Submitted by Filipe dos Santos (fsantos@pucsp.br) on 2016-12-06T18:29:36Z No. of bitstreams: 1 Beatriz Pereira da Silva.pdf: 1938225 bytes, checksum: ab6bba32e28e92067dae4536556324e1 (MD5) / Made available in DSpace on 2016-12-06T18:29:36Z (GMT). No. of bitstreams: 1 Beatriz Pereira da Silva.pdf: 1938225 bytes, checksum: ab6bba32e28e92067dae4536556324e1 (MD5) Previous issue date: 2016-11-21 / Brazilian law does not expressly regulate gender identity and changing name and gender of the transsexual documents. This work is subject to legal protection of the name of transgender people. The objective of the research is, based on the premise that transsexuality is not a disease, seek legal elements to justify the withdrawal of the lawsuit requirement for rectification of the name of the transsexual person. Currently, the transsexual person is required to propose action in rectifying civil registration seat (Articles 55 and following of Law 6015/73) in order to obtain judicial authorization to conduct the name change. Most of time the judge only defers the request when the person has undergone genital reassignment surgery. This work aims to demonstrate that such legal requirement violates the rights of transgender people provided for the Constitution and the Human Rights treaties ratified by Brazil, as well as propose the name change in the administrative field / O ordenamento jurídico brasileiro não regulamenta expressamente a identidade de gênero e a alteração do nome e gênero constantes dos documentos da pessoa transexual. Esta pesquisa tem como tema a proteção jurídica do nome das pessoas transexuais. O objetivo da pesquisa é, partindo da premissa de que a transexualidade não é doença, buscar elementos jurídicos para justificar o afastamento da exigência de ação judicial para retificar o nome da pessoa transexual. Atualmente, a pessoa transexual é obrigada a propor ação de retificação em assento de registro civil (artigos 55 e seguintes da Lei nº6.015/73) a fim de obter autorização judicial para realizar a alteração de nome, direito fundamental inserido no rol dos direitos da personalidade. Muitas vezes o julgador apenas defere o pedido quando a pessoa se submeteu à cirurgia de redesignação genital. Esta dissertação tem como objetivo demonstrar que tal exigência legal viola direitos das pessoas transexuais, previstos na Constituição Federal de 1988 e nos Tratados de Direitos Humanos ratificados pelo Brasil, além de propor a alteração do nome por meio da via administrativa

This dissertation considers a neglected legacy of the long 1960s (1959-1975): the struggle to form lasting connections across seemingly irreparable social divides. Through a comparative analysis of North American novels by James Baldwin, Toni Morrison, Margaret Atwood, Linda Hogan, Tim O'Brien and Susan Choi, I identify a common story their works all share: the narrative of affiliation. These novels of affiliation, I argue, represent the creation of lateral bonds of attachment among individuals of different races, ethnicities, genders, sexualities and classes. As a transgressive and unruly form of interpersonal relationship, affiliation works to bridge divisions by joining together the contradictory feelings of erotic desire and friendship. Defining an overlooked sub-genre of the post-1960 North American novel of development, this project illuminates the heterogeneous bonds of solidarity that undoubtedly arose during the sixties, yet have been continually silenced by national discourses of identity and multiculturalism. In the wake of neo-liberalism, 1960s collective projects for social change, including the New Left, the civil rights movement, Black Nationalism, feminism, and the Asian American movement, among others, appear historically and ideologically separate, and even antagonistic. In stark contrast, this dissertation illuminates the common ethics of affiliation that aligned these disparate movements and was built from collaborative, immanent and provisional attempts at repairing suffering and disparity. Positioned not within, but alongside the fraught history of the sixties, this project offers a new portrait of the subterranean modes of experimental living that animated the era.

This ethnographic study explores diverse ways in which sexuality and social hierarchies and inequalities interact in the lives of low-income youth who were trained as peer-educators and sexual health and rights advocates in Ayacucho, Peru. It examines three central questions: 1) How are meanings about sexuality related to social hierarchies and social prestige among these youth? 2) How do quotidian manifestations of social inequity shape vulnerability of youth to sexual abuse and sexual risks, and their sexual agency to face these situations? and 3) What are the possibilities and limitations of existent sexual rights educational programs to diminish sexual vulnerability of youth facing diverse forms of inequality, such as economic, gender, ethnic and inter-generational disparities? I analyze what may be termed as the political economy of sexual vulnerability among low-income youth, and show the concrete ways in which it operates in their everyday life. Likewise, this research studies sexuality as a domain of reproduction, resignification and critique of social inequality and social hierarchies. The context is an Andean city, which in recent decades has experienced incomplete processes of democratization, and also a greater penetration of consumerism and transnational ideas and images. This study also reveals cultural logics of youth about sexual risks and complex dimensions of their sexual and gender agency. In terms of policies and programs, this research offers evidence and reflections about some challenges and limitations of a participatory sexual rights project within a context of poverty and social inequalities in urban low-income areas of Peru.

In this study I combine music analysis with critical theory to investigate how different conceptions of feminine identity--intersecting with race and class--are materialized through recorded sound. I present interpretive analyses of four popular songs recorded and released between 1967 and 1974: "Baby, I Love You" by Aretha Franklin, "Fist City" by Loretta Lynn, "If I Were Your Woman" by Gladys Knight and the Pips, and "Jolene" by Dolly Parton. My analyses focus on vocal performance, and vocal quality (or timbre) in particular, as I investigate the means by which the sounds of these recordings participate in cultural discourse on gender, sexuality, race, and class. These songs narrate moments in sexual love relationships (the hope of new love or the threat of infidelity), while the performances of each vocalist, the studio musicians, and the work of engineers and producers combine to create representations of black and working-class femininity that express varying degrees of assertiveness and vulnerability in the face of unequal gender power relations. I compare and contextualize these sonic expressions of identity with the personas these vocalists presented in their professional and public lives, illustrating how these recordings participate in the construction of a multi-faceted and always-emergent history of American womanhood. In order to accurately describe the relationship between musical sound and intersectional gender identity, I develop a phenomenological analytic methodology sensitive to how embodied responses (the types of physical engagements invited by sound), associative (or connotative, semiotic) responses, and social and historical context of both the recording and listener all contribute to the process of interpretation. I take my own situated listening experience as the object of study, recognizing how my listening practices and reactions, and overlapping identities--as a white, upper-middle-class woman and music scholar--impact my interpretations of these songs. My focus on the physical engagement inherent in music listening underpins the approach to vocal quality analysis I present at the outset of my study, in which I link descriptive language about voice to the physical components of vocal sound production. In my analyses of lyrics, instrumental quality, dynamics, rhythm, form, pitch, and the sonic "space" afforded by each recording, I continue to attend to the types of embodied and associative responses afforded by each element, demonstrating how an engagement with these sounds informs conceptions of gender identity.

Violent events involving female students symbolized the rise and fall of the New Left in Japan, from the death of Kanba Michiko in a mass demonstration of 1960 to the 1972 deaths ordered by Nagata Hiroko in a sectarian purge. This study traces how shifting definitions of violence associated with the student movement map onto changes in popular representations of the female student activist, with broad implications for the role women could play in postwar politics and society. In considering how gender and violence figured in the formation and dissolution of the New Left in Japan, I trace three phases of the postwar Japanese student movement. The first (1957-1960), which I treat in chapters one and two, was one of idealism, witnessing the emergence of the New Left in 1957 and, within only a few years, some of its largest public demonstrations. Young women became new political actors in the postwar period, their enfranchisement commonly represented as a break from and a bulwark against "male" wartime violence. Chapter two traces the processes by which Kanba Michiko became an icon of New Left sacrifice and the fragility of postwar democracy. It introduces Kanba's own writings to underscore the ironic discrepancy between her public significance as a "maiden sacrifice" and her personal relationship to radical politics. A phase of backlash (1960-1967) followed the explosive rise of Japan's New Left. Chapter three introduces some key tabloid debates that suggested female presence in social institutions such as universities held the potential to "ruin the nation." The powerful influence of these frequently sarcastic but damaging debates, echoed in government policies re-linking young women to domestic labor, confirmed mass media's importance in interpreting the social role of the female student. Although the student movement imagined itself as immune to the logic of the state and the mass media, the practices of the late-1960s campus-based student movement, examined in chapter four, illustrate how larger societal assumptions about gender roles undergirded the gendered hierarchy of labor that emerged in the barricades. The final phase (1969-1972) of the student New Left was dominated by two imaginary rather than real female figures, and is best emblematized by the notion of "Gewalt." I use the German term for violence, Gewalt, because of its peculiar resonances within the student movement of the late 1960s. Japanese students employed a transliteration--gebaruto--to distinguish their "counter-violence" from the violence employed by the state. However, the mass media soon picked up on the term and reversed its polarities in order to disparage the students' actions. It was in this late-1960s moment that women, once considered particularly vulnerable to violence, became deeply associated with active incitement to violence. I explore this dynamic, and the New Left's culture of masculinity, in chapters five and six.

This dissertation investigates how textual negotiations of "human feeling" and its ethically disruptive potential fundamentally shaped the production of literature in Japan over the early modern-modern divide well into the 20th century. "Human feeling" (Jap. jô, Chin. qing) was a loaded term in traditional Confucian discourses that subsumed amorous sentiment and sexual desire. It was seen as both a powerful force that could reinforce important societal bonds (such as the one between husband and wife) and as transgressive and ethically suspect. While traditional literary discourse, reaching back to the "Great Preface" of the Chinese Classic of Poetry (Shijing), defined poetry as a medium that could channel potentially unregulated emotions and desires, from the 18th century onward a strong awareness of "human feeling" started shaping the production of a broader spectrum of Japanese genres, such as jôruri puppet theater and, especially from the early 19th century, narrative fiction. I argue that the necessity to represent and write about potentially transgressive feelings and desires lies at the heart of major genres in 19th century Japan. At the same time this engendered the often conscious impulse to regulate these feelings ethically, for instance, through the specific dynamics of gender and plot. I define negotiations of "human feeling" as the simultaneous impulse in writing not only to represent but also to ethically and socially regulate and control feelings and desires. Precisely because the representation and negotiation of "human feeling" define the very essence of Japanese poetic writing and, from the 19th century onward, increasingly that of narrative writing as well, I argue that negotiations of "human feeling" are central to the broader emergence and formation of modern literature in Japan. My first chapter examines selected ninjôbon ("human feeling") by Tamenaga Shunsui (1790-1843) and Kyokutei Bakin's (1767-1848) long narrative yomihon ("books for reading") cycle Nansô Satomi Hakkenden (Eight Dog Chronicle of the Nansô Satomi Clan, 1814-42). I examine how both ninjôbon and yomihon writings explore the deep opposition as well as the implicit affinity between "human feeling" and the sphere of Confucian ethics. My second chapter investigates a variety of novels (shôsetsu) written in the "long" decade of the 1880s: the translated novel Karyû shunwa (Spring Tale of Flowers and Willows, 1878-79), political fiction, and Tsubouchi Shôyô's (1859-1935) rewriting and reform of political fiction at the end of the decade. I for instance examine how these novels -- such as Suehiro Tetchô's (1849-96) Setchûbai (Plum Blossoms in the Snow, 1886) or Shôyô's Imo to se kagami (Mirror of Marriage, 1885-86) -- allegorically negotiate both transgressive sexual desire and chaste spiritual love within a teleological plot structure of democratic reform and heroic activity. My third chapter turns to Meiji-period fiction after 1890, in particular to texts that thematize the new medium of art as well as the figure of the artist or the literary writer. I argue that these texts -- Kôda Rohan's (1867-1947) Fûryûbutsu (The Buddha of Romance, 1889), Mori Ôgai's (1862-1922) German trilogy (1889-90), or Tayama Katai's (1871-1930) Futon (The Quilt, 1907) - continue the ethical negotiation between transgressive sexual desire and spiritual feelings within an implicitly allegorical plot structure that points back to 1880s political fiction. My fourth chapter largely focuses on the diversity of Natsume Sôseki's (1867-1916) early literary oeuvre, including various genres of poetry, so-called sketch writing (shaseibun), and novels. I argue that Sôseki's literary experimentation, for instance in Kusamakura (The Grass Pillow, 1906), with various non-novelistic genres stems from the desire to devise an alternative regime of literature that mediates the representation of "human feeling" in a more detached manner than that of the novel. At the same time, Sôseki's novel writing - as I demonstrate through my reading of Sorekara (And Then, 1909) - brings back a non-detached focus on "human feeling" that profoundly echoes the earlier attempt in 19th century fiction to reconcile transgressive feelings with the telos of a heroic and ethically driven plot.

This dissertation examines the emergence of queer personhood among black publics and medical cultures in South Africa over the past century. Based on more than two years of fieldwork in South Africa, it contains both a historical and an ethnographic component. The historical research was comprised of archival research and 16 life history interviews exploring how black South Africans reference multiple cultural fields of sexual and gender identities to elaborate composite formations of sexual subjectivity and personhood. In the ethnographic component, I conducted participant-observation and 70 in-depth interviews among various groups, including a number of queer, non-governmental organizations and two global health, HIV-focused clinical sites. In these settings, I examined how social actors, in the context of community settings and global health and community development projects, address sexual and gender nonconformity. Existing scholarship on gender and sexuality in South Africa presumes the existence of only one cultural field of gender and sexual identities in this social field. In contrast, my dissertation argues that multiple cultural fields and sexual ideologies have emerged coevally here. One is a liberal field of sexual subjectivity consisting of globally diffuse concepts of sexual personhood that are historically rooted in a psychiatric style of reasoning, such as homosexual, heterosexual, etc.; the other fields are more localized and are based on ethnic cultural fields of sexual and gender identities. However, they have incorporated aspects of, a globally diffuse psychiatric and anatomical style of reasoning about sexuality. Whereas the `global' liberal sexual ideology dictates a strict alignment of sex and gender, and has done so for some time, the ethnic sexual ideologies I examine, until recently, have not. My work explores the interrelationship of these multiple cultural fields. It follows the enactment of composite sexual subjectivities that are produced when social actors call upon multiple cultural fields of meaning about gender and sexuality. The study demonstrates how race and class mediate the co-emergence of these multiple cultural fields, and how they are entwined with political and economic ideologies and global health knowledge systems. The introductory chapter maps the theoretical and empirical terrain as well as the main questions that are discussed and proposed through the rest of the monograph. The second chapter is a historical analysis of gendered and sexual personhood among black South Africans during the twentieth century. Chapter 3 maps how discourses about cultural authenticity are being used to both contest and constitute LGBTQ sexualities as African. As these cultures and sexual ideologies co-emerge, Chapter 4 examines how they have become entwined with particular political traditions and ideologies during the past century. Chapter 5 explores the ways that biomedicine and public health only reference the a liberal sexual ideology when producing knowledge about black queer bodies and populations in the context of global health HIV interventions. Specifically, I explore the enactment of the MSM and WSW epidemiologic risk categories within HIV science. In Chapter 6, the disjuncture between global health knowledge and everyday experiences of gender and sexuality are highlighted through an ethical case study of the implementation of the HIV intervention known as pre-exposure prophylaxis, or PrEP. The case study concretely demonstrates how the symbolic violence enacted by medical cultures, which only reference the liberal cultural field, conditions structural violence in the form of unjust distribution of health resources among queer groups. The analyses presented in this dissertation suggest new avenues for queer and feminist anthropological inquiry throughout the sub-Saharan African region. In particular, this scholarship contributes to a novel understanding of the political economy of global health and sexuality by exploring how knowledge production and circulation about sexuality within global health contributes to gendered health disparities.

The feminization of Mexican migration to the United States is increasing, and more mothers who migrate leave their children behind for long periods to be cared for by grandparents or relatives in Mexico. Women also form new families when they arrive in the United States, but continue to "care" for the children who stayed in Mexico. We know little about how transnational familial ties across the U.S. -Mexico border influence the educational trajectories of children who stay behind, are born here and are brought over from Mexico. This study asks how Mexican maternal migration has influenced care arrangements and education trajectories of the children in Mexico, comparing these to their siblings who were brought over to America or who were born in the United States. In this dissertation I address how U.S. bound Mexican maternal migration shapes and influences children and youth in both sides of the border. These families, or what refer to "transnational care constellations" include the following types of members: New York based undocumented mothers; the children they brought to the U.S. (also undocumented); their U.S. born offspring (U.S. citizens); children they have left behind in Mexico; and children's caregivers in Mexico. Drawing on ethnographic method I examine transnational caregiving practices among women with children in New York and Mexico. After recruiting twenty families to participate in my study I established three levels of engagement with participants. Eight transnational care constellations constituted the center of my qualitative research. I spent time with them in Mexico and in New York and tracked half of them for over three years. The second level of engagement happened with the other twelve families who I interviewed and observed in New York City, but visited less times in Mexico. Finally, participants who belonged to the third level of engagement were forty mothers in New York City, fathers, caregivers and over sixty children and youth in Mexico who were not matched. In addition I surveyed over 200 children between the ages of seven and sixteen in three schools in Puebla to assess the impacts of maternal remittance on school achievement. Specifically, I compare the educational experiences and social trajectories of three groups of children: the ones left in Mexico, the undocumented children and youth brought to the U.S., and those born in the U.S. The ethnographic core of my dissertation work tracked twenty transnational families who are split between Mexico and the U.S over a period of 18 months. I have traveled back and forth between different states in Mexico and New York in order to capture the dynamism of communities who are "here and there." The children and youth in what I refer to as "care constellation" share the same biological mother who has migrated to New York City, but their lives differ dramatically in terms of academic achievement and familial support.

Travestimento/travestitismo: Masquerade and Mischief in Boccaccio’s World examines Boccaccio’s use of masquerade to parody social conventions and invert the cultural themes characterizing fourteenth-century Italy. Its aim is to demonstrate the myriad ways in which the medieval author masks and unmasks characters—often using gender as performance—to gain access to either sublimated sexuality or forbidden power, and ultimately to reveal rather than conceal human nature. This study offers a close reading of the Ninfale fiesolano and five novellas (2.3, 2.9, 3.1, 3.2, and 4.2) of the Decameron, focusing on characters that go beyond their usual identity and/or the limits of their biological sex to occupy transgendered spaces. Today, our understanding of gender studies encompasses a far more inclusive understanding of the term “gender.” This dissertation begins with the concept that gender is fluid and performative, and that though the body may be fixed, its gender is not confined to restrictions imposed on it by society. Some of Boccaccio’s characters, accordingly, occupy multiple gendered spaces while assuming the identity of another sex, in particular Zinevra/Sicurano, the abbot/princess, and Africo (Chapters Two, Three, and Four). Although far from the transformations found in the mythological world of Ovid’s Metamorphoses, Boccaccio’s tales offer the “metamorphosis” of the masquerade, that is, a false outward show, a pretense, or façade that oftentimes is achieved through disguise or costume. My analysis considers how masquerade in this way (travestimento) — or in its more radical form of cross-dressing (travestitismo) — paradoxically offers access to the more authentic aims of the protagonists. Although critics have written on deception in the Decameron, they have not dealt thoroughly with the trope of masquerade and have altogether ignored the concept of transvestism. Travestimento/travestitismo: Masquerade and Mischief in Boccaccio’s World advances our understanding of gender and identity in Boccaccio’s work to show that his ideas may help us understand not only the Middle Ages, but also our own epoch.

The commencement of the Victorian period in the 1830s coincided with the abolition of chattel slavery in the British colonies. Consequently, modern readers have tended to focus on how the Victorians identified themselves with slavery’s abolition and either denied their past involvement with slavery or imagined that slave past as insurmountably distant. “Willing Slaves: The Victorian Novel and the Afterlife of British Slavery” argues, however, that colonial slavery survived in the Victorian novel in a paradoxical form that I term “willing slavery.” A wide range of Victorian novelists grappled with memories of Britain’s slave past in ways difficult for modern readers to recognize because their fiction represented slaves as figures whose bondage might seem, counterintuitively, self-willed. Nineteenth-century Britons produced fictions of “willing slavery” to work through the contradictions inherent to nineteenth-century individualism. As a fictional subject imagined to take pleasure in her own subjection, the willing slave represented a paradoxical figure whose most willful act was to give up her individuality in order to maintain cherished emotional bonds. This figure should strike modern readers as a contradiction in terms, at odds with the violence and dehumanization of chattel slavery. But for many significant Victorian writers, willing slavery was a way of bypassing contradictions still familiar to us today: the Victorian individualist was meant to be atomistic yet sympathetic, possessive yet sheltered from market exchange, a monad most at home within the collective unit of the family. By contrast, writers as diverse as John Stuart Mill, Charlotte Brontë, Charles Dickens, and George Eliot located willing slavery in a pre-Victorian history where social life revolved, they imagined, around obligation and familial attachments rather than individual freedom. Rooted in this fictive past, the willing slave had no individual autonomy or self-possession, but was defined instead by a different set of contradictions: a radical dependency and helpless emotional bondage that could nonetheless appear willing and willful, turning this fictional enslavement itself into an expression of the will. For Dickens, willing slavery provided an image of social interdependency that might heal the ills of the modern world by offering what one All the Year Round author described as “a better slavery than loveless freedom.” For novelists such as Brontë and Eliot who were no less critical of Victorian individualism, however, fantasies of willing slavery became the very fiction that their work aimed to dissolve. Chapter One argues that Frances Trollope’s groundbreaking antislavery fiction mirrors West Indian slave narratives in describing the slave plantation as coldly mechanical, and then extends this vision to portray early industrial England as an emotionally deprived social world similarly in need of repair. In the second chapter, I argue that Dickens responds to that emotional deprivation, and the replacement of traditional family bonds with what he describes as the “social contract of matrimony,” by producing a nostalgic account of willing slavery’s dependencies that draws on discourses of slavery found in British case law, where attorneys could exhort the slaveholder to “attach [slaves] to himself by the ties of affection.” The last two chapters argue that Charlotte Brontë’s Villette and George Eliot’s Daniel Deronda ironize this earlier nostalgia through female characters who grapple with the archetype of the willing slave. As their characters adopt and then discard the theatrical pose of willing subjection embodied by melodramatic heroines such as Dion Boucicault’s “octoroon” Zoe, Brontë and Eliot draw attention to the contradictions inherent to willing slavery, reframing it as a fantasy enjoyed exclusively by white Britons intent on shoring up the familial intimacies that helped preserve their social and economic dominance. These ironic reframings reveal a final paradox: though willing slavery helped create an analogy between African chattel slaves and British family members in fiction, this trope ultimately highlights the differences between the chattel slavery of Africans abroad, where the disruption of kinship bonds was a crucial method for exploitation and domination, and the imagined household subjection of English characters, rooted in the putatively binding qualities of family feeling.