Elian Gonzalez’s case is an intriguing example of how a small-scale dispute over the custody of a boy escalated to the point at which it became an important element in a much larger conflict involving the U.S. and Cuban governments and the Cuban American exile community. Looking at this case from the standpoint of the field of dispute resolution, understanding both the interests and positions that drove the dispute for Elian’s custody and how the conflict dynamics played out during this conflict will help shed light on Elian’s impact on both the United States and the Cuban American exile community. The purpose of this study is to understand the interests, positions, and conflict dynamics in the Elian Gonzalez’s custody dispute and its impact on the U.S. government and public opinion and on the Cuban American community, using case study documents and qualitative and quantitative studies. Using an interest-based approach (Fisher, Ury, & Patton, 1991), this study attempts to separate the respective parties’ interests from their positions during this conflict. Further, using the conflict analysis escalation dynamics model (Mitchell, 2006) and the conflict dimensions model (LeBaron & Pillay, 2006), this study demonstrates how the dispute over Elian’s custody escalated from a small-scale, interpersonal dispute into a major international struggle involving communities, countries, and U.S. public opinion at large. / Graduate

Este estudo buscou analisar uma parte da obra da artista contemporânea francesa Dominique Gonzalez-Foerster, pondo em foco especialmente sua relação com a arquitetura moderna e com o Brasil. Nessa direção, interessava também compreender de que maneira a artista opera as dimensões do tempo e do espaço em suas obras. Para isso, fez-se necessário um estudo prévio sobre o rompimento das barreiras artísticas com a arquitetura e outros campos de conhecimento, um aprofundamento sobre a síntese e autonomia no campo artístico, assim como uma investigação acerca de algumas teorias para a arte contemporânea e os grupos de artistas que se conformaram ao redor de um conceito de Estética Relacional. A pesquisa se deteve sobre o período que compreende os anos finais da década de 1980 até 2014 e estudou obras realizadas no Brasil e no estrangeiro. O início do trabalho abrange as obras entre as décadas de 1990 até os anos 2000 que partem de uma proposta de Dominique Gonzalez-Foerster de produzir ambientes domésticos no âmbito institucional: são as obras da série Chambres. Essas obras suscitam questões como a tecnologia, a imaterialidade, os vazios potenciais e a criação de novas narrativas pelos expectadores/visitantes ativos. A seguir, estudamos o modo como a artista evoca e migra para os espaços exteriores produzindo obras institucionais que tenham uma relação com cidades, ou ainda propostas para parques e jardins que são pensados como a primeira exterioridade ainda vinculada de algum modo à esfera doméstica de suas obras iniciais. São abordados nesse ponto do estudo os conceitos de deslocamento, da constituição fragmentada do indivíduo contemporâneo, além do papel das viagens em sua obra. Ainda nesse ponto, estudamos o conceito de jogo presente na obra de Dominique e em diálogo com a produção de Helio Oiticica. Finalmente, a última etapa desse estudo tratou da relação da obra de Dominique Gonzalez-Foerster com a arquitetura moderna, as influências da cidade de Grenoble, sua arquitetura, urbanismo e comunidade artística; e a arquitetura moderna brasileira, em obras entre os anos 1999 e 2014. Para essa parte do estudo fez-se necessário contextualizar a migração do projeto de modernidade para áreas periféricas, que produziriam modernidades alternativas e, segundo Gonzalez-Foerster, imbuídas de potencialidades. Estudamos também a perda de utopia da modernidade e de que maneira a artista trabalharia isso em suas obras. A partir do conceito de tropicalização, segundo um ponto de vista específico desse termo definido por Gonzalez-Foerster, são exploradas três mostras que operam com esse conceito e que em diversos momentos dialogam com o restante da produção da artista. Por fim, percorremos outras quatro obras e exposições individuais e coletivas das quais a artista participou no Brasil entre os anos de 2010 à 2014 com a intenção de fazer um pequeno panorama da produção da artista no país, somando um total de 25 obras analisadas. / This study has the intention to analyze the body of Dominique Gonzalez- Foerster\'s work, specially its relations with modern architecture and Brazil. Therefore, this research is also interested to understand the way the artist deals with time and space along her work. That being so, it was necessary to proceed a previous studies about the limits suppression of art and architecture and other fields of knowledge; an investigation about the synthesis and autonomy in the artistic field; and also about contemporary art theories and its artist\'s conformation around the concept of Relational Aesthetics. This research covers the period of time from 1980 to 2014 and studied works produced in Brazil and abroad. The works from 1990 to 2000 in the beginning of this study are one part of Dominique Gonzalez-Foerster\'s proposal of producing domestic environments inside the art institutions: the Chambres series. These pieces of art reflect about issues such as technology, immateriality, potential emptiness and the possibility of new narrative creation by the active viewers/visitants. The next step was to study how the artist recalls and also migrates to exterior spaces producing institutional works which are in relation to the cities, or else, projects for parks and gardens thought as the first possible exteriority still connected somehow to the domestic feel of her first works. At this point, we had to look into the concepts of displacement, of the fragmented constitution of the contemporary beings, and the role of the travels in her work. Still, the concept of playing, present in Dominique Gonzalez-Foerster\'s work, and its relation to Helio Oiticica\'s proposals were also examined. Finally, the last part of this study regards and analyzes the relation of her work with modern architecture, the influences of Grenoble, its architecture, urban planning and artistic community; and the modern Brazilian architecture, in her works between 1999 and 2014. For this part of the study it was essential to briefly historically contextualize the process of the ideals of modernity migration for peripheral areas, which produce alternative modernities, for Dominique Gonzalez Foerster, filled with potentiality. The loss of modernity utopia and the way the artist comprises it in her works were also a relevant subject of this dissertation. Considering the concept of tropicalization, developed in a specific way by Gonzalez-Foerster, three exhibitions were studied, especially in their way to dialogue with the rest of the artist\'s work. At last, other four individual exhibitions in Brazil between 2010 and 2014 were analyzed with the intention to produce a panorama of the artist\'s work in the country, and to sum them to all of the 25 works in this research.

Este estudo buscou analisar uma parte da obra da artista contemporânea francesa Dominique Gonzalez-Foerster, pondo em foco especialmente sua relação com a arquitetura moderna e com o Brasil. Nessa direção, interessava também compreender de que maneira a artista opera as dimensões do tempo e do espaço em suas obras. Para isso, fez-se necessário um estudo prévio sobre o rompimento das barreiras artísticas com a arquitetura e outros campos de conhecimento, um aprofundamento sobre a síntese e autonomia no campo artístico, assim como uma investigação acerca de algumas teorias para a arte contemporânea e os grupos de artistas que se conformaram ao redor de um conceito de Estética Relacional. A pesquisa se deteve sobre o período que compreende os anos finais da década de 1980 até 2014 e estudou obras realizadas no Brasil e no estrangeiro. O início do trabalho abrange as obras entre as décadas de 1990 até os anos 2000 que partem de uma proposta de Dominique Gonzalez-Foerster de produzir ambientes domésticos no âmbito institucional: são as obras da série Chambres. Essas obras suscitam questões como a tecnologia, a imaterialidade, os vazios potenciais e a criação de novas narrativas pelos expectadores/visitantes ativos. A seguir, estudamos o modo como a artista evoca e migra para os espaços exteriores produzindo obras institucionais que tenham uma relação com cidades, ou ainda propostas para parques e jardins que são pensados como a primeira exterioridade ainda vinculada de algum modo à esfera doméstica de suas obras iniciais. São abordados nesse ponto do estudo os conceitos de deslocamento, da constituição fragmentada do indivíduo contemporâneo, além do papel das viagens em sua obra. Ainda nesse ponto, estudamos o conceito de jogo presente na obra de Dominique e em diálogo com a produção de Helio Oiticica. Finalmente, a última etapa desse estudo tratou da relação da obra de Dominique Gonzalez-Foerster com a arquitetura moderna, as influências da cidade de Grenoble, sua arquitetura, urbanismo e comunidade artística; e a arquitetura moderna brasileira, em obras entre os anos 1999 e 2014. Para essa parte do estudo fez-se necessário contextualizar a migração do projeto de modernidade para áreas periféricas, que produziriam modernidades alternativas e, segundo Gonzalez-Foerster, imbuídas de potencialidades. Estudamos também a perda de utopia da modernidade e de que maneira a artista trabalharia isso em suas obras. A partir do conceito de tropicalização, segundo um ponto de vista específico desse termo definido por Gonzalez-Foerster, são exploradas três mostras que operam com esse conceito e que em diversos momentos dialogam com o restante da produção da artista. Por fim, percorremos outras quatro obras e exposições individuais e coletivas das quais a artista participou no Brasil entre os anos de 2010 à 2014 com a intenção de fazer um pequeno panorama da produção da artista no país, somando um total de 25 obras analisadas. / This study has the intention to analyze the body of Dominique Gonzalez- Foerster\'s work, specially its relations with modern architecture and Brazil. Therefore, this research is also interested to understand the way the artist deals with time and space along her work. That being so, it was necessary to proceed a previous studies about the limits suppression of art and architecture and other fields of knowledge; an investigation about the synthesis and autonomy in the artistic field; and also about contemporary art theories and its artist\'s conformation around the concept of Relational Aesthetics. This research covers the period of time from 1980 to 2014 and studied works produced in Brazil and abroad. The works from 1990 to 2000 in the beginning of this study are one part of Dominique Gonzalez-Foerster\'s proposal of producing domestic environments inside the art institutions: the Chambres series. These pieces of art reflect about issues such as technology, immateriality, potential emptiness and the possibility of new narrative creation by the active viewers/visitants. The next step was to study how the artist recalls and also migrates to exterior spaces producing institutional works which are in relation to the cities, or else, projects for parks and gardens thought as the first possible exteriority still connected somehow to the domestic feel of her first works. At this point, we had to look into the concepts of displacement, of the fragmented constitution of the contemporary beings, and the role of the travels in her work. Still, the concept of playing, present in Dominique Gonzalez-Foerster\'s work, and its relation to Helio Oiticica\'s proposals were also examined. Finally, the last part of this study regards and analyzes the relation of her work with modern architecture, the influences of Grenoble, its architecture, urban planning and artistic community; and the modern Brazilian architecture, in her works between 1999 and 2014. For this part of the study it was essential to briefly historically contextualize the process of the ideals of modernity migration for peripheral areas, which produce alternative modernities, for Dominique Gonzalez Foerster, filled with potentiality. The loss of modernity utopia and the way the artist comprises it in her works were also a relevant subject of this dissertation. Considering the concept of tropicalization, developed in a specific way by Gonzalez-Foerster, three exhibitions were studied, especially in their way to dialogue with the rest of the artist\'s work. At last, other four individual exhibitions in Brazil between 2010 and 2014 were analyzed with the intention to produce a panorama of the artist\'s work in the country, and to sum them to all of the 25 works in this research.

Le travail artistique ne se construit pas sur une question préalable mais sur l’émergence toujours renouvelée de questions imprévisibles.L’oeuvre d’art à l’époque de sa discrétion technique tire bien évidemment son titre du texte de Walter Benjamin L’oeuvre d’art à l’époque de sa reproductibilité technique. Dans son texte, Benjamin essaie d’envisager les conséquences esthétiques et politiques de la reproductibilité technique. Nous essayons (modestement) de reposer la même question à l’heure du numérique.Cette question n’était pas donnée d’emblée. Elle est apparue dans le tressage complexe de la pratique. Dans ce tressage de problématiques apportées par la pratique elle-même, deux temps sont aujourd’hui visibles :- le temps de la reproductibilité technique, du livre d’artiste et du don ;- le temps de la discrétion, du numérique et de la disponibilité.Ces questions sont apparues de proche en proche et jamais selon un plan préétabli. Le travail d’analyse, n’est donc pas la recherche d’une stratégie ou d’un plan préexistant mais le relevé a posteriori d’un territoire découvert par une marche dans un pays inconnu.Ce tressage continu de la pratique et de la théorie est présent dans l’écriture même de la thèse. S’y mêlent à égalité des oeuvres plastiques, des textes littéraires, des articles, des manifestes et des écrits théoriques. / Artistic work is not built on a previous question but always renewed by the emergence of unforeseen issues.The Work of Art in the Age of Technical Discretion obviously takes its title from the text of Walter Benjamin The Work of Art in the Age of Mechanical Reproduction. In his text, Benjamin tries to consider the aesthetic and political consequences of technical reproducibility. We try (modestly) to ask the same question in the digital age.This question was not immediately given. It appeared in the complex braiding practice. In this weaving problems introduced by the practice itself, two times are now visible:- Time of technical reproducibility, artist’s book and gift;- The time of discretion, digital and availability.These questions have arisen step by step and not according to a predetermined plan. The analytical work, therefore, is not looking for a pre-existing strategy or plan, but the survey retrospectively territory discovered by a walk in an unknown country.This continuous braiding of practice and theory is in the writing of the thesis too. Mingle with equal plastic works, literary texts, articles, manifestos and theoretical writings.

[pt] A dissertação focaliza o romance Úrsula (1859), da escritora Maria Firmina dos Reis, a partir de algumas intervenções de Lélia Gonzalez e de Djamila Ribeiro. A proposta é examinar diferentes ações intelectuais que, articuladas, propuseram dar centralidade à voz de mulheres pretas. Trata-se de um diálogo propositivo entre intelectuais que se comprometeram à reflexão acerca de suas próprias condições de inserção em uma sociedade fortemente marcada pela permanência constitutiva de rastros da experiência colonial no Brasil. A partir de clivagens étnicas e de gênero, a análise do romance oitocentista se articula a outras vozes femininas que, já no século XX, se notabilizaram através de gestos de resistência e de insubordinação, ecoando, simultaneamente, o projeto de Maria Firmina dos Reis. / [en] The dissertation focuses on the novel Úrsula (1859), by the writer Maria Firmina dos Reis, based on some interventions by Lélia Gonzalez and Djamila Ribeiro. The proposal is to examine different intellectual actions that, articulated, proposed to give centrality to the voice of black women. It is a propositional dialogue between intellectuals who have committed themselves to the reflection about their own conditions of insertion in a society strongly marked by the permanence constitutive of traces of the colonial experience in Brazil. Based on ethnic and gender cleavages, the analysis of the nineteenth-century novel articulates with other feminine voices that, in the twentieth century, became remarkable through gestures of resistance and insubordination, simultaneously echoing the project of Maria Firmina dos Reis.

Following the Revolution of 1959, the Cuban government implemented policy reforms geared towards increasing women's rights. Despite these efforts, however, sexism persists in Cuban society. This difference between rhetoric and reality is reflected in the song genre, nueva trova, which foregrounds a progressive agenda for women's rights but continues to marginalize their participation. Prominent nueva trova performers Silvio Rodríguez and Pablo Milanés advocate women's rights in their songs, but their music remains couched in patriarchal structures that prevent women from speaking for themselves. Sara González, one of the first prominent female nueva trova composers, was able to integrate into government-supported trova institutions by adopting a masculine, revolutionary aesthetic, which she then adapted to feminist themes to combat the ideological disparity. Recent performers have split between a more complacent attitude, found in novísima trova, or a direct challenge to the patriarchy centered on an aesthetic of contestation in rap cubano.

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[pt] A dissertação tem como objetivo apresentar e comparar as trajetórias e pensamento de Angela Yvonne Davis (Alabama/EUA, 1944) e Lélia Almeida Gonzalez (Minas Gerais/Brasil, 1935 - Rio de Janeiro/Brasil, 1994) - duas intelectuais e militantes dos movimentos negros nos EUA e no Brasil. Angela destacou-se internacionalmente na década de 1960 como símbolo da luta negra nos EUA, o impacto da sua imagem se inscreveu na memória daqueles que viveram aqueles anos. Lélia foi militante importante do movimento negro brasileiro de finais dos anos 1970, quando também participou ativamente luta política pela redemocratização do país. Minha discussão das obras dos autores enfatiza as teorizações desenvolvidas acerca da inserção das mulheres negras em seus países, com destaque para o debate a respeito das experiências das mesmas com a escravidão. Explora-se, ao longo da dissertação, o legado conceitual que deixaram para os estudos contemporâneos sobre relações raciais. / [en] My goal with this thesis to present and compare the trajectories and thoughts of Angela Yvonne Davis (Alabama/USA, 1944) and Lélia Almeida Gonzalez (Minas Gerais/Brasil, 1935 - Rio de Janeiro/Brasil, 1994) - both women intellectuals and activists of the Black movements in the US and Brazil. Angela became internationally known in the 1960s as a Black struggle symbol in the US. The impact of her figure still lingers on in the memory of those who lived in those years. Lélia was an important activist in the Brazilian Black movement of the late 1970s, when she intensively took part in the political struggle for the return of democracy in Brazil. My discussion of the authors´ main works emphasizes the theoretical essays they developed on the social insertion of black women in their countries. It specially highlights the debate forwarded on black women experiences under slavery. Throughout the thesis I call attention for the contribution of their conceptual legacy for contemporary studies on racial relations.