This essay examines U.S. blackface performance in the twentieth century through the lens of Adorno's mass culture critiques, specifically of jazz music. Despite being rooted in the divisive logic of antiquated live performance traditions, blackface as a racist glyph flourishes in the technologically mediated social environment of the twentieth century. By replacing Adorno's critique of jazz with a direct investigation of blackface, the essay argues for a more materialist approach to minstrelsy studies that acknowledges both circulation and accumulation as oppressive hegemonic forces.

Although there have been many studies focusing on Asian Americans’ ethnic identity and the stereotypes associated with them, little is known about how Asian Americans negotiate their multiple layers of ethnic identity and respond to the stereotypes imposed on them. The main goals of the current study were to examine American-Raised Chinese’ (i.e., Chinese who were born and/or raised in America) multiple layers of ethnic identity and their negotiation process of these multiple layers of ethnic identity, the relationship between their ethnic identity and stereotypes, and the creative ways American-Raised Chinese interpreted and responded to stereotypes. Another goal of this study was to examine the role of an ethnic student organization on campus and American-Raised Chinese’s participation in the organization. Through Chinese Cultural Association, I interviewed eighteen informants and observed their daily practices in public and private settings. The findings indicated that American-Raised Chinese undergraduates choosing to participate in an ethnic student organization over other organizations reflected their active negotiation of the multilayered ethnic identity. In addition, by meeting Chinese of different nationalities on campus and abroad, these undergraduates came to realize the diverse background of Chinese individuals, leading them to reexamine and reconstruct their ethnic identity. In particular, these undergraduates developed diasporic Chinese identity that not only acknowledged the diversity of Chinese community in America in terms of nationality, but also transformed their American identity into “ethnic” identity among Chinese of different nationalities. The findings also showed that American-Raised Chinese’ negotiation of their ethnic identity was closely related to their perception of the stereotypes. The informants came to recognize the changing nature of stereotypes and this realization led them to reconstrue their understanding of ethnic identity. Furthermore, using anecdotes of American-Raised Chinese undergraduates’ self impersonation, I argued that these undergraduates proactively responded to the stereotypes by making parody about themselves. Through self impersonation, these undergraduates achieved the double intents of performing themselves as Asian American and simultaneously challenged what the dominant American society expected them to be. / text

Orientador: Samuel de Souza Neto / Banca: Luiz Gonçalves Junior / Banca: Alexandre Janotta Drigo / Resumo: Esta pesquisa teve como objeto de estudo os saberes na formação do mestre de capoeira Angola, considerando os valores, artefatos e atitudes presentes neste contexto. Pressupõe-se que os saberes provenientes de uma escola de vida formam a identidade e um perfil profissional, assim como o habitus que emerge dessa prática social. Há dois objetivos principais neste estudo: (a) Investigar os saberes constitutivos da capoeira Angola, bem como o perfil profissional de indivíduos que atuam no ensino desta atividade; e (b) identificar os elementos que auxiliam na caracterização da capoeira Angola enquanto escola. Entre as técnicas escolhidas adotamos a entrevista narrativa semi-estruturada, complementada pelo método de análise de conteúdo sob a ótica das representações sociais para proceder à análise e interpretação dos depoimentos de 7 mestres da capoeira Angola da cidade de Salvador-BA. Neste contexto, os depoimentos apontaram para uma estrutura e organização da capoeira que se assemelha às escolas de ofícios, onde são constituídos grupos que possuem formas peculiares de ensino, dotados de valores e rituais específicos. Esses valores e rituais formam um conjunto de elementos tais como a música, o canto, o toque, os movimentos e a roda, que se configuram em saberes adquiridos na vivência na capoeira Angola. Os mestres possuem valores pautados em uma tradição que tem sua essência na relação mestre-aprendiz, onde o tempo e a proximidade com o mestre são fatores preponderantes para que se obtenha o conhecimento. Juntamente com suas práticas de ensino, os mestres trazem uma gama de gestos, códigos, sinais e movimentos que os auxiliam durante seu ensino e expressam uma hexis corporal que também é expressa na forma de valores, fundamentos e rituais legitimados no passado e que permanecem vivos no presente. A partir deste panorama, concluímos que a caracterização... (Resumo completo, clicar acesso eletrônico abaixo) / Abstract: This research was based on the teaching knowledge of an Angola Capoeira master, involving moral values, artifacts and attitudes around this subject. It is assumed that knowledge acquired from life lessons build up an identity and a professional profile, such as habitus wich emerges from social practice. There are two main objectives to this study: (a) Investigating the standard knowledge on Angola capoeira professionals' profiles who teach such activity; and (b) identifying elements which feature Angola Capoeira as schooling. Among the chosen techniques, we picked the semi-structered narrative interview, complemented by the method of content analysis under the social representations perspective proceding the 7 Angola Capoeira masters' brief from Salvador - BA. In this abstract, briefs point to the structure and organization resemblance between capoeira and trade schools in which groups are formed carrying peculiar ways of teaching, full of moral values and specific rituals. These values and rituals build up a series of elements such as music, singing, playing, moves and the circle which become the main knowledge amongst Angola Capoeira experiences. Masters own moral standards based on a tradition which follows the master-apprentice relation pattern. Spending time and keeping close to a master are key factors to obtaining knowledge. Besides teaching techniques, masters bring along a range of gestures, codes, signals and moves that will assist themselves during their teaching process and express a body hexis transmitting other legitimate values, fundamentals and rituals from the ancient times that have survived throughout the years. From this point, we conclude that featuring Angola Capoeira as a trade school is a reality, especially on the educational and organizational content. Values, didactic actions and masters' postures tend to reach a preservation of traditions... (Complete abstract click electronic access below) / Mestre

The main goal of cryptography is to enable secure communication over a public channel; often a secret shared among the communicating parties is used to achieve this. The process by which these parties agree on such a shared secret is called key agreement. In this thesis, we focus on two-party key agreement protocols in the public-key setting and study the various methods used to establish and validate public keys. We pay particular attention to certificateless key agreement schemes and attempt to formalize a relevant notion of security. To that end, we give a possible extension of the existing extended Canetti-Krawzcyk security model applicable to the certificateless setting. We observe that none of the certificateless protocols we have seen in the literature are secure in this model; it is an open question whether such schemes exist. We analyze several published certificateless key agreement protocols, demonstrating the existence of key compromise impersonation attacks and even a man-in-the-middle attack in one case, contrary to the claims of the authors. We also briefly describe weaknesses exhibited by these protocols in the context of our suggested security model.

The main goal of cryptography is to enable secure communication over a public channel; often a secret shared among the communicating parties is used to achieve this. The process by which these parties agree on such a shared secret is called key agreement. In this thesis, we focus on two-party key agreement protocols in the public-key setting and study the various methods used to establish and validate public keys. We pay particular attention to certificateless key agreement schemes and attempt to formalize a relevant notion of security. To that end, we give a possible extension of the existing extended Canetti-Krawzcyk security model applicable to the certificateless setting. We observe that none of the certificateless protocols we have seen in the literature are secure in this model; it is an open question whether such schemes exist. We analyze several published certificateless key agreement protocols, demonstrating the existence of key compromise impersonation attacks and even a man-in-the-middle attack in one case, contrary to the claims of the authors. We also briefly describe weaknesses exhibited by these protocols in the context of our suggested security model.

This historical survey of speech journals and sixty-one textbooks covers seventy years of the treatment of the concept of impersonation within the Art of Oral Interpretation, from 1916 to 1985. The purpose of the study is to investigate the concept of impersonation, synthesize the material for the benefit of contemporary thought, provide clarity for the student, surveying scrutiny for the curious, and finally, provide additional contemporary knowledge in the light of' "a gradual evolution of teaching methods." The essential questions are: 1. How has the concept of impersonation within the Art of Oral Interpretation been treated in the past? 2. How is the concept of impersonation within the Art of Oral Interpretation treated in the present? 3. How should the concept of impersonation within the Art of Oral Interpretation be treated?

本文研究了弗吉尼亞.伍爾夫關於非個人化小說創作的現代主義美學思想，以及該思想在其小說中的體現。筆者認為伍爾夫的辯證式非個人化美學思想同時包含非個人化和作家個性特質，這集中體現在其鮮明的性別意識中。在伍爾夫看來，只有當作家在創作過程中保持著非個人化和超然的狀態，才可能創造出具有代表性和普遍意義的人物，且將作家自身的個性和性別特質完全地融入到文中。 / 本文第一章重點討論了伍爾夫的“雌雄同體“這一概念。此概念意在解決男女作家在其作品中表現出的干擾到作品藝術價值的個人憤恨情緒以及過度的性別意識。第二章分析了伍爾夫非個人化思想中的主體普遍性原則，指出作家應當將個人的，獨特的和特定的指代以及經歷提煉並轉化為具有更大包含性的共同經歷以及非個人化藝術。第三章研究了伍爾夫對於意識流小說的原創性貢獻，並提出其在自由間接引語這種敘述手法方面的創新有助於非個人化思想更全面的表述。續前三章分析了伍爾夫非個人化美學思想中緊密相連的三個組成部分之後，第四章探究了伍爾夫非個人化美學觀中非個人化和作家個性特質緊密相連的關係，指出伍爾夫所提出的“女性語句“強調了男女作家在創作過程中對其性別差異以及個性特色有所體現的重要性，並堅持只有當作家達到非個人化狀態後他們的作品才能全面地體現其個性特色。第五章嘗試使用伍爾夫的非個人化小說創作思想分析了她的三部小說，提出伍爾夫的非個人化思想與其作品間的呼應性。結論部分討論了伍爾夫和湯瑪斯.斯特恩斯.艾略特在非個人化美學觀點上的分歧和相似處並重申了本文的中心論點，即伍爾夫的辯證式非個人化小說創作美學思想同時包含了作家非個人化和個性特色。 / This dissertation is a study of Virginia Woolf’s modernist notion of impersonality in fiction writing and its exemplification in her novels. It argues that featured by a strong gender-consciousness, Woolf’s aesthetics of dialectical impersonality embraces both impersonality and personality. In Woolf’s view, only when the writer is impersonal and detached can he/she create characters of universal significance, with the writer’s unique personality and gender traits fully dissolved into the text. / Chapter One is centered around Woolf’s term "androgyny", which deals with the problem of bitter emotions and excessive sex-consciousness in both women’s and men’s writing. Chapter Two analyzes the thematic principle of universality in Woolf’s idea of impersonality, arguing that personal and particular references and experiences should be purified and transmuted into more encompassing experiences and impersonal art. Chapter Three examines the stylistic feature of impersonality, and argues that Woolf’s original contribution to stream of consciousness novels with its narrative technique of free indirect discourse contributes to a full expression of impersonality. After unraveling the three key components of impersonality which are tightly interconnected, Chapter Four explores the dialectical relationship between impersonality and personality, arguing that Woolf’s proposal of "a woman’s sentence" stresses the writer’s gender differences and personality in writing. As an illustration of Woolf’s impersonality theory, Chapter Five attempts to analyze three of Woolf’s fictions in the light of her idea of impersonality. Conclusion reveals Woolf’s divergence from T. S. Eliot’s pervasive doctrine of impersonality, and reinforces my central argument that Woolf’s aesthetics of dialectical impersonality in fiction writing involves both impersonality and personality. / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / Huang, Zhongfeng. / Thesis (Ph.D.)--Chinese University of Hong Kong, 2012. / Includes bibliographical references (leaves [292]-304). / Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web. / Abstract also in Chinese. / Abbreviations --- p.v / Introduction --- p.1 / An Anatomy of Virginia Woolf’s Aesthetics of Impersonality --- p.6 / The Dialectical Relationship between Impersonality and Personality --- p.28 / The Critical Heritage of Virginia Woolf’s Aesthetics of Impersonality --- p.30 / Chapter Chapter One --- Androgyny --- p.45 / An Anatomy of Androgyny --- p.51 / The Background of Virginia Woolf’s Proposal of Androgyny --- p.53 / Virginia Woolf and Androgyny --- p.62 / Shakespeare’s Incandescence --- p.69 / Coleridge and Virginia Woolf on Androgynous Minds --- p.74 / Androgynous Models in Virginia Woolf’s Works --- p.91 / Chapter Chapter Two --- Universality --- p.97 / Authorial Absence --- p.102 / Opposition to Politicization of Art --- p.135 / Poetic Spirit --- p.147 / Universality of Greek Literature --- p.156 / Chapter Chapter Three --- Stream of Consciousness --- p.161 / Stream of Consciousness Novels --- p.162 / Virginia Woolf and Stream of Consciousness Novels --- p.168 / Virginia Woolf and Free Indirect Discourse --- p.182 / Chapter Chapter Four --- A Woman’s Sentence --- p.193 / A Man’s Sentence --- p.195 / A Woman’s Sentence --- p.199 / Write the Body and French Feminisms --- p.216 / Criticism of “A Woman’s Sentence --- p.221 / Chapter Chapter Five --- Virginia Woolf’s Fictions and Impersonality --- p.232 / Orlando: A Biography and Androgyny --- p.232 / To the Lighthouse and Universality --- p.249 / Mrs. Dalloway and Stream of Consciousness --- p.264 / Conclusion --- p.282 / Works Cited --- p.292

Made available in DSpace on 2015-04-22T22:18:31Z (GMT). No. of bitstreams: 1 Andreza Bianca.pdf: 512410 bytes, checksum: fdf468e57cf79259a9106b28cebdde78 (MD5) Previous issue date: 2012-05-08 / Estudo sobre a narrativa de Hans Staden a partir da qual se busca conhecer os fatores que contribuíram para a representação dos nativos Tupinambás como seres selvagens . Analisamos a atmosfera comportamental que estava em curso na época em que a obra do viajante foi publicada. Por isso consideramos o padrão de comportamento da Renascença, tendo como referencial de estudo o manual de conduta de Erasmo de Rotterdam. Acreditamos que a visão de mundo de Hans Staden teve bastante influência na sua forma olhar os costumes nativos. Mas, também, que a convivência com o mundo ameríndio movimentou o si mesmo do viajante. Para atingir nossos objetivos, investigamos três eixos discursivos do relato: as intenções do autor , as condições de produção da obra e as as estratégias de edição .

Made available in DSpace on 2014-06-11T19:28:00Z (GMT). No. of bitstreams: 0 Previous issue date: 2010-09-27Bitstream added on 2014-06-13T18:57:02Z : No. of bitstreams: 1 souza_tv_me_rcla.pdf: 907852 bytes, checksum: dea2a770ae4f72a03989f99efe533f45 (MD5) / Esta pesquisa teve como objeto de estudo os saberes na formação do mestre de capoeira Angola, considerando os valores, artefatos e atitudes presentes neste contexto. Pressupõe-se que os saberes provenientes de uma escola de vida formam a identidade e um perfil profissional, assim como o habitus que emerge dessa prática social. Há dois objetivos principais neste estudo: (a) Investigar os saberes constitutivos da capoeira Angola, bem como o perfil profissional de indivíduos que atuam no ensino desta atividade; e (b) identificar os elementos que auxiliam na caracterização da capoeira Angola enquanto escola. Entre as técnicas escolhidas adotamos a entrevista narrativa semi-estruturada, complementada pelo método de análise de conteúdo sob a ótica das representações sociais para proceder à análise e interpretação dos depoimentos de 7 mestres da capoeira Angola da cidade de Salvador-BA. Neste contexto, os depoimentos apontaram para uma estrutura e organização da capoeira que se assemelha às escolas de ofícios, onde são constituídos grupos que possuem formas peculiares de ensino, dotados de valores e rituais específicos. Esses valores e rituais formam um conjunto de elementos tais como a música, o canto, o toque, os movimentos e a roda, que se configuram em saberes adquiridos na vivência na capoeira Angola. Os mestres possuem valores pautados em uma tradição que tem sua essência na relação mestre-aprendiz, onde o tempo e a proximidade com o mestre são fatores preponderantes para que se obtenha o conhecimento. Juntamente com suas práticas de ensino, os mestres trazem uma gama de gestos, códigos, sinais e movimentos que os auxiliam durante seu ensino e expressam uma hexis corporal que também é expressa na forma de valores, fundamentos e rituais legitimados no passado e que permanecem vivos no presente. A partir deste panorama, concluímos que a caracterização... / This research was based on the teaching knowledge of an Angola Capoeira master, involving moral values, artifacts and attitudes around this subject. It is assumed that knowledge acquired from life lessons build up an identity and a professional profile, such as habitus wich emerges from social practice. There are two main objectives to this study: (a) Investigating the standard knowledge on Angola capoeira professionals’ profiles who teach such activity; and (b) identifying elements which feature Angola Capoeira as schooling. Among the chosen techniques, we picked the semi-structered narrative interview, complemented by the method of content analysis under the social representations perspective proceding the 7 Angola Capoeira masters’ brief from Salvador – BA. In this abstract, briefs point to the structure and organization resemblance between capoeira and trade schools in which groups are formed carrying peculiar ways of teaching, full of moral values and specific rituals. These values and rituals build up a series of elements such as music, singing, playing, moves and the circle which become the main knowledge amongst Angola Capoeira experiences. Masters own moral standards based on a tradition which follows the master-apprentice relation pattern. Spending time and keeping close to a master are key factors to obtaining knowledge. Besides teaching techniques, masters bring along a range of gestures, codes, signals and moves that will assist themselves during their teaching process and express a body hexis transmitting other legitimate values, fundamentals and rituals from the ancient times that have survived throughout the years. From this point, we conclude that featuring Angola Capoeira as a trade school is a reality, especially on the educational and organizational content. Values, didactic actions and masters’ postures tend to reach a preservation of traditions... (Complete abstract click electronic access below)

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.