The following thesis examines the representation of Sámi that reside in the Swedish part of Lapland. Tourism has been a complement to the traditional occupations for many Sámi. However, representations of Sámi in web-marketing may be misleading the tourists in their understanding of the Indigenous people. The aim of the thesis is to examine regional marketing material in Sweden, found online, through a thematic analysis to highlight patterns and themes that are utilized for a competitiveness in the market. The use of language, when referring to Sámi, and adjectives to describe landscape, food, and people were focused upon. Six webpages were analysed, which showed a strong focus of the marketing material on reindeer, languages, handicrafts and food.

The purpose of this article is to compare the written discourse of the writer JoséMaría Arguedas (1911-1969) and the photographs of Martín Chambi (1891-1973) in order to analyze the representation of Peruvian indigenous in the 20th century. These two authors have been chosen because, each one of them in their communicative media, are emblematic to the understanding of indigenous identity in Peru. Although the production of Chambi occurs at the beginning of the 20th century and that of Arguedas is a little later, both authors shared the same historical period and were embedded in the Andean culture. Besides, both not only represented the indigenous as a different one from them, like indigenismo movement traditionally did, but were to some extent, actors of their discursive representations. Both artists were aware of the privileged situation of belonging to two different worlds. Chambi, from indigenous origin, had access to the circles of the intellectual elite who appreciated his work; Arguedas, who belonged to a mestizo family from Andahuaylas, had the fortune of being raised by indigenous settlers. In this article it is considered three examples to illustrate how the representation of the indigenous subaltern in the work of these authors, gives an agency to the indigenous people that they had not had before. / El propósito de este artículo es comparar el discurso narrativo del escritor José María Arguedas (1911 -1969) y las fotografías de Martín Chambi (1891-1973) con el fin de analizar la representación del indígena peruano en el siglo XX. Se han escogido estos dos autores porque, cada uno en su registro comunicativo, son claves para la comprensión de la identidad indígena en el Perú. Si bien la producción de Chambi se da a inicios del siglo XX y la de Arguedas es un poco más tardía, ambos autores compartieron una misma época y estuvieron embebidos en la cultura andina; no solo representaron lo indígena como un otro distinto a ellos, como lo hizo tradicionalmente el indigenismo, sino que fueron, hasta cierto punto, actores de sus representaciones discursivas. Ambos artistas eran conscientes de la situación privilegiada de pertenecer a dos mundos diferentes. Chambi, de origen indígena, tenía acceso a los círculos de una élite intelectual que apreciaba su trabajo; Arguedas, que perteneció a una familia mestiza de Andahuaylas, tuvo la fortuna de ser criado por pobladores indígenas. Se ofrecerán tres ejemplos para ilustrar cómo, en la representación del subalterno indígena de estos autores, esta cobra una agencia que no había tenido antes.

Submitted by Anaclaudia Mattos Villalba (anaclaudiamattosvillalba@gmail.com) on 2016-05-08T00:14:27Z No. of bitstreams: 1 Régis Garcia.pdf: 1076338 bytes, checksum: 3eccb8f0baf2af9b95c17eb8b5871a39 (MD5) / Approved for entry into archive by Gilmar Barros (gilmargomesdebarros@gmail.com) on 2016-05-11T14:56:12Z (GMT) No. of bitstreams: 1 Régis Garcia.pdf: 1076338 bytes, checksum: 3eccb8f0baf2af9b95c17eb8b5871a39 (MD5) / Made available in DSpace on 2016-05-11T14:56:12Z (GMT). No. of bitstreams: 1 Régis Garcia.pdf: 1076338 bytes, checksum: 3eccb8f0baf2af9b95c17eb8b5871a39 (MD5) Previous issue date: 2014 / Na década de 1970, o mundo passava por mudanças bastante significativas em termos culturais, especialmente devido à da ascensão da contracultura e de outros movimentos sociais que emergiam no complexo cenário pós-guerra da América do Norte. O sujeito norte-americano experimentava a possibilidade de engajar-se politicamente para oferecer um direcionamento diferente ao seu universo. Da mesma maneira, o indivíduo poderia optar pelo escapismo e pela construção de uma narrativa que o distanciasse dos problemas e os projetasse em Outro. Assim, a partir da observação da relação do sujeito eurocêntrico com a natureza selvagem e com o espaço do Outro, representados no romance Gone Indian (1973), de Robert Kroetsch, serão analisadas características que possam evidenciar a maneira pela qual o subtexto do silêncio e sua construção na narrativa subvertem as narrativas tradicionais e oferecem a possibilidade de uma leitura plural da história oficial a partir de fragmentos de estórias. Com base nas teorias propostas pelos Estudos Culturais e em teóricos como Gayatri Spivak, Homi K. Bhabha, Bill Ashcroft, Margaret Atwood, e outros, a análise tem como foco principal o discurso das personagens Jeremy Sadness e Mark Madham, ou ainda a ausência do discurso na figura da própria imensidão branca. / During the 1970s, the world was undergoing quite significant changes in cultural terms, especially given the rise of the counterculture and other social movements that emerged in the complex postwar scene in North America. While some Americans were experiencing the possibility of being politically engaged in order to offer a different perspective to their universe, other individuals were interested in the idea of escapism and in the construction of a narrative that could keep them away from all the possible problems. Considering the relationship of the Eurocentric subject with the wilderness and the space of the Other represented in the writing of Robert Kroetsch’s Gone Indian (1973), some characteristics might be analyzed based on Cultural Studies theories and scholars such as Gayatri Spivak, Homi K. Bhabha, Bill Ashcroft, Margaret Atwood, among others. Such characteristics will help to understand the subtext of silence and its construction in the narrative and discourse of the characters Mark Madham and Jeremy Sadness – or in the absence of speech in the figure of the great whiteness itself – undermining the traditional narratives through the exercise of a plural reading of the official history.

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This dissertation analyzes six contemporary texts (2008–18) that represent indigenous Mexicans to transnational audiences. Despite being disparate in authorship, genre, and mode of presentation, all address the failings of the Mexican state discourse of mestizaje that exalts indigenous antiquities while obfuscating the racialized socioeconomic hierarchies that marginalize contemporary indigenous peoples. Casting this conflict synecdochally as the national imposing itself on quotidian life, the texts help the reader/viewer come to understand it in personal, affective terms. The audience is encouraged to identify with how it feels to exist in a space where, paradoxically, the interruption of everyday life has become the status quo. Questioning the status quo by appealing to international audiences, these texts form a contestatory current against state mestizaje within the same transnational networks of legitimation employed in the 19th and 20th centuries to promote it. In this way, the texts work to build political solidarity via affective means in order to promote and propagate in the popular discourse a questioning how the Mexican state apprehends its indigenous citizens. Ultimately, they seek more inclusive, representative governmental policies for indigenous peoples in Mexico without rejecting capitalist hegemony: they are articulating it against itself.