The thesis is focused on the construction of cartographic systems not only as a tool for environmental representation, but also for shaping practices, values, technologies, and cultural narratives around sustainable development of human landscapes in non- Western contexts. Cartographic theory is employed to question existing mapping techniques, especially in relation to documenting sustainable development. The thesis investigates the merging of technology, science and art in the process of making maps and explores the possibility to represent several spheres of reality in cartographic elements. Representation concepts and methodologies were tested around the Mexican settlement of Ciudad Obregon, within the bioregion of the Gulf of California. Parts of the agendas for sustainable development revised stimulate the collection of dreams, images, and fantasies about non-Western human agglomerations and their ecosystems, critically informing sustainable narratives framed in other contexts. The works reviewed reveal an absence of complex cartographic and visual systems, portraying instead emerging landscapes in growing economies as exotic, mysterious, folkloric, chaotic, less developed, and in need of corrective study and supervision from a Western viewpoint. Interpretive, visual, and technological instrumentations were utilized with the aim of constructing a cartographic system that exposes dynamics of sustainable development in emerging settlements. The methodological scheme considers a series of associations between quantitative and qualitative approaches, employing eighteen dialectical negotiations in the representation of six ecologies. The outcome was a hybrid system of representation concerning bi-dimensional maps, photography, and chronicles from local newspapers. Two fieldtrips to Mexico were completed in 2012 and 2013, visiting and studying eighteen human agglomerations in total. The outcomes (measured and gathered data, perceptions, bibliography, photographs, and cartographic evidences) of both fieldtrips were linked to the hypothesis previously outlined in the literature review. The methodological structure was influenced by the cartographic representation interpretation of the biosphere of Ciudad Obregon and its natural ecosystems. On the other hand, the cartographic representation-interpretation of different networks resulted in the study of polymorphous infrastructures that facilitate the flow of goods, capital and people throughout the same territory. The correlation of the research interrogates the paradigmatic challenges of the ‘network society’ in developing contexts. It questions the notion that human settlements develop sophisticated infrastructure networks, selectively connecting together the most favoured users and places, linking valuable segments and discarding irrelevant habitats, locales and people. As the cartographic and visual evidences gathered by this research suggest, these commodity landscapes allow terrestrial and aerial flow of physical and knowledge resources (food, water, gasoline, telecommunications, transport, information, services, waste) in granulated and disseminated environments of buildings and networks, materializing a palimpsest of infrastructures. The research finds that the assessment of social, cultural, and environmental sustainability in emerging and dispersed landscapes requires an adjacent design of cartographic and visual frameworks that represent the complexity found in developing locations.

During the month of November 2017, the President of Zimbabwe, Robert Mugabe was taken into custody by Zimbabwe’s military. This was a move in order to shift the governmental power after which Mugabe after almost 40 years as President of Zimbabwe resigned from his post.   The thesis contains a Ccritical Ddiscourse Aanalysis of articles published by one of the world’s great newspapers during this shift of power. The newspaper analysed is the British newspaper ‘The Guardian’. The analysis studied which characters and major topics are represented in the articles and how they are represented to see what fits inside The Guardian’s news reporting on the final events in the shift of power in Zimbabwe. In order to find these discursive attributes, pictures linked to the articles were analysed, the context in which the events happened as well as the discourse used in the articles from a perspective of orientalism, post-colonialism and ideology. Other theoretical aspects used are framing, representation and critical Critical Ddiscourse Sstudies.   The empirical case in this research project involves three articles collected from T‘the Guardian ’ reaching from the reporting of Mugabe’s firing of his vice President, Emmerson Mnangagwa to the reporting of Robert Mugabe resigning as President of Zimbabwe.   The interest in this study is springing from the normative approach of news media to provide an objective story to the readers while providing the whole picture. With this mission many different challenges come along of orientalist and post-colonial character, as ‘the Guardian’The Guardian is a British newspaper and Zimbabwe being a former British colony.   The results concluded an absence of post-colonial and orientalist representations in the news frames regarding Zimbabwe and its population, the most ideologically charged instances rather revolved around Robert and Grace Mugabe.

OLivro de Travesseiro (Makura no Sôshi), de Sei Shônagon, escrito entre o fim do século X e o início do XI, possui hoje inegável status canônico no contexto da literatura japonesa. Ao mesmo tempo, é o texto japonês mais traduzido do mundo, ocupando lugar estável na lista de títulos que são considerados como pertencentes à Weltliteratur, com uma adaptação cinematográfica (O Livro de Cabeceira, de Peter Greenaway, 1996) e duas versões para o português do Brasil (2008 e 2013). A posteridade tratou as enumerações presentes no texto como tópicos poéticos, ou mesmo, contemporaneamente, como poesia - principalmente em tradução. As listas revelam uma atitude lúdica com relação à linguagem e àquilo que Foucault chamava de "categorias do pensamento" Nesse sentido, o texto de Sei Shônagon pode ser posto em diálogo com o olhar de estranheza em relação à categorização racionalista, que é a premissa de As Palavras e as Coisas (Michel Foucault, 1966) e com a obra de Jorge Luis Borges. A obra de Sei Shônagon mobiliza diversas camadas de conceitos problemáticos ao mesmo tempo. Por outro lado, nenhuma dessas categorias se aplica a O Livro de Travesseiro sem provocar, por sua vez, desestabilizações conceituais. A questão da autoria feminina e de sua relação com a figura do pai e com a cultura do patriarcado reaparece em O Livro de Cabeceira, na trajetória de liberação pela escrita da personagem principal do filme. Essas possíveis leituras dos textos propostos contribuem para a problematização de questões relacionadas à autoria, ao conhecimento, à tradução e à adaptação. / The Pillow Book (Makura no Sõshi) of Sei Shônagon, written between the end of the tenth and the beginning of the eleventh century, has attained undeniable canonical status in the context o f Japanese Literature. lt also is the most translated ]a panes e text in the world, and occupies a stable place in the list of works that are considered as belonging to the realm of Weltliteratur. It has been adapted to the screen outside Japan (The Pillow Book by Peter Greenaway, 1996) and translated twice to Brazilian Portuguese (in 2008 and 2013). Later generations of readers have treated the text's enumerations as catalogues of poetic topics or even, since the beginning of the twentieth century, and especially in translation, as poetry. The lists show a playful approach to language and to what Foucault has called the "categories of thought". In this sense, Sei Shõnagon's reuvre can be read in resonance with Foucault's Les Mots et les Choses (1966) and its attempt to defamiliarize rational categorization, a conceptual device which can also be found in the work ofJorge Luis Borges. Sei Shõnagon's work simultaneously mobilizes severallayers of problematíc concepts. On the other hand, none of these categories applies to lhe Pillow Book without engendering further conceptual destabilization. The issues of female authorship and woman authors' relationships with their fathers in a patriarchal culture reappear in the film, in the main character's journey towards liberation through writing. Those possible readings of the proposed texts contribute to the problematization of issues related to authorship, knowledge, translation and adaptation.

This thesis deals with mixed hybrid Russian-Ukrainian language known as surzhyk with an emphasis on its reflection in contemporary Ukrainian literature. The aim of the thesis is to outline the basic features of the contemplation of literary surzhyk. The first part presents a general definition of the concept of surzhyk, its sociolinguistic definition, geographic and functional extension. Further on, it suggests the relationship between this phenomenon and its literary reflection - so-called literary (or also author's or conscious) surzhyk. The following section reviews the reflection of literary surzhyk in theoretical works, both linguistic and literally theoretical. The use of literary surzhyk is discussed in detail in the major monographs dedicated to this phenomenon (Artur Bracki, Larysa Masenko, Salvatore Del Gaudio) and in the key works on Ukrainian postmodern literature and Ukrainian society (Tamara Hundorova, Roksana Charchuk, Ola Hnatiuk). In the third part, Peter Mareš's concept of intratext multilingualism is taken over for further investigation of literary surzhyk. The paper tracks the forms of hybrid language in Ukrainian literature and what functions it performs here. Some specific forms of textual multilingualism have been introduced as the most appropriate for grasping literary...

O presente trabalho trata da percepção ocidental em relação à dança oriental a partir de relatos de seis viajantes inglesas que estiveram no Egito entre os anos de 1842 e 1876, período que abrange a dominação imperialista europeia no Oriente Médio. Têm-se como referenciais teóricos o conceito de “Orientalismo”, cunhado por Edward Said, e a crítica posterior realizada por feministas pós-coloniais e decoloniais. Assim, analiso estes relatos a partir de uma perspectiva interseccional, considerando-se os recortes de gênero, raça e classe que influenciaram as representações tecidas por mulheres europeias sobre homens e, sobretudo, mulheres egípcias. Examino de que modo estas representações impactaram tanto nas identidades inglesas quanto egípcias e de que maneira elas transformaram a dança que era praticada no Egito e que, a partir do contato dado no contexto colonial, se transnascionalizou e hoje é percebida como “Dança do Ventre” (em português), “Bellydance” (em inglês), “Danse du Ventre” (em francês) e “Raqs Sharqi” (em árabe). / This research investigates the Western perception of Eastern dance based on the study of the accounts of six British women who traveled to Egypt between 1842 and 1876, a period that encompasses European imperialist domination in the Middle East. The theoretical references include the concept of "Orientalism", coined by Edward Said, and the subsequent criticism by postcolonial and decolonial feminists. Thus, I analyze these reports from an intersectional perspective, considering the categories of gender, race and class that influenced the representations made by European women about men and, above all, Egyptian women. I examine how these representations impacted both English and Egyptian identities and how they transformed the dance that was practiced in Egypt, which, from the contact given in the colonial context, became transnational and is now perceived as “Dança do Ventre” (in Portuguese) “Bellydance” (in English), “Danse du Ventre” (in French) and “Raqs Sharqi” (in Arabic).

A partir da perspectiva de uma pesquisa em arte sob o viés autoetnográfico, este memorial propõe uma análise reflexiva do processo de composição de uma coreografia de dança do ventre hibridizada à poética da coreógrafa Eva Schul. Desse modo, tem-se por objetivo compreender como a dança do ventre pode ser matriz de movimento para uma composição contemporânea em dança. Os estudos em "World Dance" (FOSTER, 2009; SHAY, SELLERS-YOUNG, 2003; 2005) e a perspectiva pós-colonialista de autores como Edward Said (2007) e Homi Bhabha (2010) forneceram referencial teórico para propor uma abordagem não eurocêntrica da dança do ventre, a qual postula que todas as danças são potentes artisticamente, independente de sua origem. Imersa na prática das aulas de dança contemporânea de Eva Schul, conhecendo sua poética, vivenciando sua técnica e inspirada pela antropofagia (ANDRADE, 1924; 1928, DANTAS 2008), a pesquisadora encontrou o caminho para alcançar a hibridação desejada (CANCLINI, 2011; LOUPPE, 2012). A poética de Eva Schul permitiu inserir conceito e reflexão na coreografia e relacionar os movimentos clássicos da dança oriental a procedimentos de composição em dança contemporânea. A criação coreográfica apresentada buscou problematizar o orientalismo que vê a dança do ventre de forma imutável através do tempo. Neste estudo compreendeu-se que, para inserir a dança do ventre em uma perspectiva contemporânea, é preciso subverter a visão orientalista associada a esta dança e refletir sobre a ambiguidade da bailarina de dança do ventre a qual, se por um lado, é mostrada como um ser exótico para apreciação, por outro lado é muitas vezes limitada a um objeto sensual passivo. / From the perspective of a research in art by the auto-ethnographic view, this memorial proposes an reflexive analise of the composition process of a hybridized belly dance choreography with the poetic of the choreographer Eva Schul . By this way, it seeks to understand how can belly dancing be movement matrix for a contemporary dance composition. Studies in "World Dance" (FOSTER, 2009; SHAY; SELLERS - YOUNG, 2003; 2005) and the post colonial perspective of authors like Edward Said (2007) and Homi Bhabha (2010), provided a theoretical framework to propose a non-eurocentric approach to belly dance, from which all dances are artistically potent regardless of their origin. Immersed in the classes of Eva Schul, learning her poetic, experiencing her technique and inspired by anthropophagy (ANDRADE, 1924 1928; DANTAS, 2008), the researcher found the way to achieve the desired hybridization. (CANCLINI, 2011; LOUPPE, 2012) The poetic from Eva Schul allowed to insert into the composition concept, reflection and to connect the classical movements of oriental dance to a compositional procedures of contemporary dance. The choreography presented sought to problematize the orientalism that sees belly dance as an immutable form throughout the times. In this study it was understood that to place belly dance in a contemporary perspective, it is necessary to subvert the orientalist vision associated with this dance and reflect on the ambiguity of the belly dancer who, if on one hand, is shown as an exotic being to be appreciated, on the other is often viewed only as a passive sensual object.

Syftet med denna uppsats är att genom en intertextuell analys identifiera vilka kopplingar som finns mellan Robinson Crusoe och Mr Foe och hur man skulle kunna använda verken i en undervisningskontext utifrån Edward W. Saïds teori om orientalism och intertextuellt perspektiv. Analysen utgår från Edward W. Saïds teori om dikotomier och hur fördomar kan accepteras som sanningar, samt Martha C. Nussbaums teori om beskrivande chauvinism och romantik. I analysen framkommer det att kopplingarna i Mr Foe främst anspelade på Crusoes romantiska bild av ön där han är härskare och Fredag är hans tjänare. Genom att diskutera Fredags olika roller i verken menar jag att man kan föra en diskussion i klassrummet där eleverna får öva sig i att se maktförhållandet i västerländsk syn på utomeuropeisk kultur.

This thesis analyzes Plans, Elevations, Sections, and Details of the Alhambra (1836-1842) by British Architect Owen Jones in relation to British conceptions of Spain in the nineteenth century. Although modern scholars often view Jones’s work as an accurate visual account of the Alhambra, I argue that his work is not only interested in accuracy, but it is also a re-presentation of the fourteen-century monument based on Jones’s ideologies and creative faculties. Instead of viewing the Alhambra through a culturally sensitive, historical lens, Jones treated it as an Imaginary Geography, as Edward Said called it, through which he could promote his interests and perspectives. Although there were many British views of Spain in nineteenth-century, this thesis will focus on two sets of seemingly contradictory conceptions of Spain that were especially important to Jones’s visual and ideological program in Alhambra: Spain’s status as both the Catholic and Islamic Other, and its frequent interpretations through both romantic and reform-oriented lenses. Through a closer look at Arabian Antiquities of Spain by James Cavanah Murphy and the illustrations from The Tourist in Spain: Granada by David Roberts, I show the prevalence of these mindsets in nineteenth-century reconstructions of the Alhambra. Then, I compare portions of these works to plates from Jones’s Alhambra to illustrate Jones’s similar adaptation of these perspectives despite the visual peculiarity of his work as a whole.

A partir da perspectiva de uma pesquisa em arte sob o viés autoetnográfico, este memorial propõe uma análise reflexiva do processo de composição de uma coreografia de dança do ventre hibridizada à poética da coreógrafa Eva Schul. Desse modo, tem-se por objetivo compreender como a dança do ventre pode ser matriz de movimento para uma composição contemporânea em dança. Os estudos em "World Dance" (FOSTER, 2009; SHAY, SELLERS-YOUNG, 2003; 2005) e a perspectiva pós-colonialista de autores como Edward Said (2007) e Homi Bhabha (2010) forneceram referencial teórico para propor uma abordagem não eurocêntrica da dança do ventre, a qual postula que todas as danças são potentes artisticamente, independente de sua origem. Imersa na prática das aulas de dança contemporânea de Eva Schul, conhecendo sua poética, vivenciando sua técnica e inspirada pela antropofagia (ANDRADE, 1924; 1928, DANTAS 2008), a pesquisadora encontrou o caminho para alcançar a hibridação desejada (CANCLINI, 2011; LOUPPE, 2012). A poética de Eva Schul permitiu inserir conceito e reflexão na coreografia e relacionar os movimentos clássicos da dança oriental a procedimentos de composição em dança contemporânea. A criação coreográfica apresentada buscou problematizar o orientalismo que vê a dança do ventre de forma imutável através do tempo. Neste estudo compreendeu-se que, para inserir a dança do ventre em uma perspectiva contemporânea, é preciso subverter a visão orientalista associada a esta dança e refletir sobre a ambiguidade da bailarina de dança do ventre a qual, se por um lado, é mostrada como um ser exótico para apreciação, por outro lado é muitas vezes limitada a um objeto sensual passivo. / From the perspective of a research in art by the auto-ethnographic view, this memorial proposes an reflexive analise of the composition process of a hybridized belly dance choreography with the poetic of the choreographer Eva Schul . By this way, it seeks to understand how can belly dancing be movement matrix for a contemporary dance composition. Studies in "World Dance" (FOSTER, 2009; SHAY; SELLERS - YOUNG, 2003; 2005) and the post colonial perspective of authors like Edward Said (2007) and Homi Bhabha (2010), provided a theoretical framework to propose a non-eurocentric approach to belly dance, from which all dances are artistically potent regardless of their origin. Immersed in the classes of Eva Schul, learning her poetic, experiencing her technique and inspired by anthropophagy (ANDRADE, 1924 1928; DANTAS, 2008), the researcher found the way to achieve the desired hybridization. (CANCLINI, 2011; LOUPPE, 2012) The poetic from Eva Schul allowed to insert into the composition concept, reflection and to connect the classical movements of oriental dance to a compositional procedures of contemporary dance. The choreography presented sought to problematize the orientalism that sees belly dance as an immutable form throughout the times. In this study it was understood that to place belly dance in a contemporary perspective, it is necessary to subvert the orientalist vision associated with this dance and reflect on the ambiguity of the belly dancer who, if on one hand, is shown as an exotic being to be appreciated, on the other is often viewed only as a passive sensual object.

OLivro de Travesseiro (Makura no Sôshi), de Sei Shônagon, escrito entre o fim do século X e o início do XI, possui hoje inegável status canônico no contexto da literatura japonesa. Ao mesmo tempo, é o texto japonês mais traduzido do mundo, ocupando lugar estável na lista de títulos que são considerados como pertencentes à Weltliteratur, com uma adaptação cinematográfica (O Livro de Cabeceira, de Peter Greenaway, 1996) e duas versões para o português do Brasil (2008 e 2013). A posteridade tratou as enumerações presentes no texto como tópicos poéticos, ou mesmo, contemporaneamente, como poesia - principalmente em tradução. As listas revelam uma atitude lúdica com relação à linguagem e àquilo que Foucault chamava de "categorias do pensamento" Nesse sentido, o texto de Sei Shônagon pode ser posto em diálogo com o olhar de estranheza em relação à categorização racionalista, que é a premissa de As Palavras e as Coisas (Michel Foucault, 1966) e com a obra de Jorge Luis Borges. A obra de Sei Shônagon mobiliza diversas camadas de conceitos problemáticos ao mesmo tempo. Por outro lado, nenhuma dessas categorias se aplica a O Livro de Travesseiro sem provocar, por sua vez, desestabilizações conceituais. A questão da autoria feminina e de sua relação com a figura do pai e com a cultura do patriarcado reaparece em O Livro de Cabeceira, na trajetória de liberação pela escrita da personagem principal do filme. Essas possíveis leituras dos textos propostos contribuem para a problematização de questões relacionadas à autoria, ao conhecimento, à tradução e à adaptação. / The Pillow Book (Makura no Sõshi) of Sei Shônagon, written between the end of the tenth and the beginning of the eleventh century, has attained undeniable canonical status in the context o f Japanese Literature. lt also is the most translated ]a panes e text in the world, and occupies a stable place in the list of works that are considered as belonging to the realm of Weltliteratur. It has been adapted to the screen outside Japan (The Pillow Book by Peter Greenaway, 1996) and translated twice to Brazilian Portuguese (in 2008 and 2013). Later generations of readers have treated the text's enumerations as catalogues of poetic topics or even, since the beginning of the twentieth century, and especially in translation, as poetry. The lists show a playful approach to language and to what Foucault has called the "categories of thought". In this sense, Sei Shõnagon's reuvre can be read in resonance with Foucault's Les Mots et les Choses (1966) and its attempt to defamiliarize rational categorization, a conceptual device which can also be found in the work ofJorge Luis Borges. Sei Shõnagon's work simultaneously mobilizes severallayers of problematíc concepts. On the other hand, none of these categories applies to lhe Pillow Book without engendering further conceptual destabilization. The issues of female authorship and woman authors' relationships with their fathers in a patriarchal culture reappear in the film, in the main character's journey towards liberation through writing. Those possible readings of the proposed texts contribute to the problematization of issues related to authorship, knowledge, translation and adaptation.