This study is about how eight mixed-race women, residing in urban Sweden, experience their own becoming through body and sexuality and through the way they experience that other individuals and the outer world view them. The methods used are ethnographic interviewing and autoethnographic writing.The theoretical framework is mainly located in the field of feminist and anti-racist phenomenology and includes becoming, belonging, intersubjectivity, disidentification, and affect theory. I find that the women of this study become through negotiation of circulating images, stigmas, and norms and that becoming is a corporeal process that is felt and thought. We create belongings through our becoming.

The aim of this essay is to examine the tension at the heart of the British colonial discourse as it affects the relationship of Travis and Joyce in the chapter "Somewhere in England", in Caryl Phillips's 1993 novel, Crossing the River. The thesis of the essay is that the colonial discourse of the British insists on a racial signifier in the imagined community of the British, and thus resists the idea that a person can be both black and British. The postcolonial analysis shows that it is Joyce's rejection of the national discourse along with the displacement of Travis from a segregated America into a superficially kinder environment that allows their relationship to develop. Yet, along with Travis's death, the contradictions and hypocrisy of the colonial discourse serve to undermine Joyce's lack of racial prejudice and contribute to her giving up her baby at the end of the war.

This paper seeks to examine how South Korea news medias portrayed mixed-race South Koreans in Korean society by checking articles from the newspapers Dong-A Ilbo and Kyunghyang Shinmun. The paper explores the process of formation of discourse on mixed-race in South Korea, and the contextual background that related to it by analysing about 800 newspaper articles from 1950 to 2019 through critical discourse analysis. The research is conducted within the theoretical frames of imagined community, the concept of ‘othering’, and race and ethnicity in the discourse analysis of the newspapers. The results of the study show that mixed-race people in South Korea are often stigmatised and discriminated for their difference in society as ‘others’ in the newspaper portrayals. Furthermore, the paper highlights that such portrayals of mixed race are based on ethnic nationalism and patriarchal ideas that influenced the discourse around them in South Korea.

This dissertation examines the subject formation of racially ambiguous protagonists in K Sello Duiker’s Thirteen Cents, (2001), Yewande Omotoso’s Bom Boy (2011) and Zoe Wicomb’s Playing in the Light (2006), three Bildungsromane set in post-apartheid Cape Town—the mother city—whose violent, racist histories of colonial encounters, slavery and apartheid have led to a strong social sense of racial group belonging and racial exclusion. It is between and among these strictly policed racial groups that these novels’ protagonists seek belonging and a place in society from which to act and speak. Although different aspects of racial ambiguity are foregrounded in these novels—namely phenotypical, cultural and political—these protagonists are all socially marginalised and they must form their identities and subjectivities at the intersections of social trauma and personal trauma brought about and catalyzed by the racist history and current socio-cultural formations in South Africa. Across the two socioscapes of society and family, this trauma is manifest as a gap in language—there is no affirming or cogent racial subject position for these figures from which to speak—and at the level of the body, where circulations of feeling produce the racially ambiguous body as abject or non-existent. As a sub-genre, the post-colonial Bildungsroman has been widely appraised as reconfiguring the thematic, structural and narrative traditions of its classical European counterpart, and my dissertation argues that these novels support this understanding. I also claim that they trace their racially ambiguous protagonists’ subject formation not from an initial subject position of self-centered, willful childhood innocence and ignorance but from a state of non-subjectivity into existence itself—proposing that the trajectories of the novels trace an ontological rather than ideological shift.

The aim of this study was to contribute to the limited literature on Mixed-Race identity development in the post-apartheid context while providing a personal, evocative, and critical exploration of Mixed-Race identity. The objectives were to use self-reflection as a tool to think critically about how close relationships and other systemic factors (such as friendships, school environment and broader societal factors) that contributed to my Mixed-Race identity development, played a significant role. The autoethnographic methodology was used to harness the quality of evocative and personal writing in the process of knowledge creation and establishing a voice for the Mixed-Race experience through the narration of my personal experiences. Autoethnography is a methodology that situates the researcher as the ‘data’ by using first-person accounts of their experiences to analyse and discuss particular social and cultural phenomena. Root’s ecological model for multiracial identity development was used as a framework to explore and analyse how systemic factors influenced and shaped my Mixed-Race identity development. Additionally, Worthman’s bio-ecocultural model was used to explore the influence of my bond with my parents on my racial identity formation in childhood. Data collection involved me engaging in a reflexive journaling process. Thematic analysis was used to develop themes from my reflexive journal. Three main themes were found, namely my bond with my parents and their socialisation practices, my experience of being ‘the other’ and an outsider in social settings, and my close friendships. While I discuss the themes separately, there was considerable overlap between the themes and the factors involved in the discussion which suggests a complex relationship between multiple systemic factors (i.e. gender, skin tone, familial relationships, and social settings) that influenced my racial identity development. In conclusion, my racial identity development was (and still is) a lifelong process of self-discovery as I continue to be confronted with my dual-racial heritage in a predominantly monoracial South Africa. Based on the findings and conclusions of this study, the limitations and potential recommendations for future research has also been discussed. / Mini Dissertation (MA (Clinical Psychology))-- University of Pretoria, 2021. / Psychology / MA (Clinical Psychology) / Unrestricted

No description available.

O objetivo desta dissertação é analisar como a capoeira baiana passou a ser imaginada como símbolo de identidade brasileira por intelectuais e capoeiristas entre as décadas de 1930 e 1960, buscando responder a duas questões principais: quais foram os aspectos que levaram alguns intelectuais do período a se debruçarem sobre a capoeira baiana, selecionando para isso, certos traços, especialmente sua característica musical, na busca de interpretá-la como um símbolo de identidade regional e nacional? Como alguns dos principais capoeiristas baianos exploraram as relações e interpretações destes intelectuais e representantes do poder, confirmando ou contrariando suas idéias? A abordagem segue, principalmente, o método bibliográfico e explora um amplo conjunto de fontes produzidas pelas pessoas que são o foco da análise. Destacam-se, deste repertório, obras literárias e de cunho científico, entrevistas, reportagens, memórias, depoimentos, epístolas, filmes, documentários e discos. Parte dos documentos analisados, como os registros das canções da capoeira, periódicos, as trajetórias de alguns dos intelectuais e capoeiristas foram organizados em séries cronológicas. A abordagem teórica inspirou-se em trabalhos que enfatizaram a compreensão da ação social e criativa dos sujeitos diante das coerções e limites impostos por disposições de poder. Estudos que se detiveram sobre a construção simbólica da pureza africana, identificando seus usos e abusos foram importantes guias, assim como reflexões em torno das disputas pela hegemonia cultural ou sobre as relações entre elites e membros das classes populares. Ao mesmo tempo, a reconstrução das trajetórias de alguns personagens centrais contribuiu para estabelecer importantes vínculos entre as dimensões cultural e política das escolhas individuais. A par da diacronia, procuramos explorar também aspectos sincrônicos das relações entre os sujeitos envolvidos, analisando, por exemplo, a ampla penetração do tema da capoeira em múltiplas formas de expressão cultural. Os resultados da análise apontam para uma descrição pormenorizada de como intelectuais e representantes do Estado passaram a imaginar e se apropriar das manifestações populares como símbolos de identidade regional e nacional. Identificamos que entre estes dois grupos sociais indicados as ações não eram tão homogêneas, como poderiam parecer, o que também era verdade no caso dos capoeiristas, para os quais as estratégias se revelaram muito diferenciadas e criativas. A conclusão deste trabalho demonstra que a capoeira baiana, popularizada num período de apropriação massiva das manifestações populares por parte do Estado, também foi passível de se constituir em estratégia cultural, capaz de fazer a diferença para as pessoas que a produziam, deslocando assim disposições de poder. Nas inúmeras batalhas em que estiveram envolvidos, capoeiristas, intelectuais e outros atores procuraram garantir ou deslocar posições, sem deixar de tentar conciliar a imaginação que tinham da capoeira, com as outras expectativas envolvidas na disputa. Lutas e artes de encontro e desencontro. / The aim of this thesis is to analyze how Bahias capoeira started to be imagined as a symbol of Brazilians identity by intellectuals and capoeira players between the decades of 1930s and 1960s trying to answer two main questions: which were the aspects that motivated some intellectuals from this period to study Bahias capoeira, thereby selecting some features, especially the music aspect, in the search to interpret capoeira as a symbol of regional and national identity? How some of the most influential Bahias capoeira players explored the relations and interpretations of these intellectuals and power authorities, confirming or refuting their ideas? The study follows mainly the bibliographic method and explores a wide range of source material and resources produced by the people who are the focus of this thesis. From these resources we can outline literary and scientific works, interviews, newspaper reports, memories, testimonies, epistles, correspondence, movies, documentaries and music records. Parts of the documents analyzed, such as capoeira songs and magazines, and the trajectory of some of the intellectuals and capoeira players, were organized in a chronological series. The theoretical approach was inspired by works that put their emphasis on the comprehension of the social activism and the creativity of the actors in front of coercion and limits imposed by power mechanisms. Works that looked at the symbolical construction of African purity, identifying its uses and abuses were important guides as well as reflections about disputes for cultural hegemony or about the relationships between the elite and members of popular classes. At the same time the reconstruction of the trajectory of some of the main characters contributed to establishing an important link between the cultural and the political dimension chosen by some individuals. Using the diachrony, the authors also searched to explore some synchronic aspects of the relations between the individuals involved, analyzing, for example, the wide penetration of the capoeira theme in various forms of cultural expressions. The results of this analyses point to a detailed description of how the intellectuals and States representatives began to imagine and to appropriate the popular manifestations as symbols of regional and national identity. We have identified that between these two social groups the actions were not as homogenous as it may have looked, as it were also true in the case of the capoeira players to whom the strategies revealed to be more creative and diversified. The conclusion which this work demonstrates is that the Bahias capoeira, popularized in a period of massive appropriation of the popular manifestations by the State, was also able to constitute itself as a cultural strategy, able to make the difference to people who were producing it, shifting in this manner power dispositions. In the innumerable battles that capoeira players, intellectuals and other actors were involved, they tried to maintain or shift status, always trying to harmonize the imagination they had about capoeira with the perspectives of others involved in the dispute. Fight and art of encounter and separation.

Racial Queer is a qualitative study of Multiracial college students with a critical ethnographic component. The design methods, grounded in Critical Race Methodology and Feminist Thought (both theories that inform Critical Ethnography), include: 1) 25 semi-structured interviews of Multiracial students, 2) of which 5 were expanded into case studies, 3) 3 focus groups, 4) observations of the sole registered student organization for Multiracial students on Central University’s campus, 5) field notes and 6) document analysis. The dissertation examines the following question: How do Multiracial students understand and experience their racialized identities within a large, public, tier-one research university in Texas? In addition, it addresses the following sub-questions: How do Multiracial students experience their racialized identities in their everyday interactions with others, in relation to their own self-perceptions and in response to the way others perceive them to be? How do Multiracial students’ positionalities, as they relate to power, privilege, phenotype and status, guide their behavior in different contexts and situations? Using Holland et al.’s (1998) social practice theory of self and identity, Chicana Feminist Theory, and tenets of Queer Theory, this study illustrates how Multiracial college students utilize agency as racial queers to construct and negotiate their identities within a context where identity is both self-constructed and produced for them. I introduce the term, racial queer, to frame the unconventional space of the Multiracial individual. I use this term not to convey sexuality, but to convey the parallels of queerness (both as a term of empowerment and derogation) as they pertain to being Multiracial. In other words, queerness denotes a unique individuality as well as a deviation from the norm (Sullivan, 2003; Warner, 1993; Gamson, 2000). The primary purpose of this study is to illustrate the agentic ways in which Multiracial college students come to understand and experience the complexity of their racialized identity production. Preliminary findings suggest the need to expand the scope of racial discourses to include Multiracial experiences and for further study of Multiracial students. Their counter-narratives access an otherwise invisible student population, providing an opportunity to broaden critical discourses around education and race. / text

It is commonly held that contradiction and ambivalence are typical of Aboriginal policies, particularly those of the late 19th and early 20th centuries. These contradictions, often witnessed between policy and its application, have been recognized as a competition between pragmatic factors and humanitarian concerns. However, as is evidenced by the ‘mix-race discourse’ of the laws and policies that make up Aboriginal policy in Canada, the US, and Australia, these contradictions can in part be explained by a post-Enlightenment science that debated the role and place of mixed-ancestry Natives. While mixed-ancestry Natives were the specific targets of law and policy that aimed to fix their identities in a ‘Native-Newcomer’ racial binary, officials were ambivalent and ambiguous when it came to how they fit into that binary. The question of whether they should be considered ‘Aboriginal’ and if they should therefore be assimilated or segregated remained one of the most enduring questions of Aboriginal policy in the century between 1850 and 1950. This dissertation considers these contradictions and how the role of mixed-ancestry Natives in Aboriginal policies can explain them. Instead of seeing those contradictions as anomalies or as illogical, I posit that they are a logical product of scientific debates over racial hybridity. Fundamentally, I argue that mixed-ancestry Natives were the targets of ambivalent policies that were shaped by debates among nineteenth-century scientists about the implications of racial mixing. These debates were reflected in the inconsistencies and apparent contradictions of the laws and practices that make up Aboriginal policy in Canada, the US, and Australia. In particular, these debates were reflected in the ambiguity and ambivalence of policies that tried to direct how Indigenous peoples of mixed-ancestry should be dealt with, defined, and categorized. The contradictions and ambiguities in law and policy reflect on a larger scale the tension between attempting to apply a hypothetical dichotomized racial hierarchy on the reality of a hybridized society. These tensions were a major influencing factor on the direction and development of Aboriginal policy in these three countries, and produced a consistent albeit ambivalent body of ‘mixed-race’ discourse.

Submitted by Renata Lopes (renatasil82@gmail.com) on 2018-03-09T12:24:38Z No. of bitstreams: 1 clebersoaresdasilva.pdf: 15153652 bytes, checksum: 8b296d966d1dcf8469b4d847d99ab3a6 (MD5) / Approved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2018-04-09T19:14:20Z (GMT) No. of bitstreams: 1 clebersoaresdasilva.pdf: 15153652 bytes, checksum: 8b296d966d1dcf8469b4d847d99ab3a6 (MD5) / Made available in DSpace on 2018-04-09T19:14:20Z (GMT). No. of bitstreams: 1 clebersoaresdasilva.pdf: 15153652 bytes, checksum: 8b296d966d1dcf8469b4d847d99ab3a6 (MD5) Previous issue date: 2017-08-21 / O mineiro Assis Horta foi um dos mais importantes fotógrafos a prestar serviços ao SPHAN, atual IPHAN, na chamada fase heroica da instituição, quando esta foi dirigida por Rodrigo Melo Franco de Andrade e contava em seu quadro de funcionários com grandes intelectuais ligados ao movimento modernista brasileiro. Os registros fotográficos feitos por Horta contribuíram para o tombamento de Diamantina em 1938 e, mais tarde, em 1999, para o reconhecimento da cidade como Patrimônio da Humanidade, pela Unesco. Em paralelo ao trabalho documental, Horta desenvolveu sua carreira bem-sucedida de retratista com grande produção, como comprovam os mais de cinco mil negativos em vidro que compõem seu acervo. Por seu estúdio fotográfico e sob seu olhar, passou toda a sociedade diamantinense entre as décadas de 1930 a 1980, mas foram os retratos de operários, feitos entre os anos 1930 e 1940, que lhe deram maior projeção a partir de 2008. Foi graças à Consolidação das Leis Trabalhistas (CLT), decretada pelo governo de Getúlio Vargas, em 1943, e à obrigação das fotos 3x4 em carteiras de trabalho que muitos operários tiveram contato com a fotografia pela primeira vez. Os retratos de afro-brasileiros e mestiços pobres, seus familiares e amigos feitos no Photo Assis são herdeiros das tradições da fotografia oitocentista e dos carte de visite. Os cerca de 200 registros visuais divulgados em exposições e mostras até o momento só encontram analogia nos retratos de Militão Augusto de Azevedo, produzidos em fins do século XIX na cidade de São Paulo e na obra do também diamantinense Chichico Alkmim, realizada no começo do século XX. Os retratos aqui destacados são a comprovação da empatia entre o talentoso fotógrafo e sua nova clientela, parcela da população brasileira que, segundo a historiografia, foi tradicionalmente explorada comercialmente em fotografias de cunho pitoresco ou exótico e depois relegada ao esquecimento. Nas belas imagens feitas por Assis Horta analisadas nessa pesquisa, percebe-se que o jogo fotográfico se completa de maneira eficaz e o fotografado, não mais um objeto de cena, se mostra dignamente sujeito do próprio retrato... enfim um cidadão. / Assis Horta, one of the most important photographers of Minas Gerais worked for SPHAN, current IPHAN, in the so-called heroic phase of the institution, when it was directed by Rodrigo Melo Franco de Andrade and had as part of its staff great intellectuals linked to the Brazilian modernist movement. Horta‘s photographic records contributed for the listing of Diamantina in 1938 and later, in 1999, for the recognition of the city as Unesco World Cultural Heritage Site. Together with the documentary work, Horta developed his successful career as a portraitist with great production as evidenced by more than five thousand negative glass plates that are part of his collection. In his photographic studio and under his attentive observation, the whole society of Diamantina passed between the 1930s and the 1980s, but it was the portraits of workers, made between the 1930s and the 1940s, that gave him greater projection since 2008. It was thanks to the Consolidation Of Labor Laws (CLT), decreed by Getulio Vargas' government in 1943, and the obligation of 3x4 photos in work documents that many workers had contact with photographs for the first time ever. The portraits of poor Afro-Brazilians, their relatives and friends made at Photo Assis are heirs to the traditions of the nineteenth-century photography and of the carte de visite. The approximately 200 visual records published in exhibitions and cultural fairs so far are only analogous to the portraits of Militão Augusto de Azevedo, produced at the end of the 19th century in the city of São Paulo and in the work of Chichico Alkmim, also from the city of Diamantina, held at the beginning of the XX century. The photographs highlighted here are a proof of the empathy between the talented photographer and his new clients, a part of the Brazilian population that, according to historiography, was traditionally commercially exploited in picturesque or exotic photographs and then forgotten. In the beautiful images made by Assis Horta that are analyzed in this research we can notice that the photographic game is completed in an effective way and the ones photographed, are no longer an object of scene. They are worthily subjects of their own portrait ... ultimately, citizens.