[pt] Os estereótipos de gênero permeiam a vida social sendo, muitas vezes, de difícil percepção, tamanha a naturalização que estes conseguem atingir. Este processo de naturalização ocorre por meio do entendimento de que os atos de fala são meramente descritivos, quando, na verdade, estes são a forma por meio da qual a linguagem constitui a realidade, o que é chamado de ato performativo. Assim, torna-se fundamental o recurso à teoria de Austin, para que, por meio desta, se possa compreender o alcance desses atos de fala. Esses atos performativos foram incorporados pela teoria feminista para desmitificar as identidades de gênero, muitas vezes afirmadas ou com base em uma suposta essência, masculina ou feminina, ou por meio de uma biologização dessas noções. Isto permite entender como a linguagem é constitutiva dos corpos, e também do gênero, ponto fundamental para analisar-se o processo de construção do ideário de mulher e do movimento feminista no Brasil ao longo dos dois últimos séculos. Tendo como marco a Constituição Federal, pilar maior no processo de conquista de direitos na história recente do país, tomam-se por base as discussões travadas ao longo da Assembleia Nacional Constituinte, de 1987-1988, para, novamente recorrendo ao arsenal teórico aqui mencionado, explicitarem-se as ideias em torno das noções de gênero que se fizeram presentes naquele debate e as consequências que estas tiveram na luta e constituição de direitos das mulheres. / [en] Gender stereotypes that permeate social life are often difficult to detect, because of the process of naturalization that they can achieve. This naturalization process occurs through the understanding of speech acts that are merely descriptive, when, in fact, they are the means by which language constitutes reality, what is called a performative. Thus, it becomes essential to use Austin s theory, through this, one can understand the scope of these speech acts. These performative acts were merged by feminist theory to demystify gender identities often asserted or based on a supposed essence, male or female, or through a biologization of these notions. This allows us to understand how language is constitutive of bodies, and also the gender, essential to analyse the process of construction of the notion of women and the feminist movement in Brazil over the past two centuries. Starting from the Federal Constitution, bigger pillar in the process of conquering rights in recent history of the country, discussions during the National Constituent Assembly of 1987-1988 are taken for, resorting to the theoretical arsenal herein, emphasize the ideas around the notions of gender that were present at the debate and the consequences they had on the struggle and establishment of women s rights.

The emergence and importance of human rights are rarely discussed without the discussion in some way also touching on the impact that various popular movements or social resistance have had on the manifestation of rights claims. This thesis focus in particular on the development in recent times in Afghanistan since the Taliban's takeover of power in August 2021. For the women and girls in Afghanistan the Taliban’s new power meant a return from 20 years of developed opportunities and recognized human rights, which can be directly derived to the rights and non-discrimination of women declared in the UN Women's Convention on the Elimination of All Forms of Discrimination against Women (CEDAW). This thesis will primarily deal with Amnesty International's report Death in Slow Motion: Women and girls under Taliban rule, which consists of a 100-page report, including testimonies, that describes the situation of women and girls in Afghanistan one year after the Taliban took gained power in August 2021. The analytical discussion of this thesis is based on a critical theoretical framework built on the concepts of performative practice, weapons of the weak, translation and ontological disturbance. The operationalization of the theoretical framework of this thesis is done with the help of a critical discourse analysis (CDA). The analytical discussion and conclusions of this thesis establish that Afghan women's and girls' current, every day or small-scale acts of resistance in order to assert their rights, demands for belonging, equality and freedom take varying forms and that these approaches move dynamically between the public and private spheres of society. In many ways, the resistance takes place beyond the Taliban's supervision and despite the risks that the acts of resistance entail, the actions of the Afghan women and girls contribute to manifesting and strengthening their rights claims and highlighting their capacity for agency and freedom of action. This thesis mainly highlights how these acts of resistance and agents can open up conditions for women and girls in Afghanistan to form communities and solidarity belonging within a social and political arena that has come to place them on the periphery.

Body Acts Queer is an exploration of the performative and ideological functions of clothes with regard to gender, feminism and queer. It is an artistic, practice-based thesis in the field of fashion and design. The thesis includes three projects: On & Off, If you were a girl I would love you even more and The Club Scene. In these projects I, using text and bodies, work with acts in which clothes have a fundamental role. By exploring bodily experiences of clothes, I investigate the clothes’ performative and ideological functions, with a focus on cultural, social and heteronormative structures. Working with clothing and fashion design from a queer feminist perspective, I transform queer and feminist theory into a creative process. The projects presented in this thesis, together with the discussion, suggest a change in the ways in which bodies act, are perceived and are produced within the fashion field, giving examples of how a queer design practice can be performed. In this thesis, queer design is explored as an inclusive term, containing ideas about clothes and language, the meeting point between fiction and reality and the ability to interpretation and bodily transformations – where desire, bodily experiences and interaction create a change.

Thesis (MA (VA)(Visual Arts))--University of Stellenbosch, 2007. / Thesis received without illustrations at the time of submission to this repository. / This research follows the assumption that the notion of performativity can be applied to the visual construction of identity within art-making discourse in order to explore the contingent and mutable nature of identity in representation. My interest in performativity, defined as the active, repetitive and ritualistic processes responsible for the construction of subjectivities, lies within the process of production. I indicate how this notion, within the context of self-representation, can provide the possibility for performing identity as a process. I investigate the extent to which gender, the gaze, memory and narrative contribute to the performative construction of self-representations and reveal, through the exploration of my practical research, that these concepts are themselves performative. Although agency to construct the self can be regarded as problematic, considering the role of language and discourse in determining subjectivities, this research suggests that it is possible to perform interventions from within language. I suggest that the notion of inscription provides a means through which identity constructions can be performed differently; and that my art-making process of repetitive inscription, erasure and re-inscription of image and text and the layering of paint not only reflect the notion of performativity, but also enable me to expose the multiple and fragmented nature of identities.

Ce mémoire mélange théorie et fiction pour explorer la technique narrative du “nous” performatif. Le premier chapitre démontre le role du discours dans le processus de formation d’identité, pour éventuellement démontrer que la nature performative du langage est responsable de la creation des constructions sociales du soi et de l’autre. En étudiant les failles de ce système, cet essai tentera de créer une entité narrative libre de ces contraintes. Un second chapitre théorique, après des exemples de fiction, se penchera sur l’entité narrative du flâneur, qui à travers sa relation intime avec la cité, souligne une dichotomie présente dans la relation entre le soi et l’autre. Le flâneur emergera comme un site de traduction dans lequel le “nous” performatif peut prendre action. Toutefois, les limites du flâneur en tant qu’outil narratif l’empêchera d’être la representation ultime de cette dichotomie. Après d’autres exemples de fiction, un troisième chapitre combinera ce qui aura été apprit dans les chapitres précédents pour démontrer que le “nous” performatif et sa dissolution du “je” et du “tu” mène à une narration qui est responsable, consciente d’elle-même et représentative de la réalité urbaine moderne et ses effets sur la création de l’identité. / This paper blends theoretical and creative writing in order to explore the narrative device of the performative “we”. The first chapter highlights the role of discourse in the process of identity formation and will move on to show how the performative role of language is used in the creation of social constructs such as the self and the other. Focusing on the limits of such a system, this paper attempts to create a narrative entity that is free of these boundaries. After some creative writing examples, a second theoretical chapter focuses on the in-depth study on the narrative entity of the flâneur, which, through its relationship with the city, highlights a complex dichotomy present in the relationship between the self and the other. The flâneur will emerge as a site of translation through which the performative “we” can begin to take action. However, the flâneur’s limits as a narrative device prevent it from being the definitive representation of this new relationship. After more creative writing examples, a third chapter combines what was learned from the previous chapters in order to demonstrate that the performative “we” and its dissolution of the “I” and the “you” leads to a narrative that is responsible, self-aware, and highly representative of modern urban reality and its effects on the creation of identity.

Thoughts on magic, spectacle, arena, material, materiality, marrow, invincibility, repetition, performance, sculpture, time, decay, temporality, tools, marks, gestures, writing, coaxing, site, stage, architecture, and movement.

Pour exprimer ou définir une idée nouvelle, Derrida détourne souvent le sens d’un mot en se l’appropriant. La relation de Derrida avec les idées est telle que leur transmission passe par un vocabulaire spécifique, notamment l’analyse de l’étymologie (vraie et fausse). Mais quelle est sa conception du mot ? Quelles en sont les implications et les conséquences ? Pour répondre à ces questions, l’approche la plus féconde consiste à suivre au plus près celle que Derrida utilise en abordant la langue par rapport à la grammaire au sens large (c’est-à-dire tout ce qui fait événement dans la langue). En effet, la relation entre le mot et l’idée prend tout son sens dans l’analyse de certaines scènes bibliques, telles celles de la Genèse ou encore du mythe de Babel. Le fameux énoncé inaugural de l’Évangile de Jean, « Au commencement était la parole... », fait retour dans l’œuvre de Derrida, où il connaît plusieurs variations : il mérite examen, dans la perspective d’une déconstruction du logos et des origines de la langue. Le corpus de notre étude porte principalement sur trois textes de Jacques Derrida : « Des tours de Babel » (L’art des confins, PUF, 1979), Schibboleth – Pour Paul Celan (Galilée, 1986) et Donner la mort (Galilée, 1999), ces textes permettant tous une interrogation de l’« intention » divine dans le langage. Notre visée, en privilégiant dans l’œuvre derridienne ces « exemples » bibliques, est d’étudier la démarche de Derrida dans la « création » d’une langue, aspect qui a toujours été inséparable de l’élaboration de sa philosophie et auquel il a accordé la plus grande attention. À terme, ce travail se veut une contribution à la pensée du philosophe, portant sur un aspect capital de son travail et battant en brèche l’idée que son écriture est « absconse » ou « hermétique », alors qu’il y va pour lui de la mise en œuvre de sa manière même de concevoir la langue. / In order to express or define a new idea, Derrida often alters the meaning of a word in order to make it his own. Derrida’s relationship with ideas mostly expresses itself through a specific vocabulary which finds its roots in an etymological analysis (whether true or false). How does Derrida conceive the word? What are its implications and consequences? In order to answer these questions, one ought to follow closely Derrida’s approach of language through grammar in its broader sense (meaning anything which produces an event in language). It is by the examination of biblical episodes such as Genesis or Babel’s myth that the relationship between a word and the idea it represents is better conceived. The inaugural sentence in the gospel of John, “In the beginning was the Word…”, is often present in Derrida’s work, where its numerous occurrences undergo various transformations: this requires a closer inspection, especially in retrospect of logos’s deconstruction and the origin of language. This analysis will be based upon, amongst other texts, Shibboleth: for Paul Celan, The Gift of Death and “Des Tours de Babel” since they allow the possibility of a “divine intention” within language. Our objective, through a preferential study of those biblical “examples” in Derrida’s work, is to study his creation process pertaining to language. This aspect has always been intertwined with the elaboration of his philosophy and he has given it the utmost attention. In the end, this analysis presents itself as a contribution to the philosopher’s thinking, addressing a paramount aspect of his work while disproving the idea that his writing is “unreachable”, whereas it is, in fact, a question of how Derrida conceives language.

The topic of this thesis is analysis of the International Women's Day, Peace Race and first day of a school year as normalization rituals. The aim of these rituals was to mediate and consolidate the official state ideology and transform the whole society. Each of these events is analysed in three steps - in the first step is described the ideological content, in the second step is probed the way of projecting this ideology into the rituals and in the third step are analysed the actors themselves. If they adopted the ideological practise and what were their motivation to participate in these rituals.

A presente tese de doutorado busca uma pedagogia em performance - um ensino do teatro que se afirma como prática contemporânea a partir do teatro performativo. Aqui, a performatividade da criança é tomada como material poético para a construção teatral, e efetiva a experiência como prática de elaboração do conhecimento em arte. Evidencia-se no primeiro capítulo a correspondência entre teatro e pedagogia do teatro hoje, a partir do alargamento dos limites do conceito de teatro. No segundo capítulo a tensão entre as abordagens do ensino do teatro que privilegiam a livre expressão e aquelas que privilegiam um ensino diretivo, é revisitada em diálogo com autores como Winifred Ward, Peter Slade, Viola Spolin e Ingrid Koudela. A simulação é proposta como metodologia que coloca em performance a história do teatro, a partir de premissas de Thierry de Duve. Os últimos três capítulos expõem sobre a prática e a apreciação realizadas com trinta e oito turmas de alunos-atores do ensino básico, com foco em técnicas de aprendizagem e processos de encenação com crianças. Estas exposições teórico-práticas perseguem a pergunta: \"O que é ensinar/aprender teatro hoje?\" / The present PhD thesis seeks a performing pedagogy - the teaching of theater that affirms itself as a contemporary practice, obtaining its characteristics from the performative theater. Here, the performativity of the child is taken as poetic material for theatrical construction, and effective experience as a practice of elaboration of knowledge in art. The first chapter shows the correspondence between theater and pedagogy of theater today, from the extension of the limits of the concept of theater. In the second chapter, the tension between approaches to theater teaching that favor free expression and those that favor directive teaching is revisited in dialogue with writers such as Winifred Ward, Peter Slade, Viola Spolin and Ingrid Koudela. Simulation is proposed as a methodology that puts the history of the theater in performance, based on the premises of Thierry de Duve. The last three chapters discuss the practice and appreciation of thirty-eight classes of pupils in elementary education, focusing on learning techniques and process of staging with children. These theoretical-practical expositions pursue the question: \"What is teaching /learning theater today?\"

A presente tese de doutorado busca uma pedagogia em performance - um ensino do teatro que se afirma como prática contemporânea a partir do teatro performativo. Aqui, a performatividade da criança é tomada como material poético para a construção teatral, e efetiva a experiência como prática de elaboração do conhecimento em arte. Evidencia-se no primeiro capítulo a correspondência entre teatro e pedagogia do teatro hoje, a partir do alargamento dos limites do conceito de teatro. No segundo capítulo a tensão entre as abordagens do ensino do teatro que privilegiam a livre expressão e aquelas que privilegiam um ensino diretivo, é revisitada em diálogo com autores como Winifred Ward, Peter Slade, Viola Spolin e Ingrid Koudela. A simulação é proposta como metodologia que coloca em performance a história do teatro, a partir de premissas de Thierry de Duve. Os últimos três capítulos expõem sobre a prática e a apreciação realizadas com trinta e oito turmas de alunos-atores do ensino básico, com foco em técnicas de aprendizagem e processos de encenação com crianças. Estas exposições teórico-práticas perseguem a pergunta: \"O que é ensinar/aprender teatro hoje?\" / The present PhD thesis seeks a performing pedagogy - the teaching of theater that affirms itself as a contemporary practice, obtaining its characteristics from the performative theater. Here, the performativity of the child is taken as poetic material for theatrical construction, and effective experience as a practice of elaboration of knowledge in art. The first chapter shows the correspondence between theater and pedagogy of theater today, from the extension of the limits of the concept of theater. In the second chapter, the tension between approaches to theater teaching that favor free expression and those that favor directive teaching is revisited in dialogue with writers such as Winifred Ward, Peter Slade, Viola Spolin and Ingrid Koudela. Simulation is proposed as a methodology that puts the history of the theater in performance, based on the premises of Thierry de Duve. The last three chapters discuss the practice and appreciation of thirty-eight classes of pupils in elementary education, focusing on learning techniques and process of staging with children. These theoretical-practical expositions pursue the question: \"What is teaching /learning theater today?\"