Made available in DSpace on 2016-08-29T14:11:31Z (GMT). No. of bitstreams: 1 tese_8562_Daniella Bertocchi Moreira Dissertação.pdf: 841076 bytes, checksum: fc76375cbada31de8b8249e6c9b3c8f7 (MD5) Previous issue date: 2015-02-20 / Entre as décadas de 1960 e 1980, o Brasil passou por um dos piores momentos de sua história, quando esteve sob o regime de uma ditadura militar. Nesses 21 anos de ditadura, de 1964 a 1985, o país e seu povo passaram por uma transformação radical, tanto na política quanto no comportamento social. Testemunhas dessa época, os escritores foram responsáveis por deixar registrado o retrato de uma sociedade que sofreu com a repressão, mas que ao mesmo tempo viu o Brasil prosperar como em nenhum outro momento anterior. Dentre esses escritores estava a carioca Leila Míccolis, nascida em 1947 e atuante até os dias de hoje. Com sua costumeira ironia e seu humor ácido, Leila Míccolis critica a sociedade expondo seu lado mais obscuro e hipócrita, mirando especialmente nos valores estabelecidos há séculos pela sociedade, principalmente naqueles que limitam a liberdade das mulheres. Sua produção, entretanto, vai além de uma crítica feminista, passeando por assuntos diversos, com leveza, mas ao mesmo tempo de forma densa. Há em sua obra poemas eróticos, infantis, feministas, que criticam o cotidiano e defendem uma minoria, deixando clara a sua marca, que é a resistência ao status quo. Através da leitura da obra de Leila Míccolis, em especial a antologia Desfamiliares (2013), e da análise de textos que se referem à literatura de testemunho e à poesia produzida no Brasil a partir da década de 1960, pretende-se demonstrar que a poesia de Leila Míccolis se enquadra com precisão no conceito de poesia de testemunho, tendo em mente que a autora em seus poemas se coloca no lugar das vítimas de injustiças e testemunha as misérias e dores do cotidiano. Palavras-chave: Literatura de testemunho. Poesia Marginal. Leila Míccolis. Ditadura militar.

Submitted by Maykon Nascimento (maykon.albani@hotmail.com) on 2015-12-09T18:47:19Z No. of bitstreams: 2 license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) Poesia de testemundo em Leila Miccolis.pdf: 842850 bytes, checksum: e7ddcc7e13ca9c3e6c05747d49588172 (MD5) / Approved for entry into archive by Patricia Barros (patricia.barros@ufes.br) on 2016-06-30T12:19:03Z (GMT) No. of bitstreams: 2 Poesia de testemundo em Leila Miccolis.pdf: 842850 bytes, checksum: e7ddcc7e13ca9c3e6c05747d49588172 (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) / Made available in DSpace on 2016-06-30T12:19:03Z (GMT). No. of bitstreams: 2 Poesia de testemundo em Leila Miccolis.pdf: 842850 bytes, checksum: e7ddcc7e13ca9c3e6c05747d49588172 (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) / Entre as décadas de 1960 e 1980, o Brasil passou por um dos piores momentos de sua história, quando esteve sob o regime de uma ditadura militar. Nesses 21 anos de ditadura, de 1964 a 1985, o país e seu povo passaram por uma transformação radical, tanto na política quanto no comportamento social. Testemunhas dessa época, os escritores foram responsáveis por deixar registrado o retrato de uma sociedade que sofreu com a repressão, mas que ao mesmo tempo viu o Brasil prosperar como em nenhum outro momento anterior. Dentre esses escritores estava a carioca Leila Míccolis, nascida em 1947 e atuante até os dias de hoje. Com sua costumeira ironia e seu humor ácido, Leila Míccolis critica a sociedade expondo seu lado mais obscuro e hipócrita, mirando especialmente nos valores estabelecidos há séculos pela sociedade, principalmente naqueles que limitam a liberdade das mulheres. Sua produção, entretanto, vai além de uma crítica feminista, passeando por assuntos diversos, com leveza, mas ao mesmo tempo de forma densa. Há em sua obra poemas eróticos, infantis, feministas, que criticam o cotidiano e defendem uma minoria, deixando clara a sua marca, que é a resistência ao status quo. Através da leitura da obra de Leila Míccolis, em especial a antologia Desfamiliares (2013), e da análise de textos que se referem à literatura de testemunho e à poesia produzida no Brasil a partir da década de 1960, pretende-se demonstrar que a poesia de Leila Míccolis se enquadra com precisão no conceito de poesia de testemunho, tendo em mente que a autora em seus poemas se coloca no lugar das vítimas de injustiças e testemunha as misérias e dores do cotidiano. / Between the 1960s and 1970s Brazil went through what can be considered one of the worst moments in its History with the military dictatorship. Through these 21 years of dictatorship the country and its people went through a huge transformation not only in politics but also in the social behavior. Witnesses of this moment, the writers were responsible for registering the portrait of a society that suffered with censorship and repression, but at the same time saw the country prosper like no other moment in History. Among these writers was Leila Míccolis, born in Rio de Janeiro, in 1947, a poet that still produces a lot. With irony and an acid humor, Leila Míccolis criticizes the society exposing its most obscure and hypocrite side, aiming especially at the values established centuries ago, particularly those that limit the freedom of women. Her production, however, goes beyond a feminine criticism, dealing with many different themes, lightly, but at the same time in a dense way. Her poems can be erotic, even pornographic at times, about children, feminist, but all of them criticize the daily life and defend the minority, leaving in all of the her mark, which is a resistance to the status quo. Through the reading of her work, especially the collection of poems Desfamiliares and through the analysis of texts related to the Testimony and the poetry produced during the 1970s, we intend to show that her poetry fits perfectly in the concepts of the testimony poetry having in mind that the author puts herself in the place of the victims of injustice and witnesses the misery and the pains pf the daily life.

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Cette thèse étudie le thème du mariage interculturel et des identités hybrides de personnages dans The Pickup (2001) de Nadine Gordimer, The Translator (1999) de Leila Aboulela et A Mighty Collision of Two Worlds (2002) de Safi Abdi. L’étude cherche à explorer comment les identités culturelles des protagonistes changent lorsqu’ils se marient avec une personne d’une culture différente des leurs et qu’ils rencontrent de nouvelles traditions et de nouvelles croyances. La théorie de l’hybridité développée par Homi Bhabha et par d’autres théoriciens de l’hybridité peut être un outil pertinent pour analyser l’identité des personnages. Bhabha soutient que ceux qui traversent les cultures vivent dans un “in-between space” ou un “third space,” fluctuant entre leur culture d’origine et leur culture d’accueil. Cependant, les conclusions de l’étude montrent que ces personnages de fiction présentent des cas qui n’ont pas été explorés par les théoriciens de l’hybridité. On s’aperçoit d’autre part, que plusieurs facteurs de nature culturelle, religieuse, personnelle ou sociale influencent les protagonistes dans les romans : soit ils leur identité hybride s’affirme, soit ils conservent la façon de vivre de leur pays d’origine. On remarque aussi que les mariages interculturels et l’identité hybride sont liés entre eux. Le mariage interculturel peut être à la fois la manifestation de l’hybridité, et dans ce cas il est perçu comme une affirmation du vécu hybride servant du même coup de moyen d’aller vers l’hybridité. Contrairement à ce à quoi on pourrait s’attendre, on observe que parfois les relations interculturelles entraînent une réaction anti-hybride / This dissertation studies the subject of cross-cultural marriage and hybrid identities of characters in Nadine Gordimer’s The Pickup (2001), Leila Aboulela’s The Translator (1999), and Safi Abdi’s A Mighty Collision of two Worlds (2002). The study seeks to find out how the cultural identities of the protagonists in the novels change when they marry across cultures and face new traditions and beliefs. Hybridity theory, which is developed by Homi Bhabha and other hybridity theorists, can be a relevant tool for analysis of the characters’ identities. Bhabha contends that those who cross cultures live in an “in-between space” or “third space” in which they oscillate between their native culture and the host culture. However, results show that fictional characters present cases which have not been explored by hybridity theorists. In addition, it is stressed that various factors of a cultural, religious, personal, and social nature affect the protagonists in the novels to either develop a hybrid identity or maintain their native way of life. It is also found that cross-cultural marriage and hybridity are correlated. The former can be both a manifestation of hybridity, where the protagonists’ cross-cultural marriage is seen as an assertion of their hybrid experience, and as a means to hybridity. Contrary to expectations, it is observed that cross-cultural relationships lead to an anti-hybrid reaction

Mestre -- Escola Nacional de Saude Publica, Rio de Janeiro, 2002.

The norm shift in mediated scandals A comparative study of how the norm-breaking acts behind a mediated scandal have changed from the 1990s to the 2020s. This study aims to discover how the normbreaking actions described in mediated scandals have changed from the 1990´s to the 2020´s, whilst also analyzing how actors with different attributes, man or woman, are being portrayed in the mediated scandals. The topic was chosen due to the lack of research made on tabloid-articles in the field of mediated scandals. Previous research focuses primarily on scandals including political actors. A fact that this study aims to change. The study uses a theoretical framework of sociological theories by Durkheim and Douglas, which provides the tools nececcary to analyze social norms. The analysis is strengthened by a complementary theory by Lull & Himerman, involving criteria for mediated scandals. These criteria assisted in the selection process of empiricism and in the analysis. The twelve articles, based on four cases composed of two actors, one woman and one man, have been analyzed with an adjusted version of Camilla Gervides critical discourse analysis. The results shows that the journalists' role in mediated scandals have changed since the 1990´s. From sharing their own opinions then, to using experts to exemplify normbreaking behavior today. Beyond that there's also a wide gap between genderdepictons in the material. Women are treated more harshly and are defined as prime examples of bad social movements. Whilst the men, who share many attributes with the women, are treated with a professional distance. These depictions risk creating norms which put unfair expectations on women.

This research investigates the intersection of religion, self-identification, and imperialism in a number of Arab American literary works. It engages a wide array of, and contributes to, scholarship from American Studies, Middle Eastern Studies, Islamic Studies, Global Studies, and Transnational Literary Theory. The project examines two groups of writers: the first group consists of American cultural conservatives of Arab or Muslim descent, such as Ayaan Hirsi Ali, Nonie Darwish, Bridgette Gabrielle, and Wafa Sultan, while the second includes Arab American literary writers Mohja Kahf, Leila Ahmed, Ibrahim Fawal, and Alia Yunis. The former employ the traditional autobiography genre to produce master narratives, while the latter utilize the memoir, novel, and short-story cycle genres to challenge hegemonies and master narratives. The cultural conservatives, I contend, belong to a growing transnational body of writers whose phenomenon constitutes an extension of what Matthew F. Jacobs calls an “informal network” of transnational self-identified specialists (4). In their autobiographies, Ali, Gabrielle, Darwish, and Sultan concentrate on the Middle East, Muslims, and Arabs, but they are unique in the sense that their policy-oriented personal narratives explicitly seek to influence not only American attitudes and practices aimed at Arabs and Muslims, but also those directed at American citizens of Arab or Muslim descent. Furthermore, their culturally-conservative traditional autobiographies Infidel (2007), Nomad (2010), Heretic (2015), Now They Call Me Infidel (2006), Because They Hate (2006), They Must Be Stopped (2008), and A God Who Hates (2009) deem American multiculturalism a serious danger to the United States and the West, a thesis not unlike Samuel P. Huntington’s in The Clash of Civilizations and the Remaking of World Order (1996). In this research project, I claim that Arab American literary writers have had to face, and write against, the predominance of this old-new clash of civilizations idea which has evolved into a discourse promulgated by the self-identified experts of the “informal network” and the cultural conservatives of Arab or Muslim descent. The Arab American literary novels, memoirs, and short-story cycles my study closely examines trouble the clash of civilizations discourse. Kahf’s The Girl in the Tangerine Scarf (2006), Ahmed’s A Border Passage (1999), Fawal’s On the Hills of God (1998), and Yunis’s The Night Counter (2009) are arguably representative of trends in, though not limited to, the contemporary Arab American memoir, novel, and short-story cycle genres and are best understood as literary writing within the context of this broader American tradition of interpreting the Middle East, Arabs, and Muslims and the specific cultural conservative fixation on Arab and Muslim Americans. / Graduate

[pt] Esta dissertação propõe algumas leituras transversais sobre as obras Cicatriz de Rosângela Rennó, Diários Públicos, de Leila Danziger e Memórias inventadas em costuras simples de Caroline Valansi. Nessas obras, podemos observar a contundente forma como as artistas se apropriam de fotografias, relatos, fragmentos devida, objetos e memórias de anônimos, construindo narrativas imaginárias que problematizam a separação entre realidade e ficção nas obras de arte. A idéia aqui é analisar a forma como á vida doméstica, os discursos afetivos, as narrativas individuais passam a ser objeto, foco narrativo da arte contemporânea. Pensar em como se dá esse processo de apropriação das histórias dos esquecidos, dos rostos sem nome, dos amores mal amados de amantes desimportantes,da história dos invisíveis e renegados da grande História. Entender de que maneira essas vozes – dos sem voz – são assimiladas, interpretadas, transformadas em registros, documentos, e ocupam na contemporaneidade o lugar da fala e do visível através do fazer artístico. Os trabalhos das artistas aqui tratadas fazem vir à tona (aparecer) imagens apagadas,esquecidas,condenadas à amnésia social,nos espaços artísticos institucionalizados e, por isso, forçam os limites entre arte, vida,política e estética, na medida em que transfiguram, dotando de visibilidade espaços e imagens antes desimportantes e condenados ao apagamento. / [es] Esta tesis propone lecturas tranversales acerca delas obras Cicatriz, de Rosângela Rennó,Diários Públicos,de Leila Danziger, y Memórias inventadas em costuras simples de Caroline Valansi. En dichas obras se puede observar la forma contundente con la quelas artistas apropíanse de fotografías, relatos, fragmentos de vida, objetos y memoria de personas anónimas, construyendo narrativas imaginárias que problematizan la separación entre realidad y ficción en las obras de arte. La ideia es analizar la forma como la vida doméstica, los discursos afectivos, las narrativas individual pasan a ser objeto, foco narrativo del arte contemporáneo. Pensaren cómo se da el proceso de apropiación de las historias de los olvidados, de los rostros sin nombre, de los amores mal amados de amantes no importantes, de la historia de los invisibles y renegados dela grande Historia. Entender de qué manera esas vozes – de los sin voz – son asimiladas, interpretadas, transformadas en registros, documentos, y ocupan en la contemporaneidade el lugar del habla y del visible através de lhacer artístico. Los trabajos de las artistas aquí tratadas sacan a la superficie (hacen aparecer) imágenes apagadas, olvidadas, condenadas a una amnesia social, en los espacios artísticos institucionalizados y, por consiguiente, fuerzan los límites entre arte, vida, política y estética, en la medida en que transfiguran, proveyendo de visibilidade espacios e imágenes antes no importantes e condenados al apagamiento.

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