archives@tulane.edu / This dissertation is a study of the legal treatment of artisanal and small-scale mining (ASM) in Colombia. The main hypothesis of this dissertation is that in Colombia, over time, a byproduct of the formal legal system designed to govern mining resources has been the emergence of alternative management systems for mining resources at a small-scale level, which crafted an order without law. This has been the constant through the history of Colombia. Local regulatory arrangements defined by traditional local miners are complex, community-based systems for mining resources management (CBSMRM) that are rooted in the historical defense of rural territories. Their complexity and social legitimacy do not mean that they are ideal systems, and these community systems do not regulate all small-scale mining activities. However, some communities have put in place local orders that are not based on formal institutions, but rather are regulatory frameworks with diverse sources of authority, rules, objectives, actors, and forms of guiding the activity. An ethnographic work done in Marmato, Caldas showed that local miners, over time, and as product of many experiments and social transformations, have crafted CBSMRM. In other words, at the local level, disenfranchised groups gestate their own forms of relating to and using mining resources; over time, this creates community-based forms of mining resources management. The order without law has grown outside the formal institutions and clashes with them. As consequence, stakeholders on the ground are facing a gridlock situation in which none of the orders is capable achieving real effectiveness. To solve this situation, a dialogic platform is proposed with the intention of creating a bridge to connect legalities and trigger an open participatory mechanism in which legalities and stakeholders can define the new rules to govern those resources. In other words, define a governance order as a system of rules that gravitates around social legitimacy and not the source of the norms defining social interaction. This is an effort to open the door to new regulatory alternatives and dialogues among legalities; it is not a final answer to the crisis that extractive activities are experiencing but the proposal of a social laboratory of deliberation. / 1 / juan diego alvarez

This thesis focuses on the mature development of Christine Brooke-Rose’s experimental fiction, taking particular interest in the exemplary texts Between and Thru. I argue that these texts both critically refigure and respond to central aspects of the poststructuralist debate. I investigate Between and Thru specifically in relation to the theories of Irigaray, Barthes (in the case of Between), Derrida and Kristeva (in the case of Thru), demonstrating how the two novels develop these theorists’ core tenets in an innovative manner that critics have failed to recognise up to this point. Starting – in the first chapter – from Brooke-Rose’s first four conventional novels, I explore the issues which lie at the basis of the experimental direction she comes to take, and investigate her first two experimental novels, Out and Such. The second chapter explores Between in relation to the debate over language and identity, whereas the third chapter investigates the way the novel addresses the gender issue as related to language. The fourth chapter concentrates on Thru’s narrative technique in order to better elucidate – in the fifth and sixth chapters – how the novel succeeds in resolving both the tension generated by the notion of language as linked to the representation of an ontologically unstable reality, and the narrative anxiety deriving from the dispute around the death of the author and the ontological status of characters. The seventh chapter offers an overview of Brooke-Rose’s fictional output after Thru, while the eighth and final chapter aims at further positioning Brooke- Rose in the context of the postmodern debate, showing how her work represents a countertendency to the nihilist attitude engendered by the major critical tenets of postmodernism. The thesis thus sheds light on the importance and role of Brooke-Rose as a highly innovative intellectual figure, while rethinking some of the main literary implications of the postmodernist debate.

No description available.

The problem of this study was to determine what changes, if any, take place in student teachers' attitudes toward individualization of instruction and any changes in their philosophical beliefs concerning Experimentalism, during, or as a result of the student teaching experience.

This study is about British postwar fiction and its canonical reception according to a special categorisation of the novelists who were publishing in Britain during the two decades after the end of the Second World War. The study emphasises that mainstream literary criticism of 1950s and &rsquo / 60s Britain tended to catalogue the novelists of this period according to a well-established dichotomy between tradition and innovation in which the traditional realist novels, the neorealist works of C. P. Snow, Angus Wilson and Kingsley Amis, were privileged over any other fictional work having modernist innovative characteristics. Therefore, the first published novels of Iris Murdoch, Muriel Spark and John Fowles, novelists belonging to today&rsquo / s postmodern canon, were first critically recognised as social realist works in Britain. One of the objects of this study is to demonstrate the shortcomings of this classification. Moreover, the main argument of the study is that none of these three novelists should have been classified as a traditional realist novelist. All of these three British postwar novelists were reconceptualising traditional realism by self-reflexively including the problem of representation as part of their conventional subject matters in their formal realist novels.

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No. of bitstreams: 1 riguetto_iz_me_sjrp.pdf: 1133128 bytes, checksum: 473c891b33b02cc4e31b10208e9f9ec6 (MD5) Previous issue date: 2016-02-25 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / Em nosso trabalho investigaremos as peculiaridades literárias que fazem das duas primeiras obras do projeto Inferno Provisório (2005-2012), de Luiz Ruffato, a saber, Mamma, son tanto felice (2005) e O mundo inimigo (2005), romances originais que, por sua linguagem experimental, sua organização interna e seu compromisso com o real, permitem-nos entrever uma releitura crítica dos discursos histórico e literário. De acordo com Jean Claude Schmitt (2001), a história, a partir do século XX, com a Escola dos Annales, perde seu caráter de representação dos grandes feitos e passa a considerar as mentalidades e a subjetividade como registros historiográficos importantes. Desse modo, abre-se caminho para a inter-relação da história com outras ciências humanas, as sociais, por exemplo, e com a própria arte, levando, portanto, a uma renovação das fronteiras entre a história e a literatura. Assim, a partir das perspectivas teóricas que relativizam tais fronteiras, entendemos que a obra de Ruffato pretende a revisão dos últimos cinquenta anos da história brasileira, em uma leitura a ―contrapelo‖ da história oficial nacional, sem, no entanto, perder ou diminuir as riquezas estéticas da arte literária. Por isso mesmo, é essencial, também, investigar como Luiz Ruffato trabalha a historicidade, já que é inegável a presença desta nos romances; entender se suas obras apresentam determinados aspectos narrativos, formais e temáticos que os aproximem da natureza do romance histórico, já que rompe com características tradicionais desse subgênero, determinadas por Georg Lukács (2011), principalmente por não representar ficcionalmente um determinado e pontual evento histórico, como uma revolução, mas todo o processo da modernização do Brasil por meio dos pontos de vista do proletariado urbano, flagrado em sua constituição como classe; por fim, investigaremos como as obras permitem relações com a metodologia da História Nova assim como estabelecida pela Escola dos Annales, ao desvelar literariamente as subjetividades dos indivíduos marginalizados socialmente. / This study investigates the literary features which make Mamma, son tanto felice (2005) and O mundo inimigo (2005) – the first two books of the Inferno Provisório (2005-2012) pentalogy – into original novels whose experimental language, internal organisation and commitment to the real suggest a critical rereading of both the historical and literary discourses. According to Jean Claude Schmitt (2001), with the Annales School in the twentieth century, history has ceased to represent great feats and started considering the mentalities and subjectivity as important forms of historiographical record. This has paved the way for history to intersect with other fields of the humanities, like social sciences, as well as with art, which leads to the redrawing of the bounds between history and literature. Hence, considering the theoretical perspectives that blur these boundaries, we understand that Ruffato‘s works revise the past fifty years of Brazilian history by reading our official national history ―against the grain‖ without sacrificing the aesthetic richness of literary art. Therefore, to argue this case, we need to examine how Luiz Ruffato works out historicity in his novels in order to check whether or not his works contain formal and thematic aspects that bring them closer to the historical novel. works eschew the defining characteristics of this subgenre determined by György Lukács (2011), mainly because they do not fictionally represent a specific historical event, like a revolution. Instead, they portray the whole modernisation process in Brazil from the perspective of the urban proletariat pictured as class. Finally, we shall investigate how these works bear parallels with the methodologies of the Nouvelle histoire and the Annales School as they literarily unveil the subjectivity of the socially marginalised individuals.

Orientador: Arnaldo Franco Junior / Banca: Rejane Cristina Rocha / Banca: Orlando Nunes de Amorim / Resumo: Circuito fechado (1972) é uma obra que explora o universo urbano da cidade grande na literatura brasileira contemporânea, por meio da articulação entre os planos temático e formal. O presente trabalho objetiva investigar como se dá a representação do universo urbano em Circuito fechado. Para isso, selecionamos um conjunto de narrativas representativas do trabalho de escrita realizado por Ricardo Ramos no livro, abordando, neste conjunto, a representação das relações entre o homem e a metrópole contemporânea sob um prisma que leva em consideração a noção benjaminiana de experiência; o experimentalismo construído por meio da incorporação de traços característicos das linguagens cinematográfica, jornalística e publicitária na escrita literária; e, por fim, a intertextualidade / Abstract: Circuito fechado (1972) is a work which explores the urban universe of the big city in contemporary Brazilian literature, through linkages between the formal and thematic plans. This study investigates the representation of the urban universe in Circuito fechado. To this end, a set of narratives have been selected representing the work by Ricardo Ramos. We address the relations between man and the contemporary metropolis, all while considering the notion of experience of Walter Benjamin; the experimentalism constructed through filming, journalistic and advertising languages in literary writing and intertextuality / Mestre

<p>Few symbols of 1950s-1960s America remain as central to our contemporary conception of Cold War culture as the iconic ranch-style suburban home. While the house took center stage in the Nixon/Khrushchev kitchen debates as a symbol of modern efficiency and capitalist values, its popularity depended largely upon its obvious appropriation of vernacular architecture from the 19th century, those California haciendas and Texas dogtrots that dotted the American west. Contractors like William Levitt modernized the historical common houses, hermetically sealing their porous construction, all while using the ranch-style roots of the dwelling to galvanize a myth of an indigenous American culture. At a moment of intense occupational bureaucracy, political uncertainty and atomized social life, the rancher gave a self-identifying white consumer base reason to believe they could master their own plot in the expansive frontier. Only one example of America’s mid-century love affair with commodified vernacular forms, the ranch-style home represents a broad effort on the part of corporate and governmental interest groups to transform the vernacular into a style that expresses a distinctly homogenous vision of American culture. “Other than a Citizen” begins with an anatomy of that transformation, and then turns to the work of four poets who sought to reclaim the vernacular from that process of standardization and use it to countermand the containment-era strategies of Cold War America.</p><p>In four chapters, I trace references to common speech and verbal expressivity in the poetry and poetic theory of Charles Olson, Robert Duncan, LeRoi Jones/Amiri Baraka and Gwendolyn Brooks, against the historical backdrop of the Free-Speech Movement and the rise of mass-culture. When poets frame nonliterary speech within the literary page, they encounter the inability of writing to capture the vital ephemerality of verbal expression. Rather than treat this limitation as an impediment, the writers in my study use the poem to dramatize the fugitivity of speech, emphasizing it as a disruptive counterpoint to the technologies of capture. Where critics such as Houston Baker interpret the vernacular strictly in terms of resistance, I take a cue from the poets and argue that the vernacular, rooted etymologically at the intersection of domestic security and enslaved margin, represents a gestalt form, capable at once of establishing centralized power and sparking minor protest. My argument also expands upon Michael North’s exploration of the influence of minstrelsy and regionalism on the development of modernist literary technique in The Dialect of Modernism. As he focuses on writers from the early 20th century, I account for the next generation, whose America was not a culturally inferior collection of immigrants but an imperial power, replete with economic, political and artistic dominance. Instead of settling for an essentially American idiom, the poets in my study saw in the vernacular not phonetic misspellings, slang terminology and fragmented syntax, but the potential to provoke and thereby frame a more ethical mode of social life, straining against the regimentation of citizenship.</p><p>My attention to the vernacular argues for an alignment among writers who have been segregated by the assumption that race and aesthetics are mutually exclusive categories. In reading these writers alongside one another, “Other than a Citizen” shows how the avant-garde concepts of projective poetics and composition by field develop out of an interest in black expressivity. Conversely, I trace black radicalism and its emphasis on sociality back to the communalism practiced at the experimental arts college in Black Mountain, North Carolina, where Olson and Duncan taught. In pressing for this connection, my work reveals the racial politics embedded within the speech-based aesthetics of the postwar era, while foregrounding the aesthetic dimension of militant protest.</p><p>Not unlike today, the popular rhetoric of the Cold War insists that to be a citizen involves defending one’s status as a rightful member of an exclusionary nation. To be other than a citizen, as the poets in my study make clear, begins with eschewing the false certainty that accompanies categorical nominalization. In promoting a model of mutually dependent participation, these poets lay the groundwork for an alternative model of civic belonging, where volition and reciprocity replace compliance and self-sufficiency. In reading their lines, we become all the more aware of the cracks that run the length of our load-bearing walls.</p> / Dissertation

A presente dissertação analisa a relação entre direito e experimentalismo institucional por meio de um estudo sobre o surgimento de políticas públicas de capital semente no Brasil. A partir de uma pesquisa empírica sobre a colaboração público-privada na criação e execução de fundos públicos de investimentos em empresas nascentes do BNDES e do trabalho de Mario Schapiro, a pesquisa analisa os arranjos jurídicos que procedimentalizam canais de comunicação entre o Estado e os gestores privados e geram aprendizado institucional para revisão dos arranjos contratuais da política. Ainda, a dissertação apresenta uma resenha da literatura de experimentalismo democrático em especial, Roberto Mangabeira Unger e Charles Sabel e a utiliza para analisar criticamente os arranjos jurídicos dos fundos de capital semente do BNDES, que ainda não garantem formas de accountability e controle social das políticas públicas de capital de risco. Ao analisar a experiência do Fundo Criatec, a dissertação a identifica como um exemplo de inovação institucional do BNDES, dotada de flexibilidade e horizontalidade. Entretanto, conclui-se que tais políticas públicas estão distantes do modelo de experimentalismo democrático e que há novas questões para os juristas brasileiros. Sugere-se que o novo ativismo estatal brasileiro incita uma agenda de sociologia jurídica aplicada. / This dissertation examines the relationship between law and institutional experimentalism through a study of the emergence of seed capital public policies in Brazil. Based on an empirical research about the public-private collaboration in the creation and implementation of the Brazilian Development Banks public investment funds in emerging firms, and the studies of Mario Schapiro, the research examines the legal arrangements that proceduralizes channels of communication between the state and private managers, and generates institutional learning to the revision of the policys contractual arrangements. Still, the dissertation presents a review of the democratic experimentalism literature - in particular, Roberto Mangabeira Unger and Charles Sabel - and uses it to critically examine the legal arrangements of seed capital funds from the BNDES, which do not yet provide forms of accountability and social control on venture capital policies. By analyzing the experience of the Criatec Fund, the dissertation identifies it as an example of institutional innovation in the BNDES, endowed with flexibility and horizontality. However, the research shows that such policies are far from the democratic experimentalism model and that there are new issues for Brazilian legal scholars. Furthermore, it suggests that the new state activism in Brazil encourages an agenda of applied socio-legal studies

Esta dissertação tem por objetivo analisar a poética do quadrinho experimental, tendo como corpus principal a obra Building Stories, do quadrinista norte-americano Chris Ware. Building Stories é composto por quatorze impressos, de diferentes formatos e tamanhos. Não é apresentada uma ordem de leitura, permitindo ao leitor escolher seu caminho livremente (dentro das 87 bilhões de combinações possíveis). A primeira parte da pesquisa ocupa-se de fazer um recorte diacrônico que contextualize a obra de Ware, mostrando movimentos de ruptura do quadrinho norte-americano, a partir dos underground comix de 1960-70. Dentre as diversas vertentes surgidas do underground, destaca-se o alternativo ao qual pertencem nomes como Art Spiegelman, Richard McGuire e Chris Ware. A consideração das características do quadrinho alternativo permitem mostrar algumas das singularidades da narrativa gráfica experimental e como Ware se coloca em relação a essa produção. Se faz necessário também apresentar o trabalho de Ware, seu percurso como quadrinista e as características de sua criação, exploradas também nas histórias analisadas nesta dissertação. A segunda parte da pesquisa faz um recorte de duas das quatorze histórias contidas em Building Stories, para análise. A seleção visa apresentar a obra de Ware, mostrando narrativas gráficas que apresentam algumas de suas principais características e a poética dessas narrativas. As análises se utilizam (i) da teoria greimasiana sobre o texto, observando o percurso gerativo do sentido; (ii) a teoria dos sistemas semissimbólicos, a partir dos estudos de Jean-Marie Floch e Antonio Vicente Pietroforte sobre o texto sincrético dos quadrinhos e (iii) a teoria zilberbergiana, naquilo que concerne a missividade e o ritmo. Por meio da aplicação desses três modelos teóricos, busca-se fazer uma análise abrangente dos quadrinhos de Ware, mostrando a complexidade de suas narrativas, nas quais a estrutura formal do quadrinho faz uma proposta de leitura alternativa. A terceira parte, por fim, se debruça sobre a estrutura de Building Stories, estabelecendo um paralelo entre as múltiplas combinações possíveis de histórias e o conceito saussuriano de relação sintagmática. A subversão da leitura linear (presente nas narrativas gráficas convencionais) permite que se percorra o quadrinho por diversos caminhos, a partir de diferentes pontos de partida: a identidade dos personagens é construída a cada texto escolhido. / This dissertation aims to analyze the poetics of the experimental comic, presents as main corpus the oeuvre Building Stories, by North American comic author Chris Ware. Building Stories consists of fourteen prints, of different shapes and sizes. A reading order is not suggested, allowing the readers to freely choose their own path (within its 87 billion possible combinations). The first part of this research makes a diachronic clipping that contextualizes Wares work, presenting the rupture movements of American comics, starting from the underground comix of the 1960s and 70s. Among the varieties of non-mainstream comics that came after the underground, alternative comics are highlighted, featuring names such as Art Spiegelman, Richard McGuire and Chris Ware. A consideration of the characteristics of alternative comics shows some of the singularities of the experimental graphic narrative and how Wares comics stand in relation to this form of production. It is also necessary to present Wares work, his course as a comics author and the characteristics of his creations, explored also in the stories analyzed in this dissertation. The second part of the research selects two of the fourteen prints in Building Stories, for further analysis. The selection aims to present Wares oeuvre, showing graphic narratives that feature some of its characteristics and their poetic qualities. The analysis makes use of (i) the Greimasian theory of text, following the generative course of meaning; (ii) the theory of semi-symbolic systems, based on the studies of Jean-Marie Floch and Antonio Vicente Pietroforte on the syncretic text of comics and (iii) the Zilberbergian theory, in regards to missivity and rhythm. Through the application of these theoretical models, it is sought to make a comprehensive analysis of Wares comics, showing the formal complexity of his narratives, in which the formal structure of the comic proposes an alternative form of reading. The third part, lastly, focuses on the structure of Building Stories, establishing a parallel between its multiple possible combinations and the Saussurian concept of syntagmatic relation. The subversion of the linear reading (featured in conventional graphic narratives) allows the reader to follow different paths in the comic, from different starting points: the identity of its characters is constructed with each chosen text.