<p>Предмет истраживања у овом раду представља одређивање чворишних тачака<br />око којих се образује идентитет у поетици Растка Петровића. Циљ је доказивања тезе<br />да његово стваралаштво антиципира савремено схватање и разумевање идентитета<br />као конструкције, која се одвија унутар дискурса моћи, а он настоји да регулише<br />идентификацијске процесе унутар субјекта. Дело Растка Петровића указује на<br />чињеницу да идентитет представља сложену и динамичну мрежу сачињену од<br />идентитетских конституената који се непрекидно укрштају, те се на местима укрштаја<br />образују амбивалентне субјекатске позиције из којих аутор исповеда своју онтолошку<br />стрепњу и свест о конститутивној амбиваленцији. Укључивањем методолошких<br />премиса из области студија културе (маргинализација, трансгресија, лиминалност) у<br />проучавање аутентичних авангардних поетичких стратегија Растка Петровића, указали<br />смо на чињеницу да је аутор трагајући за собом остваривао своје поетско биће. На тај<br />начин образовао се хибридни и лиминални идентитет у динамичком пољу<br />антагонистичких дискурса, који се непрекидно међусобно пресецају.<br />Реч је, дакле, о томе да поетичко-естетско-филозофско исходиште<br />стваралаштва Растка Петровића чини идеја да се биће (оно што јесте), као и<br />конституенти његовог идентитета (пол, род, раса, нација, класна, верска и<br />професионална припадност...) разумевају као процесуалне категорије које су<br />непрекидно изложене променама. Петровић, заправо, отвара пут савременом<br />антиесенцијалном тумачењу бића као флукса (оно што је ток и што се мења) унутар<br />симболичких мрежа, односно дискурзивних пракси. На тај начин, ствара се могућност<br />да се појам, односно концепт идентитета тумачи као стратегијски и позицијски, те је у<br />Петровићевом делу идентитет увек релационо конструисан и изратито обележен не-<br />припадањем. Истовремено, идентитет сугерише истост и подржава неки облик<br />заједништва који варљиво испуњава онтолошку празнину.<br />Овај рад своје методолошко утемељење проналази у претпоставци да је<br />плуралитет у теоријским приступима и критичким праксама нужан, управо због<br />2<br />сложености и амбивалентности појма идентитет, који је интердисциплинаран по своме<br />досегу. Истовремено, овај рад се бави различитим аспектима идентитета са циљем да<br />се сачува и истакне свест о интеракцији између конституената идентитета и теоријско-<br />критичких пракси које се њима баве. У фокусу нашег истраживања налази се културни,<br />родни и наративни идентитет, тачније, модуси њихових конструкција. У том смислу,<br />ова студија доказује да поетика, али и живот Растка Петровића представљају<br />парадигму културолошке и родне лиминалности. Сходно томе, путујући модел<br />егзистенције показује се као пресудан у творби идентитета који се формира као<br />хибридни, услед седиментације различитих култура.<br />Исцрпна анлиза родног идентитета, односно маскулинитета, истиче<br />субверзивни потенцијал Петровићевог дела у односу на патријархалну<br />фалогоцентричну бинарну културолошку матрицу. Растко Петровић несумњиво<br />исказује свест о идеолошком карактеру родне улоге која му је намењена, те је процес<br />&bdquo;постајања&ldquo; мушкарцем изузетно сложен, обележен противуречностима и стрепњом.<br />Посебан комплекс питања која се нужно намећу када је у питању ауторефлексија<br />представља језик, јер је писац принуђен да доказ властитог постојања тражи у језику, у<br />појмовима који су такође производ дискурса који не одобрава алтернативну мушкост.<br />Тумачење наративног иденитета као ипсеитета које смо користили у раду,<br />дакле, упознавање и конституисање себе као метакатегоријалног Другог, маркирало је<br />значај културног дијалога коме је Растко Петровић несумњиво стремио. У питању је<br />дијалог у коме припадници мањинских/маргиналних култура и субкултура постају<br />равноправни саговорници. Истовремено, размена културних дарова обезбеђивала би<br />потенцијал за, из данашње перспективе посматрано, повлашћен статус агенса у<br />стварању сопствене културе, као и активно учешће у мапирању културе у свету.</p> / <p>Predmet istraživanja u ovom radu predstavlja određivanje čvorišnih tačaka<br />oko kojih se obrazuje identitet u poetici Rastka Petrovića. Cilj je dokazivanja teze<br />da njegovo stvaralaštvo anticipira savremeno shvatanje i razumevanje identiteta<br />kao konstrukcije, koja se odvija unutar diskursa moći, a on nastoji da reguliše<br />identifikacijske procese unutar subjekta. Delo Rastka Petrovića ukazuje na<br />činjenicu da identitet predstavlja složenu i dinamičnu mrežu sačinjenu od<br />identitetskih konstituenata koji se neprekidno ukrštaju, te se na mestima ukrštaja<br />obrazuju ambivalentne subjekatske pozicije iz kojih autor ispoveda svoju ontološku<br />strepnju i svest o konstitutivnoj ambivalenciji. Uključivanjem metodoloških<br />premisa iz oblasti studija kulture (marginalizacija, transgresija, liminalnost) u<br />proučavanje autentičnih avangardnih poetičkih strategija Rastka Petrovića, ukazali<br />smo na činjenicu da je autor tragajući za sobom ostvarivao svoje poetsko biće. Na taj<br />način obrazovao se hibridni i liminalni identitet u dinamičkom polju<br />antagonističkih diskursa, koji se neprekidno međusobno presecaju.<br />Reč je, dakle, o tome da poetičko-estetsko-filozofsko ishodište<br />stvaralaštva Rastka Petrovića čini ideja da se biće (ono što jeste), kao i<br />konstituenti njegovog identiteta (pol, rod, rasa, nacija, klasna, verska i<br />profesionalna pripadnost...) razumevaju kao procesualne kategorije koje su<br />neprekidno izložene promenama. Petrović, zapravo, otvara put savremenom<br />antiesencijalnom tumačenju bića kao fluksa (ono što je tok i što se menja) unutar<br />simboličkih mreža, odnosno diskurzivnih praksi. Na taj način, stvara se mogućnost<br />da se pojam, odnosno koncept identiteta tumači kao strategijski i pozicijski, te je u<br />Petrovićevom delu identitet uvek relaciono konstruisan i izratito obeležen ne-<br />pripadanjem. Istovremeno, identitet sugeriše istost i podržava neki oblik<br />zajedništva koji varljivo ispunjava ontološku prazninu.<br />Ovaj rad svoje metodološko utemeljenje pronalazi u pretpostavci da je<br />pluralitet u teorijskim pristupima i kritičkim praksama nužan, upravo zbog<br />2<br />složenosti i ambivalentnosti pojma identitet, koji je interdisciplinaran po svome<br />dosegu. Istovremeno, ovaj rad se bavi različitim aspektima identiteta sa ciljem da<br />se sačuva i istakne svest o interakciji između konstituenata identiteta i teorijsko-<br />kritičkih praksi koje se njima bave. U fokusu našeg istraživanja nalazi se kulturni,<br />rodni i narativni identitet, tačnije, modusi njihovih konstrukcija. U tom smislu,<br />ova studija dokazuje da poetika, ali i život Rastka Petrovića predstavljaju<br />paradigmu kulturološke i rodne liminalnosti. Shodno tome, putujući model<br />egzistencije pokazuje se kao presudan u tvorbi identiteta koji se formira kao<br />hibridni, usled sedimentacije različitih kultura.<br />Iscrpna anliza rodnog identiteta, odnosno maskuliniteta, ističe<br />subverzivni potencijal Petrovićevog dela u odnosu na patrijarhalnu<br />falogocentričnu binarnu kulturološku matricu. Rastko Petrović nesumnjivo<br />iskazuje svest o ideološkom karakteru rodne uloge koja mu je namenjena, te je proces<br />&bdquo;postajanja&ldquo; muškarcem izuzetno složen, obeležen protivurečnostima i strepnjom.<br />Poseban kompleks pitanja koja se nužno nameću kada je u pitanju autorefleksija<br />predstavlja jezik, jer je pisac prinuđen da dokaz vlastitog postojanja traži u jeziku, u<br />pojmovima koji su takođe proizvod diskursa koji ne odobrava alternativnu muškost.<br />Tumačenje narativnog ideniteta kao ipseiteta koje smo koristili u radu,<br />dakle, upoznavanje i konstituisanje sebe kao metakategorijalnog Drugog, markiralo je<br />značaj kulturnog dijaloga kome je Rastko Petrović nesumnjivo stremio. U pitanju je<br />dijalog u kome pripadnici manjinskih/marginalnih kultura i subkultura postaju<br />ravnopravni sagovornici. Istovremeno, razmena kulturnih darova obezbeđivala bi<br />potencijal za, iz današnje perspektive posmatrano, povlašćen status agensa u<br />stvaranju sopstvene kulture, kao i aktivno učešće u mapiranju kulture u svetu.</p> / <p>This thesis aims to determine the crucial points of identity formation in Rastko<br />Petrović&rsquo;s poetics with the intention to verify the idea that Rastko Petrović&rsquo;s work<br />anticipates the modern understanding of identity as a construct which emerges from the<br />discourse of power with its identificational processes within the subject. Rastko Petrović&rsquo;s<br />oeuvre is an excellent example of the fact that identity represents a complex and dynamic<br />network of identity constituents that constantly intertwine, and, in the places where the<br />contacts happen, they form ambivalent subject positions from which the author narrates his<br />ontological fear and the awareness of the constitutive ambivalence. By including some of<br />the methodological premises from the field of cultural studies (such as marginalization,<br />transgression, liminality) into the research of Petrović&rsquo;s authentic avant-garde poetic<br />strategies, the thesis shows that, while searching for his inner self, Petrović was epitomizing<br />his poetical self, thus forming a hybrid and liminal identity in the dynamic field of<br />antagonistic discourses that constantly intersect.<br />Therefore, we can say that the poetic, philosophical and aesthetic sources of<br />Petrović&rsquo;s work are found in the idea that self (what is), as well as the constituents of his<br />identity (sex, gender, race, nation, class, religious beliefs, professional orientation&hellip;) are<br />understood as processing cathegories constantly exposed to changes. What is more, it can<br />be said that Rastko Petrović clears the path for the modern, antiessetialist interpretations of<br />self as flux (that which is a flow, which changes constantly) within the symbolic network, i.e.<br />discoursive practices. In this way, arises the possiblity of interpretation of the notion, or the<br />idea of identity, as strategic, or positional, meaning that in Petrović&rsquo;s works identity is<br />always relationally constructed and strongly marked by non-belonging. At the same time,<br />identity means sameness and supports at least some kind of unity feebly fulfilling the<br />onthological void.<br />Methodological foundation of this thesis is found in the assumption that the plurality<br />in critical and theoretical approaches is necessary, precisely because of the complexity and<br />ambivalence of identity, the term whose scope and range are interdisciplinary positioned. At<br />the same time, the thesis examines various aspects of identity with the objective to<br />preserve and enhance the awareness about the interaction between the constituents of<br />4<br />identity and theoretical and critical practices that deal with it. Cultural, gender and narrative<br />identities or, more precisely, the modes of their constructions, form the central part of the<br />thesis. In this sense, this thesis shows that the poetics, but also the life of Rastko Petrović,<br />represent a paradigm of cultural and gender liminality, while the life on the constant move<br />proves to be crucial in the creation of identity which is formed as a hybrid one because of<br />many layers coming from various cultures. A detailed analysis of gender identity or, more<br />precisely, masculinity, stresses the subversive potential of Petrović&rsquo;s work when juxtaposed<br />to patriarchal, logocentric, binary cultural matrix. Rastko Petrović expresses an awareness of<br />the ideological character of the gender role he was assigned with; therefore, the process of<br />&ldquo;becoming&rdquo; a man is a highly complex one, marked with contradictions and fear. A separate<br />cluster of questions that inevitably appear with introspection is found in language, since<br />writer is compelled to search for the proofs of his existence in the language and in the<br />notions which are also a product of discourse that does not approve of the alternative<br />masculinity.<br />The interpretation of narrative identity as ipseity, used in this work, as well as the<br />introduction and constitution of self as a meta-categorical Other, marked the importance of<br />cultural dialog which Rastko Petrović undoubtedly strived for. It is a dialog where the<br />members of minority cultures and subcultures are equal participants. At the same time, the<br />exchange of cultural gifts provides the potential for a privileged status of agens in creation<br />of one&rsquo;s own culture, and also in active mapping of the world culture.</p>

This thesis is about cultural aspects of advanced medical technology for treating end-stage heart failure. New medical technologies like mechanical help-hearts save lives, but they also bring new uncertainties, risks, and challenges. Based on nine months of ethnographic field work in a Swedish academic hospital, this study examines the ways of managing uncertainties of end-stage heart failure and of high-tech treatment, and also how these practices tie into the shared understandings of life-threatening chronic illness, the body, and medical technology’s role. This study draws on anthropological discussions of healing rituals as an analytical tool to make sense of social and cultural dimensions of mechanical help-heart implantation treatment. Viewed as a ritual, this treatment creates and maintains hope as a virtue through which possibilities of new medical technology are justified as culturally approved ways of handling the uncertainties of severe heart failure and mechanical help-heart treatment. Ultimately, even when treatment is regarded as successful, the patients may be saved but are never really ‘cured’ and remain, thus, permanently tied to the world of medicine. This new mode of existence is characterized by paradoxical permanent transit between uncertainty and hope. / Avhandlingen fokuserar på de kulturella aspekterna av den medicinska teknologin som används vid behandling av svår hjärtsvikt. Samtidigt som ny medicinsk teknologi som mekaniska hjälphjärtan räddar liv för den även med sig ovisshet och nya utmaningar som ofta är svåra att förutse. Baserat på nio månaders etnografiskt fältarbete vid ett universitetssjukhus i Sverige undersöks hur denna ovisshet och dessa utmaningar hanteras av medicinskt personal och patienter. I avhandlingen behandlas också sambanden mellan medicinska praktiker och de lokalt delade uppfattningarna om livshotande kroniska sjukdomar, den mänskliga kroppen och teknologins roll. Utifrån diskussioner inom antropologin om ’helande ritualer’ analyseras i avhandlingen de sociala och kulturella aspekterna av behandling med mekaniskt hjälphjärta. Studien visar att genom de rituella aspekterna av denna behandling, genereras och upprätthålls hoppet som en dygd. Den nya medicinska teknologins möjligheter rättfärdigas på så sätt som ett kulturellt accepterat sätt att hantera ovissheten vid svår hjärtsvikt och behandling med mekaniskt hjälphjärta. Även vid lyckade behandlingar, då patienternas liv räddas, blir de trots allt inte riktigt ’botade’ utan förblir bundna till den medicinska världen. Detta nya levnadssätt karakteriseras av en paradoxal och livslång balansgång mellan ovisshet och hopp.

The thesis examines accompanied asylum-seeking children’s position in Swedish asylum reception management and in the determination of their claims. The three articles of the thesis focus on children’s own experiences of seeking asylum, on the experiences and practices of the civil servants at the Migration Board, as well as those of the legal representatives that assist asylum-seekers in the application process. The thesis builds on ethnographic fieldwork carried out between 2008 and 2010 in southwest Sweden. Theoretical inspiration has been sought in the new sociology of childhood as well as in practice theory. The first article in the thesis concerns children’s caseworkers who are responsible for safeguarding children’s interests in the Migration Board’s daily work with reception. The study highlights a range of dilemmas caseworkers have to deal with in their role as frontline bureaucrats. The study shows that the children’s caseworkers often perceive their discretion as limited, but also that they themselves contribute to limiting it, for example due to their hesitation in challenging existing norms and collegiality.    The second article examines the ways in which legal representatives, who act on behalf of families in asylum determinations, in their practice perceive and relate to the concept of children’s best interests and children’s right to participate. The study shows that children in families can become invisible in the legal representatives’ daily rounds. This invisibility is due to practical limitations in the representatives’ work as well as a general view that children rarely have their own grounds for asylum, as separate claimants to their parents. The third paper of the thesis explores the ways in which children experience and seek to influence circumstances that signify their time spent as asylum-seekers. The study shows how the children developed a range of tactics to deal with their particular situations, which varied with their housing and schooling, and the family’s financial resources. The conclusion is that the children themselves are the primary representatives of the child perspective in the asylum-seeking process, not least through their struggle to belong and create a life like that of ’ordinary’ children.  In line with previous research in the field, the thesis points to the contradiction between the principle of regulated migration and the child perspective in the asylum-seeking process. Together with practical circumstances, such as lack of resources, this contradiction results in a more limited implementation of the child perspective than rules and regulations actually stipulate. Finally, the thesis points to the active role asylum-seeking children take in their efforts to create an everyday life that is as similar as possible to that of  the ’ordinary’ children (e.g. non asylum-seeker and permanently settled children) around them. / <p>At the time of the doctoral defense, the following paper was unpublished and had a status as follows: Paper 1: Submitted.</p>

La recherche, construction et révision de l’identité nationale ont très longtemps constitué les éléments propulseurs de la production littéraire et intellectuelle de Porto Rico. Pourtant vers le milieu des années 90, un nouveau consensus émerge entre les écrivains qui revendiquent massivement la fin de la littérature en tant que lieu d’où forger la conscience nationale et refuse le leadership intellectuel qui avait jusqu’alors définit le travail littéraire. Les auteurs qui commencent à se manifester à ce moment se désintéressent du nationalisme comme thème littéraire. Le militantisme politique et la volonté de confrontation, modes représentationnels caractéristiques de la génération antérieure, disparaissent pour laisser place à une écriture exploratoire, centrée sur ses propres procédés, et apparemment apolitique. Une telle perte d’ancrages nationaux et territoriaux est significative de la conscience exacerbée que possèdent ces écrivains de la complexité des dynamiques culturelles qui régissent le monde postmoderne et globalisé, ainsi que de la « valeur » et de la position « marginale » qu’on leur attribue dans l’écologie mass-médiatique culturelle actuelle. La production narrative de Mayra Santos-Febres est paradigmatique de ces changements. J’aborde dans son écriture une série de dispositifs métalittéraires, autoréflexifs, « érographiques », et historiographiques qui, bien qu’ils résistent à une catégorisation homogène, démontrent un même intérêt pour des phénomènes interstitiels. En me basant sur les concepts de liminalité, principalement depuis la perspective de Victor Turner et d’écriture auto-réflexive (Patricia Waugh, Linda Hutcheon), j’analyse le positionnement liminal qu’assume Santos-Febres dans la structure culturelle globalisée actuelle, et la façon dont sa prise de position, également liminale, c’est-à-dire, sa prise de parole et son engagement se traduisent par un rapprochement narcissique à l’exercice littéraire autant dans les formes qu’elle crée qu’au niveau sémantique, narratif et discursif. Le premier chapitre analyse les contes « Dilcia M. » et « Acto de Fe » (Pez de vidrio) comme témoignages de l’érosion du patriotisme et militantisme antérieur; « La escritora» (Pez de vidrio) qui marque pour l’auteure un passage vers une esthétique centrée sus ses propres procédés créatifs; et le roman Cualquier miércoles soy tuya qui dramatise le positionnement assumé par les écrivains dans la chaine culturelle globalisée actuelle. Le second chapitre aborde la configuration des corps, espaces urbains et de l’écriture dans El cuerpo correcto qui, à travers une exubérance sexuelle/textuelle, projette des variantes réactualisées de la traditionnelle dichotomie corps/écriture. Le troisième chapitre se penche sur la configuration du travesti dans Sirena Selena vestida de pena. J’y propose de voir le travestisme, le boléro et l’écriture comme un triple exercice métalittéraire. Le dernier chapitre aborde le procédé de re-signification littéraire des images sédimentées de subordination et d’infériorité de sujet « noir ». Nuestra Señora de la Noche se penche sur la re-signification de l’hyper-sexualisation et « exotisation » qui a cimenté la construction de « l’immoralité » de la femme noire. Fe en disfraz aborde le sadomasochisme comme espace de re-signification des schèmes de domination et soumission inscrits dans l’histoire esclavagiste de Porto Rico et du trauma qui origine, et subsiste, d’une telle hiérarchie. / For a long time, the construction and revision of national identity constituted the driving forces of literary and intellectual production in Puerto Rico. Around the mid 90s, however, a new consensus emerges among writers, which on a massive scale claims the end of literature as a space for forging national consciousness and rejects the intellectual leadership that had defined literary work until that time. At this point, emerging writers lose interest in nationalism as a literary theme. Political militancy and the desire for confrontation, representational modes that were typical of the previous generation, collapse to give way to exploratory writing, centered on its own processes, and apparently apolitical. This loss of territorial markers explains the heightened perception that those writers have of the complex cultural dynamics that govern the postmodern and globalized world, and of the “value” and “marginal” position that is attributed to them in the current mass-media cultural ecology. The narrative production of Mayra Santos-Febres is paradigmatic of these changes. I approach a series of meta-literary, self-reflexive, “erographic,” and historiographical devices in her writing, which, although they resist homogeneous categorization, share a concern for interstitial phenomena. Basing myself on the concepts of liminality, primarily from the perspective of Victor Turner, and of self-reflexive writing (Patricia Waugh, Linda Hutcheon), I analyse the liminal positioning that Santos-Febres adopts within the globalized cultural structure and the way in which her stance is equally liminal. In other words, her speech and commitment become a narcissistic approach to the practice of writing both in terms of the forms that it creates and with regard to semantics, narrative, and discourse. The first chapter analyses the stories, “Dilcia M.” and “Acto de Fe” (Pez de vidrio), as testimonies of the erosion of earlier forms of patriotism and feminist militancy; “La escritora” (Pez de vidrio), which for the author marks a transition toward an aesthetic centred on her own creative processes; and the novel Cualquier miércoles soy tuya, which dramatizes the stance adopted by writers in the current globalized cultural chain. The second chapter deals with the configuration of bodies, urban spaces, and writing in El cuerpo correcto, which, through a sexual/textual exuberance, project updated versions of the traditional body/writing binary. The third chapter focuses on the configuration of the transvestite in Sirena Selena vestida de pena and suggests viewing transvestism, the bolero, and writing as a triple meta-literary practice. The final chapter deals with the literary re-signification of the “sedimented” images of subordinated “black” subjects. Nuestra Señora de la Noche focuses on the re-signification of hyper-sexualization and exoticization, which cemented the construction of black women’s “immorality”. Fe en disfraz discusses sadomasochism as a space of re-signification of the dominant/submissive configuration inscribed in Puerto Rican slave history, and of the trauma that originates and survives in this hierarchy. / La construcción y revisión de la identidad nacional constituyeron, por un largo tiempo, los elementos propulsores de la producción literaria e intelectual en Puerto Rico. Hacia mediados de los años 90, sin embargo, emerge entre los escritores un nuevo consenso que reivindica masivamente el fin de la literatura como espacio de fragua de la conciencia nacional y rechaza el liderazgo intelectual que había definido el quehacer literario hasta el momento. Los escritores que empiezan a manifestarse en ese momento pierden el interés en el nacionalismo como tema literario. El militantismo político y la voluntad de confrontación, modos representacionales característicos de la generación anterior, se desmoronan para ceder paso a una escritura exploratoria, centrada en sus propios procesos y aparentemente apolítica. Tal pérdida de anclajes nacionales y territoriales traduce la percepción exacerbada que tienen esos escritores de las complejas dinámicas culturales que rigen el mundo postmoderno y globalizado, y del “valor” y de la posición “marginal” que se les atribuye en la ecología massmediática cultural actual. La producción narrativa de Mayra Santos-Febres es paradigmática de dichos cambios. Abordo en su escritura una serie de dispositivos metaliterarios, auto-reflexivos, “erográficos” e historiográficos que si resisten a una categorización homogénea comparten una misma preocupación por fenómenos intersticiales. Basándome en los conceptos de liminalidad, principalmente, desde la perspectiva de Victor Turner, y de escritura auto-reflexiva (Patricia Waugh, Linda Hutcheon), analizo el posicionamiento liminal que asume Santos-Febres en la estructura cultural globalizada y la manera en que su toma de posición igualmente liminal, es decir, su toma de palabra y compromiso se traducen en un acercamiento narcisista al ejercicio escritural tanto en las formas que crea como a nivel semántico, narrativo y discursivo. El primer capítulo analiza los cuentos “Dilcia M.” y “Acto de Fe” (Pez de vidrio) como testimonios de la erosión del patriotismo y militantismo feminista anterior, “La escritora” (Pez de vidrio) que marca para la autora una transición hacia una estética centrada en sus propios procesos creativos, y la novela Cualquier miércoles soy tuya que dramatiza el posicionamiento asumido por los escritores en la cadena cultural globalizada actual. El segundo capítulo aborda la configuración de los cuerpos, espacios urbanos y de la escritura en El cuerpo correcto que, a través de una exuberancia sexual/textual, proyecta variantes reactualizadas del tradicional binomio cuerpo/escritura. El tercer capítulo enfoca la configuración del travesti en Sirena Selena vestida de pena y propone ver el travestismo, el bolero y la escritura como un triple ejercicio metaliterario. El último capítulo se acerca a la re-significación literaria de las imágenes sedimentadas de subordinación del sujeto “negro”. Nuestra Señora de la Noche enfoca la re-significación de la hiper-sexualización y exotización que cimentó la construcción de la “inmoralidad” de la mujer negra. Fe en disfraz aborda el sadomasoquismo como espacio de re-significación de los esquemas de dominación/sumisión inscritos en la historia esclavista puertorriqueña y del trauma que origina y subsiste de tal jerarquía.

L’étiquette « homme-orchestre » est apposée à une grande variété de musiciens qui se distinguent en jouant seuls une performance qui est normalement interprétée par plusieurs personnes. La diversité qu’a pu prendre au cours du temps cette forme n’est pas prise en compte par la culture populaire qui propose une image relativement constante de cette figure tel que vue dans les films Mary Poppins (1964) de Walt Disney et One-man Band (2005) de Pixar. Il s’agit d’un seul performeur vêtu d’un costume coloré avec une grosse caisse sur le dos, des cymbales entre les jambes, une guitare ou un autre instrument à cordes dans les mains et un petit instrument à vent fixé assez près de sa bouche pour lui permettre d’alterner le chant et le jeu instrumental. Cette thèse propose une analyse de l’homme-orchestre qui va au-delà de sa simple production musicale en situant le phénomène comme un genre spectaculaire qui transmet un contenu symbolique à travers une relation tripartite entre performance divertissante, spectateur et image. Le contenu symbolique est lié aux idées caractéristiques du Siècle des lumières tels que la liberté, l’individu et une relation avec la technologie. Il est aussi incarné simultanément par les performeurs et par la représentation de l’homme-orchestre dans l’imaginaire collectif. En même temps, chaque performance sert à réaffirmer l’image de l’homme-orchestre, une image qui par répétitions est devenue un lieu commun de la culture, existant au-delà d’un seul performeur ou d’une seule performance. L’aspect visuel de l’homme-orchestre joue un rôle important dans ce processus par une utilisation inattendue du corps, une relation causale entre corps, technologie et production musicale ainsi que par l’utilisation de vêtements colorés et d’accessoires non musicaux tels des marionnettes, des feux d’artifice ou des animaux vivants. Ces éléments spectaculaires divertissent les spectateurs, ce qui se traduit, entre autres, par un gain financier pour le performeur. Le divertissement a une fonction phatique qui facilite la communication du contenu symbolique. / The term one-man band is applied to a number of different types of performers who use a variety of technological means to perform by themselves what is usually played by several different musicians. Repeated use of similar representations in popular culture and movies such as in Walt Disney’s Mary Poppins (1964) and Pixar’s One-man Band (2005) point to a particular image of the one-man band as a shared point of cultural reference. This image is of a solitary performer dressed in a colourful costume with a bass-drum on his back, cymbals between his legs, a guitar or other string-instrument in his hands, and some small wind-instrument attached close enough to his mouth to allow him to alternate signing and playing. This thesis seeks to understand the one-man band as more than simply a musical phenomenon by situating it as a spectacular form in which symbolic content is communicated through a three-part relationship between spectator, image, and entertaining performance. In so doing, the one-man band becomes a representation of ideals associated with the Enlightenment such as liberty, the individual, and a relationship with technology. At the same time, each performance reaffirms the image of the one-man band, reconfirming and maintaining its place as a shared cultural space which exists beyond any one performer or any one performance. All of this is achieved in part through the important place accorded to the visual elements of the performance such as causal use of technology and the important place given to the performer’s body as well as through the use of colourful costumes and accessories such as puppets, fireworks, or live animals. The musical and visual aspects of the performance entertain the audience which rewards performers by positively impacting the audience resulting notably in material gain. Entertainment also fulfils a phatic function facilitating communication of the performance’s symbolic content.

This thesis aims to present a practical example of how art can become an instrument capable of investigating, showing and facing a social problem. For doing so, art can overcome communication issues; secondly, it can create a “common world” of shared values that leads to changes in society. The ethnographic example shown here is set among the theatrical company of the KulturParken association (Uppsala, Sweden), which works with people with disability. The fieldwork focuses on the development and staging of their theatrical show “Sagan om Liv och Lust” which deals with the problem of sexuality and disability. The thesis structure follows two main arguments: communication process and evolution in society. The arguments are framed and analysed through the embodied knowledge concept and Turner’s theory about ritual in theatre, as well as through Kester’s dialogical and relational aesthetic theory and Rancière’s Dissensus one. This thesis highlights how disability arts and a disability aesthetic allowed the members of the company to develop a personal awareness, leading them to overcome self-imposed barriers and those imposed by society. Moreover, it shows how the receivers of the theatrical message become active actors themselves, carrying forward the communicative process.

Places are deeply specific, and often richly resonant for us in terms of memory, emotion, and association, yet we nevertheless frequently move through them insensible of their constitution and diversity, or the shaping influences they have upon our lives. As such, place affords a vital window into the creation and experience of poetry where the poet is herself attuned to the presence and effect of places; the challenge for the scholar is to articulate place's nature and role with respect that poetry. In

路易士‧卡洛爾的《愛麗絲夢遊記》(Alice in Wonderland, 1865) 及《穿越明鏡》(Through the Looking-Glass, 1871) 是十九世紀極為出名的兒童文學。兩本書中都描述一位名為愛麗絲的女孩如何進入一個奇幻的國度而展開旅程，以及當中她所遇見的各種角色。這兩本書不只豐富有趣，更充滿了諧擬以及邏輯和文字遊戲，使其成為現今許多學者研究的對象。但是，兩本書的相似性使得一般讀者或是學者在閱讀時，都將其視為同一則故事。然而，在仔細探索後，會發現卡洛爾在寫作過程中，很明顯地把兩本書做了區分。本論文因此試圖將兩本書進行比較分析，來重新檢視兩個奇幻世界以及兩個愛麗絲的差異性。 本文第一章為概論，簡單介紹卡洛爾及其兩本作品。第二章運用德勒茲和加達利的概念，針對仙境與鏡中世界的空間的進行比較。從文本例證中可看出，第一本書中的仙境近似一個「平滑空間」(smooth space)，而第二本中的鏡中世界則如同一個「褶縐空間」(striated space)。此差異性更凸顯了這兩段故事的不同。第三章主要應用透納的理論來探討主角愛麗絲與兩個空間的關係。透納利用范‧杰內普的「儀式理論」(rites of passage)發展出「閾限」(liminality)的觀念，並用此觀念來解讀正在進行生命儀式的個體以及其所屬的階段。許多學者認為兩段故事是在描述愛麗絲長大的過程，因此她的旅程可被視為她經歷生命儀式─成年禮的歷程。然而，雖然兩本書中的兩個空間均可被視為一種「閾限空間」(liminal space)，但只有鏡中世界塑造了一個成功的生命儀式，使愛麗絲在最後得以達到象徵性的成年。另一方面，由於仙境中缺乏線性進展，無法構成一個有效的生命儀式，導致第一本書中的愛麗絲到最後還是以小孩之姿結束在此空間的旅程。第四章援引兩位學者的文章來探討愛麗絲在兩個空間中身體呈現的差異以及和愛麗絲自我發展的相關性。由於愛麗絲在仙境中維持一個小孩的身分，她的身體與行為不會造成社會的威脅，在空間中也就不會受任何拘束。反之，在愛麗絲即將長大的鏡中世界中，其女性的身體卻必須受到限制。因此，在鏡中世界的愛麗絲不僅身體未出現任何變化，她的任何身體的慾望也必須受到克制。這與在第一本書中的身體再現是全然迥異的。第五章則是本文的結論；總結這兩本書的差異性，而身為讀者的我們也應正視其中的區別，進而能夠更加了解卡洛爾筆下的兩個奇幻世界以及兩位均名為愛麗絲的主角。 / Lewis Carroll’s Alice in Wonderland and Through the Looking-Glass have brought laughter to children as they journey with Alice through the fantasy worlds ever since their first publication in the 19th century. Filled with Carroll’s witty parodies and plays of logic, the books quickly become two of the most widely studied children fantasies. Both books are about a little girl named Alice who crosses a barrier and enters a fantastical dream world, in which she meets a variety of strange creatures. With the similarity of structures, the two books are often regarded as one single work in modern days. However, upon close examination, it is quite evident that the two works are of entirely different entities, and should be read accordingly. In my thesis, I explore the possibility of reading the books separately by comparing and contrasting Carroll’s creation of the two worlds, as well as the two different developments of Alice within the books. In chapter one, I give an overall summary of the author and a brief introduction of the background of the Alices. Chapter two focuses on the two spaces of Wonderland and Looking-Glass World. Using Gilles Deleuze and Félix Guattari’s notion of smooth and striated space, this chapter delineates how Wonderland is more like a smooth space with its rhizomatic routes and a lack of center, whereas the linearity of Looking-Glass World appears to be closer to a striated space. This critical difference highlights the individualization between the two worlds. Chapter three investigates the relationship between Alice and the two spaces by adopting Victor Turner’s concept. Drawing on Arnold van Gennep’s notion of the rites of passage, Turner proposes the concept of liminality, which is the state of an individual when he or she is undergoing a rite of passage. Most scholars suggest that both Alice books depict Alice’s development to adulthood, which makes Alice’s journeys through the two worlds rites of passage. However, while both spaces can be said to be liminal spaces for Alice, only Looking-Glass World constitutes a completed rite of passage for her, in which she reaches a symbolic maturity at the end. With no linear progression, Wonderland fails to be a rite of passage, and hence Alice comes out still as the child she is going in. Chapter four concentrates on the bodily manifestation of Alice, and how they relate to the difference in Alice’s self development in the two books. Drawing on Donald Rackin’s and Anna Krugovoy Silver’s articles, I find that Alice’s exuberant bodily manifestation and vigorous expression of bodily desires in Wonderland is due to the fact that Alice remains a young child, and that her immature body does not cause a threat to the Victorian society. Hence, Carroll allows her to be the fully embodied girl in the first book. In Looking-Glass World, in which Alice is on the verge of growing up, her body must be restrained. Thus, her body stays static and her bodily desires are contained, very different from the bodily representation in the first book. In Wonderland and Looking-Glass, Carroll has created two very enchanting stories, with two distinctive fantasy worlds and two separate developments of Alice. Conclusively, I believe that Carroll meant for them to be treated as two separate books, with two different spaces of the dream worlds and two protagonists by the name of Alice.

Thesis (M.A. (Afrikaans and Dutch))--North-West University, Potchefstroom Campus, 2007.

In Italy, the period directly following World War II was marked by confusion and turbulence as the people struggled to reconstruct both the ideological and physical infrastructure of the nation. While much study has been dedicated to the evolution of femininity and the figure of the woman in this particular period, comparatively little has been written on the refashioning of masculinity in the texts produced in the period between 1940 and 1955. After the fall of the Fascist Regime, Italian masculinity undergoes a drastic transformation as the generation of young men born and raised under the tutelage of Mussolini’s reign attempt to separate themselves from the now-tainted codes of conduct governing male behavior. This report analyzes the renegotiation of Italian masculinity in G. Silvano Spinetti’s non-fictional account Difesa di una generazione (scritti e appunti), Italo Calvino’s Il sentiero dei nidi di ragno, Beppe Fenoglio’s short story “Gli inizi del partigiano Raoul” and Pier Paolo Pasolini’s Ragazzi di vita. These works, written and published in the postwar period, manipulate the vi marginality and privation experienced by the Italian population during the war and postwar period into a liminal state brimming with revolutionary potentiality. The protagonists of these texts (both fictional and non-fictional), isolated from the larger social context and deprived of individual identity, property and privilege, circumvent their polluted patriarchal lines in favor of an alternative ideological patriarchy. While Spinetti, Calvino and Fenoglio’s works advance their liminal narratives as a means of creating an emblematic Italian man capable of rejoining the generative discourse, Pasolini’s text renounces such a progressive view. In Ragazzi di vita, the only possibility for a masculine identity free of Fascism resides in a maintaining a perennial liminality. / text