No description available.

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.

Hannah Arendt argues that political action is only meaningful through the disclosure of who the actor uniquely is, and that this disclosure is the basis of human dignity. Arendt’s notion of performative disclosure helps us to rethink the individuated actor, not as a sovereign and self-transparent subject whose action expresses an authentic individual essence or constative what, but rather as a decentered and ecstatic who whose action reveals meaningful dimensions of the world and of the actor’s unique situation in history, through the performance of acts and speech before public spectators. The idea that no actor can stand in a position of control with respect to his life story extends to a critical displacement of the notion of freedom understood as sovereignty and of political projects that attempt to make history. Action, as praxis and not poiesis, is best understood through Arendt’s metaphor of performance, rather than productive art. There are new interpretive possibilities for Arendt’s theory of action, especially if we trace appearances of the ancient Greek daimon in Arendt’s publications and lecture notes, and among works that Arendt confronted: Plato’s Socratic dialogues and the myth of Er, Heidegger’s notion of aletheia as Dasein’s disclosure of Being, Jaspers’ valid personality, and Kant’s notion of aesthetic genius. The daimon implies that the public realm is a spiritual realm, that action is a form of connection to the divine, and that the actor is a decentered discloser of transcendent meanings and new possibilities within the world. The daimon also shows moral deliberation to be more vital to meaningful action than Arendt suggests prior to The Life of the Mind, so that the distinctions usually read in Arendt between actor and spectator, as well as those between acting, thinking, and judging, may be productively occluded. Arendt’s struggle to re-invigorate action’s disclosive capacity is at the center of her entire project. It sheds light on her critique of the world-alienating aspects of Marx, her insistent protection of a distinct political sphere from the private and the social spheres, and her rejection of Hegel’s philosophy of history in favor of a fragmentary historiography inspired by Kafka and Benjamin.

A TALK ABOUT ROLES IN A SETTING (2015) is a performative work by the artist Johan Lundin. A choreographed presentation is performed for 12 participants in a scenography describing public and private environments. The production process and performance of the work is describing how roles and circumstances change when an environment is observed through a perspective where fiction is allowed to be used as methodology to engineer new reality images. Through the terms role and setting this publication is focusing on describing how the visual image of the body and its movement has an influence on how identity and gender is constantly formed in relation to the place's historical, social and cultural contexts. / A TALK ABOUT ROLES IN A SETTING (2015) är ett performativt verk av konstnären Johan Lundin. En koreograferad presentation framförs för 12 deltagare i en scenografi som beskriver offentliga och privata miljöer. Verkets process och framförande skildrar hur roller och förutsättningar ändras när en miljö observeras genom ett perspektiv där fiktion tillåts användas som metodik för att iscensätta nya verklighetsbilder. Genom termerna roll och setting sätts i den här publikationen fokus vid att beskriva hur den visuella bilden av kroppen och dess rörelse har inflytande för hur identitet och genus ständigt formas i relation till platsers historiska, sociala och kulturella sammanhang. / <p>ISBN: 978-91-982605-0-2 (Print) ISBN: 978-91-982605-1-9 (Digital) Print / Tryck: Johan Lundin, Stockholm, 2015</p>

Submitted by Glauber Assunção Moreira (glauber.a.moreira@gmail.com) on 2018-08-29T13:41:13Z No. of bitstreams: 3 CAPA DISSERTAÇÃO_MARIANA TERRA_2013_PDF.pdf: 116285 bytes, checksum: baf50ba711f37adf0644900f83a09dcf (MD5) AGRADECIMENTOS E SUMÁRIO DISSERTAÇÃO_MARIANA TERRA_2013_PDF.pdf: 140626 bytes, checksum: f472023f71796b7d89fcff7fb524591a (MD5) DISSERTAÇÃO_MARIANA TERRA_2013_PDF.pdf: 263168541 bytes, checksum: 0174e9dd540dc0aeb04c3aa988fe2dbe (MD5) / Approved for entry into archive by Ednaide Gondim Magalhães (ednaide@ufba.br) on 2018-08-30T13:47:38Z (GMT) No. of bitstreams: 3 CAPA DISSERTAÇÃO_MARIANA TERRA_2013_PDF.pdf: 116285 bytes, checksum: baf50ba711f37adf0644900f83a09dcf (MD5) AGRADECIMENTOS E SUMÁRIO DISSERTAÇÃO_MARIANA TERRA_2013_PDF.pdf: 140626 bytes, checksum: f472023f71796b7d89fcff7fb524591a (MD5) DISSERTAÇÃO_MARIANA TERRA_2013_PDF.pdf: 263168541 bytes, checksum: 0174e9dd540dc0aeb04c3aa988fe2dbe (MD5) / Made available in DSpace on 2018-08-30T13:47:38Z (GMT). No. of bitstreams: 3 CAPA DISSERTAÇÃO_MARIANA TERRA_2013_PDF.pdf: 116285 bytes, checksum: baf50ba711f37adf0644900f83a09dcf (MD5) AGRADECIMENTOS E SUMÁRIO DISSERTAÇÃO_MARIANA TERRA_2013_PDF.pdf: 140626 bytes, checksum: f472023f71796b7d89fcff7fb524591a (MD5) DISSERTAÇÃO_MARIANA TERRA_2013_PDF.pdf: 263168541 bytes, checksum: 0174e9dd540dc0aeb04c3aa988fe2dbe (MD5) / Esta dissertação destina-se ao lançamento de pressupostos que pretendem provocar revisões do campo da iluminação cênica enquanto área artística de saberes especializados, os quais têm sua fundamentação em conhecimentos técnicos do mundo conjugados à experiência integral do corpo vivido (soma). O objetivo é propor ligações intencionais do sujeito observador à sua própria percepção visual, no sentido de acessar estados criativos de olhar. No âmbito desta pesquisa, entende-se que tanto o profissional da iluminação cênica quanto pessoas não especializadas da área são realizadores e co-criadores da aparência visual do que está em seu campo de visão e, portanto, iluminadores de seu próprio olhar. Abrem-se, com isso, as comportas das convencionais burilações do status de artista e espectador, obra de arte e cotidiano. Por uma abordagem somático-performativa de experiência artística e também de construção estrutural da escrita, considera-se a integração interno-externo da percepção visual como aquilo que estabelece outros parâmetros para compreender a iluminação cênica a partir de princípios que reorganizam seus saberes fundamentais: a luz, o olhar e o aspecto visível das coisas do mundo. O campo passa a ser entendido como uma multiplicidade variada e infinita de possibilidades artístico-criativas, não mais se limitando exclusivamente a suprir necessidades plástico-visuais de espetáculos cênicos. O texto é uma narração autobiográfica em que relato os percursos, crises, desvios e descobertas que levaram a tais afirmações; tratase, portanto, de uma obra em processo contínuo. Ferramentas metodológicas de imagens somático-performativas auxiliam na articulação e movimentação vívida das ideias dispostas. Este é um trabalho multirreferencial de autores, conceitos e obras artísticas. Os principais conceitos que apoiam as discussões são: performatividade, imagem somático-performativa, observador e espectador emancipado. Outros conceitos ainda aparecem como pilares de temas específicos, como é o caso de co-evolução entre luz e cena e olho variável. Os autores que fundamentam o trabalho para falar de iluminação cênica são Roberto Camargo e Richard Palmer. Para dar consistência às proposições lançadas auxiliam-me Ciane Fernandes, Richard Schechner, Eve Sedgwick, Andrew Parker, Jacques Rancière, Jonathan Crary, Jacques Aumont, Alva Nöe, Vilém Flusser e Italo Calvino, dentre outros que aparecem pulverizados ao longo da travessia. / This dissertation is intended to launch assumptions that pretend to provoke revisions of the field of stage lighting as an artistic specialized area that has its foundation in expertise about the technical knowledge of the world combined to fully experience of the living body (soma). The goal is to propose the observer's intentional connections to their own visual perception, been able to access states of creative look. Within this research it is understood that both the professional stage lighting artist and the inexperienced people in this specific area are achievers and co-creators of the visual appearance of what is in their field of vision, and therefore the lighting doers of their own look. From that the floodgates of convencional rummage through status of artist and spectator, artwork and everyday life get opened. By a somatic-performative approach to artistic experience and also structural construction of writing, the integration of the internal-external visual perception are considered the settings for other parameters to understand the stage lighting from principles that reorganize their fundamental knowledgement: light, the look and appearance of visible things of the world. The field becames understood as multiple variations and infinite possibilities of artistic creations, no longer limited solely to meet the plastic-visual needs of scenic spectacles. The text is an autobiographical narration of the routes, crises, detours and discoveries that led to such claims, so it is a work in continual process. Methodological tools of somatic-perforative images helps the articulation and vivid movement of the arranged ideas. This is a work of multi-referential authors, concepts and artworks. The main concepts that support the discussions are: performativity, somatic-performative image, observer and emancipated spectator. Other concepts also appear as pillars of specific topics, such as co-evolution between light and live scene and the variable eye. The authors that give the foundation to speak about stage lighting are Roberto Camargo and Richard Palmer. To give consistency to the propositions presented the ones that help me are Ciane Fernandes, Richard Schechner, Eve Sedgwick, Andrew Parker, Jacques Rancière, Jonathan Crary, Jacques Aumont, Alva Noë, Vilém Flusser and Italo Calvino, and yet some others that appear sprayed over the crossing.

Submitted by Glauber Assunção Moreira (glauber.a.moreira@gmail.com) on 2018-08-28T13:35:36Z No. of bitstreams: 1 dissertação final completa.pdf: 7977725 bytes, checksum: 617c1460ccbd92e85d8f6e382c027598 (MD5) / Approved for entry into archive by Ednaide Gondim Magalhães (ednaide@ufba.br) on 2018-08-30T13:48:54Z (GMT) No. of bitstreams: 1 dissertação final completa.pdf: 7977725 bytes, checksum: 617c1460ccbd92e85d8f6e382c027598 (MD5) / Made available in DSpace on 2018-08-30T13:48:54Z (GMT). No. of bitstreams: 1 dissertação final completa.pdf: 7977725 bytes, checksum: 617c1460ccbd92e85d8f6e382c027598 (MD5) / This dissertation is a path proposal for mapping the artistic and intellectual materials that comprising the creation (design, presence, and formation) of the workshop/intervention Teia. This creation happened differently in each experiment, inhabited by collective and subjective characteristics in each group who composed it. The approach that guide the research had three lines, wherein the write structure emerged from conceptive image of the workshop/intervention Teia, in connection to the proposal of the procedure of literalization from conceptual relationship between the web and the spider This invention was accomplished theoretical and practical through the connection between two methodological approaches: the Research Somatic-Performative and the cartography, wherein the image of the skin was the contact surface between both approaches. This way of proceeding observation has supported the production of the presence on states of destabilization and distancing with opposition values and reverberated at contemporary authors in the area of theater and dance at the interstice with the performance, compounding the field in which the workshop/intervention Teia is inserted. Specifically, was possible to observe two different creative processes in my career that reflected in different ways of creating this intervention: the first one was influenced by a presence that is created through emphasis on mediating materials, and the second one, by a presence that is create in suspension of the self, rippling between the production of presence and absence (PHELAN, 2004). In this way, the creative experience was focused on the connection between each group, an effect potentialized by the white elastic: the material mediator between the bodies of the agents who participated, thereby forming a collective body. I consider a tessitura which managed identify the soil, the field that underlies the “artistic modus” with which I operate this creation, reflected in the dissertative accompanying of a route, composed by intercessors who have destabilized the division between formation, breeding and research within and outside the Academy. / Essa dissertação é uma proposta de percurso e mapeamento das matérias artísticas e intelectuais que compuseram a criação (concepção, presença, e formação) da oficina/intervenção Teia. Essa criação aconteceu diferentemente em cada experiência, através das características subjetivas e coletivas em cada grupo que a compôs. A abordagem que guiou essa pesquisa possuiu três linhas, em que a estrutura escrita emergiu da imagem conceptiva da oficina/intervenção Teia, em conexão à proposta do procedimento de literalização da relação conceitual entre a teia e a aranha. Essa invenção teórico-prática foi engendrada através da conexão entre duas abordagens epistemológicas: a Pesquisa Somático-Performativa e a cartografia, em que a imagem da pele foi a superfície de contato entre ambas as abordagens. Esse modo de proceder apoiou a observação sobre a presença em estados de desestabilização e distanciamento com valores de oposição e reverberou em autores contemporâneos na área de teatro e de dança em interstício com a performance, compondo o campo no qual a oficina/intervenção Teia está inserida. Especificamente, foi possível a observação de dois processos criativos distintos em minha trajetória que refletiram em diferentes modos de criação da presença contidos nesta criação: o primeiro foi influenciado por uma presença que é criada através da ênfase na mediação material e o segundo por uma presença em suspensão do self, ondulando entre produção de presença e ausência. Dessa maneira, a experiência criativa foi enfocada na conexão entre cada grupo, um efeito potencializado pelo elástico branco: o material mediador entre os corpos dos agentes que participaram, formando-se assim, um corpo coletivo. Considero entremeios, uma tessitura que conseguiu identificar o “módus artítico” com o qual operei essa criação, refletidos no acompanhamento de um percurso dissertativo, composto por intercessores que desestabilizaram a divisão entre formação, criação e pesquisa dentro e fora da Academia.

Este estudo investiga, a partir de um romance de João Gilberto Noll, aspectos que marcam grande parte da narrativa contemporânea brasileira. Privilegia o romance Berkeley em Bellagio, como uma narrativa que concentra questões cruciais de nosso tempo e da ficção contemporânea, tais como: crise das identidades; a fragmentação do sujeito; ficção e autobiografia; a construção da figura autoral; as relações entre trânsito espacial e descentramento da identidade; escrita performática e os usos do corpo / This study investigates, through a novel by João Gilberto Noll, aspects that mark great part of brazilian contemporary narrative. It analyses the novel Berkeley em Bellagio as a narrative that concentrates crucial questions of our time and of contemporary fiction, such as: crisis of identities; fragmentation of subject; fiction and autobiography, construction of authorial figure, relations between spatial transition and the decentering of identity; performative writing and the uses of body

Este estudo investiga, a partir de um romance de João Gilberto Noll, aspectos que marcam grande parte da narrativa contemporânea brasileira. Privilegia o romance Berkeley em Bellagio, como uma narrativa que concentra questões cruciais de nosso tempo e da ficção contemporânea, tais como: crise das identidades; a fragmentação do sujeito; ficção e autobiografia; a construção da figura autoral; as relações entre trânsito espacial e descentramento da identidade; escrita performática e os usos do corpo / This study investigates, through a novel by João Gilberto Noll, aspects that mark great part of brazilian contemporary narrative. It analyses the novel Berkeley em Bellagio as a narrative that concentrates crucial questions of our time and of contemporary fiction, such as: crisis of identities; fragmentation of subject; fiction and autobiography, construction of authorial figure, relations between spatial transition and the decentering of identity; performative writing and the uses of body

Esta pesquisa teve início durante o trabalho de conclusão de curso do bacharelado em modelagem do Centro Universitário Senac, onde foi abordado o tema Freak show - o entretenimento do século XIX. Foi pesquisado o panorama de seu surgimento e suas características nos tempos áureos, e geradas a criação e a confecção de três bustos e três looks para personagens do freak show vitoriano, os gêmeos siameses xifópagos isquiópagos, a mulher de três cabeças e quatro pernas e a menina sereia. A pesquisa atual foi iniciada em 2015 no programa de mestrado na Universidade de São Paulo, investigando a contínua existência da instituição até o século XXI e as transformações que a tornaram possível. Este trabalho traz uma pesquisa sobre a indústria do Freak Show, mapeando-a através dos séculos XIX ao XXI. Mostra como se dá a exposição do corpo extraordinário na indústria do entretenimento e em que locais pode ser observado, além de informações sobre como estes corpos são vestidos. Argumentase que existem intenções e benefícios na sociabilização estabelecida através da exibição voluntária do corpo nas diversas formas midiáticas, desenvolvendo formas de comunicação que introduzem suas personas e personalidades enquanto ressaltam ao público os aspectos de sua morfologia extraordinária / This research began during the final project for conclusion of bachelors degree in pattern making at Centro Universitario Senac, which regarded the Freak Show The Entertainment of The 19th Century. It was researched the context of its beginning and its characteristics when the popularity was high, what developed in the creation and making of three dress forms and three garments made for Victorian freak show performers, the Siamese twins, xifopagus isquiopagus, the three headed and four legged woman and the mermaid girl. The present research started in 2015 at University of Sao Paulo masters degree in Textile and Fashion, investigating the ongoing existence of the industry in the 21st century and the changes that made it possible. The present research introduces a research on the Freak Show Industry, mapping it throughout the centuries 19th to 21st. How does the exhibition of the extraordinary body happens inside entertainment industry and which are the places where they can be seen, in addition to informations about how they are dressed. It s argued that there are intentions and benefits in the social interaction established through the voluntary exhibition of the body in multiple media displays, developing manners of communication that introduces their persona and personality, while enhancing aspects of the extraordinary anatomy to the public

Submitted by Neusa Fagundes (neusa.fagundes@unioeste.br) on 2018-08-16T13:11:47Z No. of bitstreams: 2 Henrique_Leroy2018.pdf: 2022621 bytes, checksum: 3ad8717b5b9e1edb2bb70b4bd51c698f (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Made available in DSpace on 2018-08-16T13:11:47Z (GMT). No. of bitstreams: 2 Henrique_Leroy2018.pdf: 2022621 bytes, checksum: 3ad8717b5b9e1edb2bb70b4bd51c698f (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Previous issue date: 2018-03-14 / Hearing the voices of the South in order to socially include the subjects that perform them and also making these subjects aware of the oppressive world where they live in are both ways to free and transform them as human beings, making their identities visible. This Doctoral Dissertation developed its theme from the idea that has just been exposed, seeking for analysis and reflections about how to empower the considered marginalized subjects in a fluid, fragmented and deterritorialized world. The Portuguese as an Additional Language classroom at the Federal University of Latin-American Integration (UNILA), located in the city of Foz do Iguaçu, Paraná, Brazil, in the Triple Border with Paraguay and Argentina, was the chosen scenario to put into practice the liberating and transforming praxis which make us hear those unheard voices. Taking into account the language policies in Brazil as well as those implemented and practiced at UNILA, this research aims at verifying, through translingual (CANAGARAJAH, 2013; GARCÍA & WEI, 2014), transcultural (SANTIAGO, AKKARI & MARQUES, 2013; GUILHERME & DIETZ, 2014; SOUZA, 2017) and decolonial (MIGNOLO, 2013) practices, how the subjects´ performative identities (BUTLER, 1990, 1997; PINTO, 2007, 2013) can be (in)visible. These subjects are the Portuguese as an Additional Language foreign students from different levels, such as, Basic, Intermediate I and Intermediate II and me, the Brazilian professor-educator-researcher, who are embedded in the transborder context at UNILA. Considering this research as a Research-Action-Participant with an interpretative basis, and also, the epistemological deconstruction, decolonization and disobedience proposed by Transgressive Applied Linguistics (PENNYCOOK, 2006), these local language practices (PENNYCOOK, 2010) were enacted through oral presentations about the declared War to Paraguay and the declared war to Guarani people, and also through learning-reflexive portfolios produced by the students as final papers for the Portuguese as an Additional Language class at UNILA. Through these oral and written texts produced by the students and also by me, as the Brazilian professoreducator, this research brings forth the urgent need to reflect upon the roles of the Additional Languages and the Common Cycle of Studies at UNILA. This academic work also aims at reflecting about the concepts of bilingualism and interculturality which are intertwined at the daily routine and in the activities developed at the university, but are not well comprehended yet. This research concluded that the tasks applied in the context of the Portuguese as an Additional Language classroom, through translingual, transcultural and decolonial practices, could rearrange, ressignify, and make the subjects´ performative identities visible. This could open possibilities for them to move through a multiplicity of third spaces and third shores, collaborating actively in different nets which are built by transnational territories. These subjects expressed themselves by releasing their buried voices through performances that could make their identities visible, in the search of the “solidarity of the existences” (FREIRE, 2013). / Ouvir as vozes do Sul para incluir os sujeitos que as performam, conscientizando-os do mundo opressor onde vivem para libertá-los e transformá-los com o objetivo de visibilizar as suas identidades. Foi a partir desse pensamento decolonial que o tema desta Tese se desenvolveu, buscando análises e reflexões sobre como empoderar os sujeitos considerados marginalizados, em um mundo cada vez mais fluido, fragmentado e desterritorializado. O cenário escolhido para essas práxis libertadoras e transformadoras (FREIRE, 2013) foi a sala de aula de Língua Portuguesa Adicional (PLA) da Universidade Federal da Integração Latino-Americana (UNILA), localizada na cidade de Foz do Iguaçu, no Paraná, na maior Tríplice Fronteira do país, entre o Paraguai e a Argentina. Considerando como ponto de referência as políticas linguísticas do Brasil, e mais pontualmente as da UNILA, esta Tese tem o objetivo de verificar, nas práticas discursivas translíngues (CANAGARAJAH, 2013; GARCÍA & WEI, 2014), transculturais (SANTIAGO, AKKARI & MARQUES, 2013; GUILHERME & DIETZ, 2014; SOUZA, 2017) e decoloniais (MIGNOLO, 2013), como são (in)visibilizadas as identidades performativas (BUTLER, 1990, 1997; PINTO, 2007, 2013) minhas, como educador-professor-pesquisador e dos educandos não brasileiros em interações na sala de aula de Língua Portuguesa Adicional (PLA) em contexto transfronteiriço. Considerando esta pesquisa como uma Pesquisa-Ação de base interpretativista e partindo dos pressupostos de desconstrução, descolonização e desobediência epistemológicas preconizadas pela Linguística Aplicada Transgressiva (PENNYCOOK, 2006), tais práticas locais de linguagens (PENNYCOOK, 2010) foram concretizadas por meio de apresentações orais produzidas para um trabalho final nas disciplinas de PLA que versaram sobre a Guerra declarada ao Paraguai e sobre as Guerras declaradas aos Guarani. Além das apresentações orais, textos escritos também foram produzidos pelos educandos, compondo Portfólios reflexivos sobre suas aprendizagens, que também faziam parte dos trabalhos finais dessas disciplinas. Por meio dos textos orais e escritos produzidos pelos educandos não brasileiros e por mim, como educador brasileiro, tornou-se evidente a necessidade de rediscutir e refletir sobre os papéis das aulas de Línguas Adicionais e do Ciclo Comum de Estudos na UNILA, bem como refletir sobre o que se entende por bilinguismo e por interculturalidade, conceitos tão intrínsecos e imbricados à universidade. Conclui-se também que as atividades aplicadas no contexto de sala de aula de PLA na UNILA puderam, por meio das práticas translinguajeiras, transculturais e decoloniais, recombinar, ressignificar e visibilizar as identidades performadas dos sujeitos aprendizes e do professor, abrindo possibilidades para que transitem por uma multiplicidade de terceiros lugares e terceiras margens, colaborando ativamente nas diversas redes configuradas pelos territórios transnacionais. Sujeitos que fizeram que suas vozes fossem ouvidas e que puderam visibilizar e performar suas identidades em busca da “solidariedade dos existires” (FREIRE, 2013).