Conselho Nacional de Desenvolvimento Científico e Tecnológico / Nesta dissertação, estudamos as inversões de gênero que acontecem durante o Carnaval do Rio de Janeiro. Escolhemos trabalhar com as drag queens por elas realizarem estas inversões de forma exagerada, divertida e carnavalizada. Pesquisamos também os locais e eventos que receberam homossexuais durante o Carnaval nas últimas décadas, formando, assim, o que atualmente pode ser chamado de Carnaval gay carioca. Na última parte do trabalho, procuramos relacionar o mito Carmen Miranda (cantora brasileira que tornou-se um ícone internacional através do cinema hollywoodiano nos anos 1940) com as drag queens, pois a artista é considerada uma das maiores referências estéticas destas personagens contemporâneas. Questões como identidade, gênero, consumo e globalização são essenciais para nossas reflexões. Procuramos fugir de concepções tradicionais que trabalhassem com antigas idéias de essência, pureza cultural e identidades imutáveis. Para tanto, Os Estudos Culturais, com a sua abordagem da cultura popular como um campo de constantes disputas e negociações simbólicas, nos ajudam a compreender melhor nossos objetos de estudo. / n this research, we study the inversions of sexual gender that take place in Rio de Janeiro during the Carnival. We decided to work with the contemporary drag queens because they realize these inversions in exaggerated, funny and carnavalized ways. We also analyze the places and the parties that received homosexual men during the Carnival in the last decades, that shaped what we call The Gay Carnival from Rio now. In the last part of the research, we intend to connect Carmen Mirandas mith (Brazilian singer that became an international icon because of Hollywood in the 1940s) with the contemporary drag queens; the artist in one of the biggest esthetic reference for these performers. Questions as identity, gender, consumption and globalization are extremely important for our reflections. We want to deviate from traditional conceptions of essence, cultural purity and fixed identities. To achieve our purposes, the Cultural Studies, with its conception of popular culture as a space of constant contentions and symbolic negotiations, help us to understand in a better way our objects of study.

Este artículo aborda la subtitulación en castellano del programa de televisión de realidad RuPaul’s Drag Race (RPDR) mediante un análi-sis porcentual de la presencia de rasgos microtextuales relativos al camp y la manera en que estos fueron traducidos en las versiones publicadas en Netflix y en el grupo de Facebook RPDR Venezuela. El artículo inicia con una elaboración sobre el camp (una sensibilidad estética comúnmente asociada con la identidad gay y difundida en espacios anglófonos) y el camp talk como categorías de estudio para la traductología. Más adelante se presentan los resultados del análisis de los subtítulos de dos episodios del programa de televisión. Finalmente, la discusión sobre los resultados alcances sobre el papel de la traducción en los procesos de aculturación relacionados al camp, así como sobre las nuevas funciones sociales de la subtitulación. / This article addresses Spanish subtitling for the reality television show RuPaul’s Drag Race (RPDR), which has been aired in the United States since 2009, analyzing the presence of specific microtextual features of camp (an aesthetic sensibility present in English-speaking spaces that is generally associated with homosexual identity) and of the manner in which these features have been translated into the Spanish subtitled versions found on Netflix and produced by the Facebook group RuPaul’s Drag Race Venezuela. The article begins with a description of the importance of researching camp talk in the context of Translation Studies and continues with an analysis of subtitles from two of the show’s episodes. Finally, results are discussed concerning the scope of translation’s role in camp-related acculturation processes, and new social functions for subtitling are considered. / Revisión pór pares

<p>The objective of this thesis work was to construct and implement an algorithm into the programADAPDT to calculate the zero-lift drag profile for defined aircraft geometries. ADAPDT, shortfor AeroDynamic Analysis and Preliminary Design Tool, is a program that calculates forces andmoments about a flat plate geometry based on potential flow theory. Zero-lift drag will becalculated by means of different hand-book methods found suitable for the objective andapplicable to the geometry definition that ADAPDT utilizes.</p><p>Drag has two main sources of origin: friction and pressure distribution, all drag acting on theaircraft can be traced back to one of these two physical phenomena. In aviation drag is dividedinto induced drag that depends on the lift produced and zero-lift drag that depends on the geometry of the aircraft.</p><p>How reliable and accurate the zero-lift drag computations are depends on the geometry data thatcan be extracted and used. ADAPDT‟s geometry definition is limited to flat plate geometrieshowever although simple it has the potential to provide a huge amount of data and also delivergood results for the intended use. The flat plate representation of the geometry proved to beleast sufficient for the body while wing elements could be described with much more accuracy.</p><p>Different empirical hand-book methods were used to create the zero-lift drag algorithm. Whenchoosing equations and formulas, great care had to be taken as to what input was required sothat ADAPDT could provide the corresponding output. At the same time the equations shouldnot be so basic that level of accuracy would be compromised beyond what should be expectedfrom the intended use.</p><p>Finally, four well known aircraft configurations, with available zero-lift drag data, weremodeled with ADAPDT‟s flat plate geometry in order to validate, verify and evaluate the zeroliftdrag algorithm‟s magnitude of reliability. The results for conventional aircraft geometriesprovided a relative error within 0-15 % of the reference data given in the speed range of zero toMach 1.2. While for an aircraft with more complicated body geometry the error could go up to40 % in the same speed regime. But even though the limited geometry is grounds foruncertainties the final product provides ADAPDT with very good zero-lift drag estimationcapability earlier not available. A capability that overtime as ADAPDT continues to evolve hasthe potential to further develop in terms of improved accuracy.</p> / <p>Målet med detta examensarbete var att skapa och implementera en algoritm som införmöjligheten att beräkna nollmotstånd för givna flygplansgeometrier i programmet ADAPDT.ADAPDT, kort för AeroDynamic Analysis and Preliminary Design Tool, är ett program som,baserat på potential strömnings teori, beräknar krafter och moment på en geometri uppbyggd avplana plattor. Nollmotståndet kommer att baseras en kombination av handboksmetoder somfunnits lämpliga och applicerbara på geometridefinitionen given i ADAPDT.</p><p>Motstånd har sitt ursprung i två fysikaliska fenomen: friktion och tryckfördelning, ur vilka alltmotstånd som agerar på ett flygplan härrör. Inom flyget delar man in motståndet ilyftkraftsberoende inducerat motstånd samt geometriberoende nollmotstånd.</p><p>Hur pålitliga och noggranna motståndsberäkningarna kan förväntas vara beror på mängdengeometriska data som finns att tillgå. ADAPDT:s geometridefinition är begränsad till planaplattor men trots detta finns potential att leverera stora mängder data och resultat med rimlignoggrannhet. Plan plattgeometrin visade sig, för kroppsgeometrin, väldigt begränsad ochotillräcklig medan ving element kunde beskrivas med större noggrannhet.</p><p>En rad olika empiriska handboksmetoder användes för att skapa nollmotståndsalgoritmen. Vidvalet av formler och ekvationer var det viktigt att välja sådana som ADAPDT kunde försetillräckligt med data till. Samtidigt fick formlerna inte vara alltför simpla så att måttet avnoggrannhet i resultaten vart alltför låg mot för vad som, för ändamålet, är förväntat.</p><p>Slutligen valdes fyra kända flygplan, med nollmotståndsdata tillgängligt, att modeleras medADAPDT:s plan plattgeometri för att validera, verifiera och utvärdera algoritmens mått avtillförlitlighet. Resultaten för mer konventionella flygplanskonfigurationer visade på ett relativtfel mellan 0-15 % mot de givna referensflygplanens nollmotståndsdata inom hastigheterna 0 tillMach 1,2. För mer komplicerade konfigurationer steg det relativa felet omedelbart upp mot 40% inom samma hastighetsregim. Men även om den begränsade geometridefinitionen iADAPDT är grunden för mycket osäkerheter förser den slutliga produkten ändå programmetmed en väldigt god möjlighet till skattning av nollmotståndet som inte tidigare fanns. Enmöjlighet som över tid, allteftersom ADAPDT forstätter att utvecklas, har all potential till attförbättras med avseende på noggrannhet och tillförlitlighet.</p>

The objective of this thesis work was to construct and implement an algorithm into the programADAPDT to calculate the zero-lift drag profile for defined aircraft geometries. ADAPDT, shortfor AeroDynamic Analysis and Preliminary Design Tool, is a program that calculates forces andmoments about a flat plate geometry based on potential flow theory. Zero-lift drag will becalculated by means of different hand-book methods found suitable for the objective andapplicable to the geometry definition that ADAPDT utilizes. Drag has two main sources of origin: friction and pressure distribution, all drag acting on theaircraft can be traced back to one of these two physical phenomena. In aviation drag is dividedinto induced drag that depends on the lift produced and zero-lift drag that depends on the geometry of the aircraft. How reliable and accurate the zero-lift drag computations are depends on the geometry data thatcan be extracted and used. ADAPDT‟s geometry definition is limited to flat plate geometrieshowever although simple it has the potential to provide a huge amount of data and also delivergood results for the intended use. The flat plate representation of the geometry proved to beleast sufficient for the body while wing elements could be described with much more accuracy. Different empirical hand-book methods were used to create the zero-lift drag algorithm. Whenchoosing equations and formulas, great care had to be taken as to what input was required sothat ADAPDT could provide the corresponding output. At the same time the equations shouldnot be so basic that level of accuracy would be compromised beyond what should be expectedfrom the intended use. Finally, four well known aircraft configurations, with available zero-lift drag data, weremodeled with ADAPDT‟s flat plate geometry in order to validate, verify and evaluate the zeroliftdrag algorithm‟s magnitude of reliability. The results for conventional aircraft geometriesprovided a relative error within 0-15 % of the reference data given in the speed range of zero toMach 1.2. While for an aircraft with more complicated body geometry the error could go up to40 % in the same speed regime. But even though the limited geometry is grounds foruncertainties the final product provides ADAPDT with very good zero-lift drag estimationcapability earlier not available. A capability that overtime as ADAPDT continues to evolve hasthe potential to further develop in terms of improved accuracy. / Målet med detta examensarbete var att skapa och implementera en algoritm som införmöjligheten att beräkna nollmotstånd för givna flygplansgeometrier i programmet ADAPDT.ADAPDT, kort för AeroDynamic Analysis and Preliminary Design Tool, är ett program som,baserat på potential strömnings teori, beräknar krafter och moment på en geometri uppbyggd avplana plattor. Nollmotståndet kommer att baseras en kombination av handboksmetoder somfunnits lämpliga och applicerbara på geometridefinitionen given i ADAPDT. Motstånd har sitt ursprung i två fysikaliska fenomen: friktion och tryckfördelning, ur vilka alltmotstånd som agerar på ett flygplan härrör. Inom flyget delar man in motståndet ilyftkraftsberoende inducerat motstånd samt geometriberoende nollmotstånd. Hur pålitliga och noggranna motståndsberäkningarna kan förväntas vara beror på mängdengeometriska data som finns att tillgå. ADAPDT:s geometridefinition är begränsad till planaplattor men trots detta finns potential att leverera stora mängder data och resultat med rimlignoggrannhet. Plan plattgeometrin visade sig, för kroppsgeometrin, väldigt begränsad ochotillräcklig medan ving element kunde beskrivas med större noggrannhet. En rad olika empiriska handboksmetoder användes för att skapa nollmotståndsalgoritmen. Vidvalet av formler och ekvationer var det viktigt att välja sådana som ADAPDT kunde försetillräckligt med data till. Samtidigt fick formlerna inte vara alltför simpla så att måttet avnoggrannhet i resultaten vart alltför låg mot för vad som, för ändamålet, är förväntat. Slutligen valdes fyra kända flygplan, med nollmotståndsdata tillgängligt, att modeleras medADAPDT:s plan plattgeometri för att validera, verifiera och utvärdera algoritmens mått avtillförlitlighet. Resultaten för mer konventionella flygplanskonfigurationer visade på ett relativtfel mellan 0-15 % mot de givna referensflygplanens nollmotståndsdata inom hastigheterna 0 tillMach 1,2. För mer komplicerade konfigurationer steg det relativa felet omedelbart upp mot 40% inom samma hastighetsregim. Men även om den begränsade geometridefinitionen iADAPDT är grunden för mycket osäkerheter förser den slutliga produkten ändå programmetmed en väldigt god möjlighet till skattning av nollmotståndet som inte tidigare fanns. Enmöjlighet som över tid, allteftersom ADAPDT forstätter att utvecklas, har all potential till attförbättras med avseende på noggrannhet och tillförlitlighet.

Thesis (Ph. D.)--Ohio State University, 2003. / Title from PDF t.p. (viewed on Apr. 30, 2006). Advisor: Vincent Roscigno, Dept. of Sociology. Includes vita. Includes bibliographical references (p. 138-150).

Conselho Nacional de Desenvolvimento Científico e Tecnológico / Nesta dissertação, estudamos as inversões de gênero que acontecem durante o Carnaval do Rio de Janeiro. Escolhemos trabalhar com as drag queens por elas realizarem estas inversões de forma exagerada, divertida e carnavalizada. Pesquisamos também os locais e eventos que receberam homossexuais durante o Carnaval nas últimas décadas, formando, assim, o que atualmente pode ser chamado de Carnaval gay carioca. Na última parte do trabalho, procuramos relacionar o mito Carmen Miranda (cantora brasileira que tornou-se um ícone internacional através do cinema hollywoodiano nos anos 1940) com as drag queens, pois a artista é considerada uma das maiores referências estéticas destas personagens contemporâneas. Questões como identidade, gênero, consumo e globalização são essenciais para nossas reflexões. Procuramos fugir de concepções tradicionais que trabalhassem com antigas idéias de essência, pureza cultural e identidades imutáveis. Para tanto, Os Estudos Culturais, com a sua abordagem da cultura popular como um campo de constantes disputas e negociações simbólicas, nos ajudam a compreender melhor nossos objetos de estudo. / n this research, we study the inversions of sexual gender that take place in Rio de Janeiro during the Carnival. We decided to work with the contemporary drag queens because they realize these inversions in exaggerated, funny and carnavalized ways. We also analyze the places and the parties that received homosexual men during the Carnival in the last decades, that shaped what we call The Gay Carnival from Rio now. In the last part of the research, we intend to connect Carmen Mirandas mith (Brazilian singer that became an international icon because of Hollywood in the 1940s) with the contemporary drag queens; the artist in one of the biggest esthetic reference for these performers. Questions as identity, gender, consumption and globalization are extremely important for our reflections. We want to deviate from traditional conceptions of essence, cultural purity and fixed identities. To achieve our purposes, the Cultural Studies, with its conception of popular culture as a space of constant contentions and symbolic negotiations, help us to understand in a better way our objects of study.

Conselho Nacional de Desenvolvimento CientÃfico e TecnolÃgico / FundaÃÃo de Amparo à Pesquisa do Estado do Cearà / Esta dissertaÃÃo demonstra como a experiÃncia drag queen ocorrente na cidade de Fortaleza, situada no nordeste brasileiro, constitui uma experiÃncia ritual e performÃtica que desafia os limites dos binarismos de gÃnero e sexo alÃm de aproximar o que temos como sendo o mundo das artes ao que entendemos como sendo o mundo cotidiano. O trabalho de campo se fundamenta em observaÃÃes diretas nos locais que dÃo passagem a performance drag queen em Fortaleza tais como boates, bares e outras casas de show bem como na coleta de mais de 50 entrevistas, no estilo histÃria de vida, gravadas entre os anos de 2004 e 2007 com drag queens, transformistas, transexuais e travestis residentes na aludida cidade. Ao revelar o carÃter ritual/performÃtico da experiÃncia drag queen por meio de uma anÃlise daquilo que essas personagens denominam montagem, o autor conclui que um devir-artista à encontrado pelas drag queens sob o trajeto de certas liminaridades. O escopo teÃrico do trabalho se fundamenta na antropologia dos rituais, na etnoestÃtica, nos Performance Studies, na Queer Theory e na sociologia da agÃncia. A metodologia segue os rumos de uma metaetnografia em diÃlogo com a experiÃncia cartogrÃfica, desenvolvida por Gilles Deleuze e FÃlix Guattari. / This dissertation shows how the drag queen experience present in the city of Fortaleza, located in the Northeastern region of Brazil, consists of a ritualistic and performative experience which challenges the limits of the binary of gender and sex and also narrows what we understand as the world of arts and the everyday life. The field research is based on direct observations in the places where the drag queen performances happen in Fortaleza such as nightclubs, bars and other cabaret entertainment clubs, as well as on the collection of data in more than 50 interviews in life-story model recorded between the years 2004 and 2007 with drag queens, transformists, transsexuals and transvestites in this city. The ritualistic and performative aspects of the drag queen experience is evidenced through an analysis of what these characters name âmontagemâ (cross-dressing), the author can conclude that an becoming-artist can be found by the drag queens in the form of certain liminalities. The theoretical scope of this work is based on the anthropology of the ritual, the ethno-aesthetics, the Performance Studies, the Queer Theory and the sociology of agency. The methodology follows the steps of a meta-etnography in dialogue with the cartography experience, developed by Gilles Deleuze and FÃlix Guattari.

Submitted by JÚLIO HEBER SILVA (julioheber@yahoo.com.br) on 2016-12-20T15:36:49Z No. of bitstreams: 2 Dissertação - Paulo Reis Nunes - 2015.pdf: 6235060 bytes, checksum: b4fd8fb32f5d728de4d1c77fdb01d7c0 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Approved for entry into archive by Luciana Ferreira (lucgeral@gmail.com) on 2016-12-26T12:39:27Z (GMT) No. of bitstreams: 2 Dissertação - Paulo Reis Nunes - 2015.pdf: 6235060 bytes, checksum: b4fd8fb32f5d728de4d1c77fdb01d7c0 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Made available in DSpace on 2016-12-26T12:39:27Z (GMT). No. of bitstreams: 2 Dissertação - Paulo Reis Nunes - 2015.pdf: 6235060 bytes, checksum: b4fd8fb32f5d728de4d1c77fdb01d7c0 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Previous issue date: 2015-11-05 / Outro / This work tries to recall the memory of the show Jú Onze e 24, directed by Júlio Vilela, and its latest attempts at survival, with its structure and circulation among the theatrical spaces and spaces LGBT in Goiânia, with the main attraction the dragqueens performances. This drags, to carry out the production of a female body translated as assemblies, presented at different mappings. These mappings are understood as flexible operating modes that go or back together. The fact of producing and performing, featuring her performative process, which allowed for a study of the aesthetic transformations in the show, based on studies of performance, queer theory, gender and sexuality. These themes could incite processes of identification and difference about subjects of deviant sexuality, as transvestites and transsexuals who are confused or placed under one label, which confirms that there is confusion regarding the usual drag-queen performance. / A presente dissertação busca rememorar a trajetória do espetáculo Jú Onze e 24, dirigido por Júlio Vilela, e suas últimas tentativas de sobrevivência, apresentando sua estrutura e circulação entre os espaços teatrais e espaços LGBT de Goiânia, tendo como foco principal as performances drag-queens. Tais drags, ao realizarem a produção de um corpo feminino traduzido como “montagens”, apresentam-se em diferentes cartografias. Estas cartografias são entendidas como modos de operação flexíveis que se remontam entre si. O fato de se produzir e se apresentar, caracteriza seu processo performativo, o que permitiu realizar um estudo sobre as transformações estéticas no espetáculo, baseado nos estudos sobre performance, teoria queer, gênero e sexualidade. Estas temáticas puderam incitar processos de identificação e diferença acerca de sujeitos de sexualidade desviantes, como travestis e transexuais que são confundidos ou colocados sob o mesmo rótulo, o que corrobora para que haja confusão usual a respeito da atuação drag-queen

Submitted by Simone Maisonave (simonemaisonave@hotmail.com) on 2014-09-17T18:00:51Z No. of bitstreams: 2 Daniel Luís Moura Vergara_Dissertacao.pdf: 17230682 bytes, checksum: bdb39abc6c8ab1272fee7afc06371722 (MD5) license_rdf: 19874 bytes, checksum: 38cb62ef53e6f513db2fb7e337df6485 (MD5) / Made available in DSpace on 2014-09-17T18:00:51Z (GMT). No. of bitstreams: 2 Daniel Luís Moura Vergara_Dissertacao.pdf: 17230682 bytes, checksum: bdb39abc6c8ab1272fee7afc06371722 (MD5) license_rdf: 19874 bytes, checksum: 38cb62ef53e6f513db2fb7e337df6485 (MD5) Previous issue date: 2014-06-30 / Sem bolsa / Este trabalho buscou analisar como a identidade “Trans” é construída, no universo das Drag Queens, Travestis e Transexuais da cidade de Pelotas, e de como a música participa do agenciamento identitário e corporal deste sujeito. Ao se considerar a música como importante elemento neste contexto, destaca-se a sua importância nos agenciamentos culturais e sociais, ressaltando a Drag Music como central na construção da identidade Drag Queen. Explorou esse universo no contexto da parada gay, espaços homoeróticos e espaços privados, em colaboração com estes sujeitos queer, de modo a realizar uma etnografia que possibilite a discussão sobre suas formas de identificação com o gênero e corpo construído. / This study sought to examine how the identity "Trans" is built, in the universe of Drag Queens, Transvestites and Transsexuals city of Pelotas, and how music participates in the agency and identity of this body subject. When considering music as an important element in this context, we highlight its importance in the cultural and social agencies, highlighting the Drag Music as central to the construction of identity Drag Queen. Explored this universe in the context of the gay parade, homoerotic spaces and private spaces, in collaboration with these queer subjects in order to conduct an ethnography that enables the discussion on forms of identification with gender and body built.

Submitted by Renata Lopes (renatasil82@gmail.com) on 2015-12-08T16:59:02Z No. of bitstreams: 1 rodrigosouzasilva.pdf: 2452076 bytes, checksum: 0e37efa3fe3d6737ccb8085f7561f3f1 (MD5) / Approved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2015-12-09T13:45:44Z (GMT) No. of bitstreams: 1 rodrigosouzasilva.pdf: 2452076 bytes, checksum: 0e37efa3fe3d6737ccb8085f7561f3f1 (MD5) / Made available in DSpace on 2015-12-09T13:45:44Z (GMT). No. of bitstreams: 1 rodrigosouzasilva.pdf: 2452076 bytes, checksum: 0e37efa3fe3d6737ccb8085f7561f3f1 (MD5) Previous issue date: 2015-04-01 / Essa dissertação aborda a montagem das drag queens enquanto um meio para pensar tanto em termos conceituais quanto para refletir sobre a própria existência. Em seu processo de montagem, as drags desafiam composições estratificadas de conceitos de gênero, de corpo, de aparência, de subjetividade, nos apontando para cruzamentos entre modos de vestir, maneiras de viver e formas de pensar. A pesquisa busca fugir de discursos molares, dominantes, e recorre, em seu auxílio, a conceitos propostos por autores tais como Deleuze, Guattari, Rolnik, Butler, Preciado, Bento, Preciosa, Miller e Bollon, entre outros, de falas das drag queens Kinaidos, La Beauty, Amanda Fierce, Duda Flux, de relatos autobiográficos, de fotografias de Nikki S Lee, dos filmes Paris is Burning e Morrer como um Homem. Costura-se, assim, um texto-roupa fragmentado, no qual sujeito e objeto se confundem, se entrelaçam. A investigação se encerra consciente de que se trata de um caminho inacabado e em constante transformação. / This dissertation addresses the impersonation of drag queens as a way to think both conceptually and to reflect on the existence. In their impersonation process, drags challenge stratified compositions of concepts as gender, body, appearance, subjectivity in pointing to intersections between modes of dress, ways of living and ways of thinking. The research seeks to escape from molars, dominant discourses, and uses, to its aid, the concepts proposed by authors such as Deleuze, Guattari, Rolnik, Butler, Preciado, Benedict, Precious, Miller and Bollon, among others, statements of drag queens Kinaidos, La Beauty, Amanda Fierce, Duda Flux, of autobiographical accounts, photographs of Nikki S Lee, films Paris is Burning and To die like a man. We sew, thus, a fragmented text-blank, in which subject and object are confused, intertwine. The research concludes aware that this is an unfinished and constantly changing path.