Este trabalho trata da trajetória artística de Hélio Oiticica, que se empenhou em entender e reformular o perfil do artista, seu lugar e papel na sociedade. Foi esse processo metódico e constante de experimentação e reflexão que o levou a expandir os limites dos suportes artísticos tradicionais, especialmente a partir de meados da década de 60. É realçada a importância da formação de Hélio Oiticica no Museu de Arte Moderna do Rio de Janeiro para sua atuação posterior, aberta ao diálogo com um contexto mais amplo de debates e reflexões, que extrapolaram o limite artístico e possibilitaram a criação de espaços de debate públicos a partir de sua proposição artística. A partir dos Bólides (1963), Oiticica foi levado a buscar novas alternativas, reestruturando e até ressemantizando suas propostas anteriores. Evidencia-se, ainda, uma crise do projeto amplo de modernização, que atingiu também as instituições culturais. No bojo dessa crise ganharam força os eventos coletivos de protesto, a proposta de formulação de uma vanguarda, a invenção da tropicália, sua institucionalização no tropicalismo e o desmanche da cena cultural promovida pelo AI-5, durante a ditadura militar. É traçado, ainda, um paralelo entre as idéias de marginalidade e de underground. Na trajetória de Hélio Oiticica, ambos aparecem como forma de oposição à ordem instituída, propondo o livre pensar e o descondicionamento do sujeito, conceitos que se desenvolveram em seu período novaiorquino. Em Nova York, Oiticica chegava à formulação de que o Brasil seria automaticamente underground; nesse ponto ele concluiu que estaríamos condenados a um paradoxo entre um mercado de arte pouco profissionalizado e a liberdade total de criação. Constatava, então, o limite de sua trajetória artística que rompeu as barreiras entre a arte e a vida, com o propósito de resgatar sua potencialidade crítica. / This paper is about the artistic path of Hélio Oiticica, who strove to understand and reformulate the artist´s profile, his place and role in society. It was this constant and methodical process of reflection and experimentation that led him to expand the limits of traditional artistic bases, especially from the mid-sixties. It is enhanced the importance of Oiticica´s formation at Museum of Modern Art of Rio de Janeiro towards his later performance, open to the dialogue with a wider context of debates and reflection which extrapolated the artistic limit and enabled, from his artistic proposition, spaces for public debate to be created. From Bólides (1963), Oiticica was led to search for new alternatives, restructuring and even re-semanticizing his previous propositions. A crisis in the wide project of modernization, which also reached the cultural institutions, was evident. At the core of this crisis, several events gained force: the collective protests, the proposal of reformulation of a vanguard, the invention of tropicália, its institutionalization in tropicalismo, and the dissolution of the cultural scene promoted by AI-5 during the military dictatorship. A parallel is also drawn between the ideas of marginality and underground. In Hélio Oiticica´s path, both appear as a form of opposition to the established order, proposing the free thought and the subject´s de-conditioning, concepts developed in the period he spent in New York. Once there, Oiticica arrived at the formulation that Brazil would be automatically underground; concluding that we would be condemned to a paradox between an under-professionalized art market and a total freedom of creation. It was proved, then, the limit of his artistic path that broke the barrier between art and life, with the purpose of rescuing his critical potentiality.

Les relations d'intertextualité dans Les Amours jaunes témoignent d'un jeu de correspondances et d'allusions littéraires que l'on peut nommer la poétique de l'habit d'Arlequin. Notre recherche porte sur les différentes expressions de la révolte dans le recueil. L'art de la dérision et la parodie contribuent au dialogue intertextuel avec d'une part des auteurs du passé tels que Shakespeare, La Fontaine, Villon et du Bellay. D'autre part, le poète se réfère à l'œuvre de Hugo, aux romans de son père, Edouard Corbière, et fait allusion à la poésie de Baudelaire, de Gautier et de Vigny. Dans le sillage de ses prédécesseurs il dénonce la peinture factice de l'Italie et de l'Espagne littéraires dans la poésie de Lamartine et de Musset. Par ailleurs, Les Amours jaunes illustrent la recherche d'une poétique nouvelle. En effet, Corbière s'interroge à propos de l'échec auquel il attribue une dimension positive qui contribue à la négativité de sa poésie. L'impossible dialogue amoureux le conduit à entrevoir dans l'amour maternel un dédommagement. En outre, le poète recourt à la théâtralité et projette sur la scène du spectacle imaginaire du recueil des figures de la marginalité, emblèmes de la sagesse populaire qui illustrent le renversement des valeurs sociales. Corbière transpose les paysages de la Bretagne dans son univers poétique et rend hommage au monde des marins dont il révèle la vision de la mort. / The intertextuality relations in Amours Jaunes indicate a game of correspondences and of Iilerary allusions that we can call the poetic makeup of Harlequin. Our research deals with the different expressions of the revolt in the anthology. The art of the derision and the parody contribute to the dialogue intertextuel with, on one hand, past authors such as Shakespeare, La Fontaine, Villon, and du Bellay. On the other hand, the poet is inspired by the work of Hugo, his father's novels, Edouard Corbière, and alludes to the poetry of Baudelaire, de Gautier, and de Vigny. Like his predecessors, Corbière denounces the artificial painting of the Italian and Spanish literary in the poetry of Lamartine and de Musset. Besides, Les Amours Jaunes iIIustrate the search for a new poetics. ln fact, Corbière wonders about failure to which he attributes a positive dimension, which contributes to the negativity of his poetry. The impossible love dialogue leads him to discover a rewarding feeling in maternal love. ln addition, the poet resorts to the theatrality and projects on the scene of the imaginary spectacle of the anthology of the faces of the marginality, emblems of popular wisdom that illustrate the overthrow of the social values. Corbière transposes Brittany's landscape into his poetic universe and pay homage to the world of the sailors from whom he takes the vision of death.

Magister Artium - MA / This thesis explores the different ways in which labour migrants in contemporary South Africa make use of cell phones in their daily lives to maintain their love relationships. I start by tracing the history of labour migration and show how the gradual change of migration has played a role in the assertion of labour migrants in their communities in Cape Town. I look specifically into the use of cell phone by Setswana and Sesotho speaking migrants in Delft, Thornton, Brackenfell and Gugulethu. While the focus of the research is on the role of cell phones in maintaining love relationships between migrants and the partners they left behind ‘at home’, I also show how the negotiation of the cell phone in the social lives of migrants helps build wider social networks. The value of the functions of the cell phone through employed communication patterns that encourage social relations and interactions are also the focus of this thesis.

This research aims to explore the place of marginality (or that which is not the immediate focus of narrative) in the context of the play and through the examination of the characters of Fortinbras and Horatio, in William Shakespeare’s Hamlet. The intended outcome is to encourage diversified perspectives and approaches to the play by focusing on the marginal themes and/or characters. The chapters address the characters of Fortinbras and Horatio; the first inverts the protagonist/foil relationship by reading Hamlet as a foil to Fortinbras, while the second uses Freud’s “The Uncanny” as a way to understand Horatio’s role in the play, as its uncanniest phenomena. Both are marginal to the text, but both are significant to the understanding of the text. Essentially, the objective is to encourage readings of the play, and of narratives, that appreciate the complexity of marginality, in order to broaden the language for future research.

This study uses survey data collected from a convenience sample of undergraduate students (N=89). A vignette survey design is employed to measure social rejection of striptease performers compared to a control group. Data is also collected on negative stereotypes held about striptease performers, which are correlated with social rejection. Link and Phelan's conceptualization of the stigma process provides the theoretical framework for this analysis. Findings suggest that striptease performers experience higher levels of social rejection and are perceived more negatively than the control group and that endorsement of negative stereotypes is associated with social rejection.

Currently, Eurocentric theories and practices of urban teachers and students are often studied under a White gaze of expected deficits. Much of this research is quantitative (e.g., documenting the number of teachers of color); the qualitative research that documents the experiences of people of color usually lacks the personal lived experiences of racial marginalization that only one who has endured them can tell. Addressing this research problem, in this dissertation, I share findings generated from a 9-month autoethnographic study of my experiences in light of the blockade of anti-Black epistemologies and ontologies in (music) teacher education. Framed by Critical Race Theory, Critical Pedagogy, and Postcolonial Theory, the aim of this study is to examine the lived experiences and narratives of a Black-queer doctoral student and teacher educator—in dialogue with majority Black and Latinx preservice early childhood and elementary students in his music teacher education course—considering how Eurocentric frameworks position teachers and students. Inquiries into how curricular stories are constructed as mirrors and windows (Bishop, 1990) are woven to reveal the ways in which dominant theories and ideologies affect the discourses and identities of soon-to-be teachers and point toward the need for students and educators of color to be taught to analyze and name injustices documented within life histories, all the while transforming oppressive encounters to affirm individual and collective humanity. While the focus of this self-study and autoethnography is the researcher, this ethnographic composition of teaching and teacher education is informed by the researcher’s teacher education practices, experiences, and learnings in the context of an early childhood and elementary teacher education course for non-music majors at a primarily-Hispanic serving urban institution of higher education. It examines classroom discursive interactions and archival data (e.g. journal reflections, course assignments) using ethnographic research methods and critical narrative analysis (Souto-Manning, 2014) to make sense of data. In doing so, it co-constructs a polyphonic space for multiple perspectives to stand in counterpoint (conflict), reimagining and reclaiming the discourses that purport to hold knowledge about peoples of color lived experiences. Findings are rendered by engagement with a range of Afrocentric visual and multimodal data.

The growing number of community college transfer students aspiring to attain a baccalaureate degree increases the importance of understanding their perceptions about mattering at 4-year institutions. The degree to which students believe that they matter to others, they are significant to others, and they are appreciated by others (Rosenberg & McCullough, 1981; Schlossberg, 1989; Schlossberg, Lassalle, & Golec, 1989) is paramount to 4-year institutions retaining and graduating these students. A quantitative study was conducted using the Mattering Scales for Adult Students in Higher Education (MHE) to assess the perceptions community college transfer students have about mattering at a private, 4-year liberal arts institution in five postsecondary domains: administration, advising, peers, multiple roles, and faculty. Two research questions were examined in this study: 1. Do community college transfer students perceive that they matter at a private, 4-year liberal arts institution in five postsecondary domains: administration, advising, peers, multiple roles, and faculty? 2. Are there significant differences in the perceptions of community college transfer students based on demographic factors including age, race/ethnicity, education, gender, employment, dependents, number of dependents, hours worked weekly, hours spent on campus weekly, enrollment status, years at the institution, or major area of study? The participants for this study consisted of 23 respondents from a sample of 31 community college transfer students enrolled during the fall 2015 academic semester. Statistical analysis was conducted using descriptive statistics to describe the participants in the study. Inferential analysis was conducted using independent-samples t-tests to assess the differences in the independent variables in the five postsecondary domains and the students’ perceptions about mattering. The findings from this study revealed that community college transfer students have strong perceptions of mattering in the advising and peers postsecondary domains. Differences were statistically significant for gender, race/ethnicity, age, dependents, employment, enrollment status, and education in at least one of the five postsecondary domains. Implications for this research suggest that institutions that focus on mattering and greater student involvement will be successful in creating campuses where students are motivated to learn, where retention is reduced, and where students are loyal to the institution even after graduation.

No description available.

The rapid rise of digital platforms has transformed communication and information sharing. As social networks become increasingly integral to modern society, social media platforms are motivated to implement algorithms that both enhance user experience and bolster advertising. Yet, the intricate nature of social networks poses significant algorithmic design challenges: How can network data be used to predict node attributes? Which graph representations contain the best prediction power? Of paramount concern is the potential for these algorithms to reinforce biases against marginalized groups. Social networks often mirror societal biases tied to gender, race, socioeconomic status, and other factors. Algorithms that unintentionally enhance these biases can detrimentally affect individuals and broader communities. Recognizing these implications, this dissertation delves into four projects, each addressing distinct aspects of these challenges. Through our investigations, we propose innovative solutions aimed at bolstering the fairness, accuracy, and predictive prowess of social network algorithms.

We are living in an age of widening inequality and fragmented social solidarity and trust. Simultaneously, our social connections and relationships are increasingly disperse. In this context, how do people understand and respond to their experiences of marginality and alienation? This dissertation uses the case of transnational intimate relationships in Peru to understand how these relationships and the context in which they occur become sites for individuals to resist experiences of subordination and disaffection, and reimagine future possibilities for themselves. Máncora, Peru is a small coastal town that has experienced rapid growth as a tourist destination, but that contends with high levels of socio-political and economic informality and precarity. Against this backdrop, I examine the relationships that have emerged between a group of local men and tourist women mainly from North America and Europe. Previous scholarship has understood these relationships as “female sex tourism” or “romance tourism,” however this dissertation moves beyond these sometimes one-dimensional accounts. Ultimately, beyond arguing that these relationships are not merely transactional, I argue that these relationships, and the context in which they occurred, provided the men and women I met in Máncora with something curative: a remedy for the marginality and alienation that they experienced in their everyday lives. Specifically, I examine how their relational pursuits of pleasure, escapism, and desire gave rise to fantasy. This fantasy fueled and was fueled by their relationships, and allowed the men and women to contest and cope with a sense of alienation and marginality engendered by neoliberalism, and make meaning under conditions of structural constraint. Using qualitative methods, including participant observation, interviews, photography, and social media content analysis, I explore three key themes. Part one describes a masculine subculture that emerged on the beach where the men worked and met their partners. This subculture was premised on pleasure and leisure, and shaped how they cultivated relationships with their partners, managed everyday experiences of subordination, and planned for the future. Part two examines the economic and gendered dynamics that underpinned the women’s desire for travel and escape. These dynamics also shaped why they sought out relationships with unlikely partners, and how they envisioned that they could transform their everyday lives to be more fulfilling. Finally, part three explores the role of fantasy in how the men and women imagined alternative possibilities for themselves within their relationships, and in the touristic context of the town. This dissertation also makes three key contributions. First, within sociology, Weber’s thesis of the “disenchantment of the world” is well known. It describes the sense of a loss of purpose, meaning, and transcendence in people’s lives as a consequence of modernity and the rationalization of social life. Less explored, however, is Weber’s recognition of the possibility of re-enchantment that can paradoxically emerge in response to these forces as people seek to recover meaning. This dissertation locates this process of re-enchantment in the ways that people engage with fantasy. Second, this dissertation advances a sociology of fantasy. I define fantasy as material, economic, and erotic imaginaries that allow people to project and construct alternative lives. I argue that fantasy can be understood as operating beyond the realm of individual-level behavior, and be recognized as a social condition or relational phenomenon. I also argue that while sometimes improbable and limiting, fantasies can also be a productive means through which people cope with and contest experiences of marginality and alienation. Finally, this dissertation makes a theoretical intervention by bridging conceptions of the future from sociology and queer theory. Queer theorists argue for utopian orientations to the world that permit for potentiality where there is none, and a being and doing for the future to move through the present. Sociologists have written about “imagined futures” to describe how people use seemingly irrational ideas about the future to make identity claims, assert moral worthiness, and transcend present realities. I argue that queer theory provides us with models for thinking about the reasons for, and means through which, marginalized people find spaces to exist, thrive, assert identity, and find community. A queer lens is useful because it demonstrates how and why marginality can lead to responses centered around pleasure, utopic imaginaries, and the projection of alternative futures.