations of the Irish and English languages to produce parodic and comic versions of national and linguistic identity. His satiric novel An Béal Bocht exposes, through his use of an array of materials, how Irish folk and peasant culture have been fetishized within colonial and nationalist frameworks. In order to avoid such restricting forms of identity, O’Nolan positions his own authorial self within a multitude of pseudonyms which refuse a clear, assimilable subjectivity and political position. Because of this, O’Nolan’s authorial voice in his journalism is read as an allusive flâneur figure. Equally, O’Nolan deterritorializes Irish mythology in At Swim-Two-Birds as a form of palimpsestic translation and rhizomatic re-mapping of a number of literary traditions which reflect the Irish nation while in The Third Policeman O’Nolan deconstructs notions of empirical subjectivity and academic and scientific epistemological knowledge. This results in an infinite form of fantastical writing which exposes the limited codes of Irish national culture and identity without reterritorializing such identities. Because O’Nolan’s ‘minor’ literary challenge is reflective of the on-going crisis of Ireland’s incomplete decolonization, this thesis employs the concept of ‘minor’ literature to read Ireland’s historical past and contemporary modernity through O’Nolan’s multi-voiced and layered narratives.

大多數學者通常從後殖民的觀點閱讀佛斯特的《印度之旅》(A Passage to India, 1924)，因此，他們的批評大多聚焦在「對他者的再現」(the representation of the other)。然而，這些學者忽略了在《印度之旅》中，自我與他者的交會乃是旅行的結果。雖然探討《印度之旅》中種族間互動的評論不在少數，但旅行的概念卻常被視為理所當然。如同小說標題所示，《印度之旅》乃是一趟從英國至印度的旅行，因此，本論文擬以「旅行敘述」(travel narrative) 的觀點閱讀《印度之旅》。然而，「旅行」一詞的意義到底為何？根據《牛津英語大辭典》，「旅行」大致意味著空間上的移位。然而，本文企圖以「暴露於他者」(exposure to the other)、「自我的去疆域化」 (deterritorialization of the self) 與「變成他者」 (becoming-other) 重新定義旅行。 既然旅行涉及自我與他者之間的互動，本文先援引列維納斯 (Emmanuel Levinas) 的「他者的倫理」(ethics of the other) 來區分「激進他者」 (radical other) 與「抽象他者」(metaphysical other)。接著，本文引用德希達 (Jacques Derrida) 對列維納斯的閱讀與他對「悅納異己」(hospitality) 的討論，以進一步闡述他者的概念。為了探討自我在他者影響之下的轉變，本文亦運用德勒茲 (Gilles Deleuze) 與瓜達里 (Félix Guattari) 的「再疆域化」(reterritorialization)、「去疆域化」(deterritorialization)、與「變成」(becoming) 的概念。這些理論的整合導出了伊斯蘭 (Syed Manurul Islam) 所區分的兩種旅行──靜止旅行(sedentary travel) 與遊牧旅行 (nomadic travel)。 本文共分五章：〈第一章：導論〉、〈第二章：理論架構〉、〈第三章：靜止旅行〉、〈第四章：遊牧旅行〉與〈第五章：結論〉。〈第二章：理論架構〉主要闡述上面所提及的理論家。〈第三章：靜止旅行〉藉由費爾亭 (Cyril Fielding) 與何德蕾 (Adela Quested) 闡明靜止旅行的概念。相較於費爾亭，何德蕾的例子較為複雜，因為她經歷了兩次去疆域化的過程 (第一次在馬拉巴山洞裡，第二次在法庭上)。〈第四章：遊牧旅行〉則聚焦在摩爾夫人 (Mrs. Moore) 這個角色上。這章的編排不僅與小說劇情的時間性一致，也企圖呈現摩爾夫人所經歷的三個階段的轉變。 / Most critics tend to read E. M. Forster’s A Passage to India (1924) from the perspective of post-colonialism, and therefore, the focus of their criticism is often on the representation of the other. However, these critics neglect the fact that the encounter of the self with the other in A Passage to India is in fact a result of travel. Although there is much discussion on racial interaction in A Passage to India, the concept of travel is more than often taken for granted. As the title of the novel indicates, A Passage to India deals with a travel from England to India, and hence, this thesis examines the novel from the perspective of travel narrative. Yet, what does the term “travel” signify? According to Oxford English Dictionary, travel generally refers to a displacement in space. Nevertheless, this thesis tries to re-define “travel” in terms of exposure to the other, deterritorialization of the self, and becoming-other. Since travel narrative deals with the vacillation between the self and the other, this thesis begins with Emmanuel Levinas’s ethics of the other to distinguish the radical other from the metaphysical other. Next, this thesis includes Jacques Derrida’s theories of “hospitality” for further elaboration on the concept of the other. In order to probe into the transformation of the self under the influence of the other, this thesis also employs Gilles Deleuze and Félix Guattari’s ideas of “reterritorialization,” “deterritorialization” and “becoming.” The compilation of these theories, finally, amounts to Syed Manurul Islam’s division between two kinds of travel—sedentary travel (travel without traveling) and nomadic travel (traveling without return). This thesis is divided into five chapters: “Introduction” (Chapter One), “Theoretical Framework” (Chapter Two), “Sedentary Travel” (Chapter Three), “Nomadic Travel” (Chapter Four) and “Conclusion” (Chapter Five). Chapter Two, “Theoretical Framework,” is an elucidation of the above mentioned theories. Chapter Three, “Sedentary Travel,” illustrates the concept of sedentary travel by exploring Cyril Fielding and Adela Quested. Adela’s case is much more intricate when compared to Fielding’s, for she goes through two instances of deterritorialization: the first in the Marabar Caves and the second in the court. Chapter Four, “Nomadic Travel,” focuses on the character Mrs. Moore. The exploration of Mrs. Moore not only corresponds to the chronological sequence of the plot but also aims to explain the different stages of transformation Mrs. Moore undergoes.