Since its creation, the ethnographic museums have aimed to represent the other cultures. The most recent trends in museology have encouraged the ethnographic museums to go beyond the discovery and to create a space of intercultural dialogue. This thesis analyses the impact of multiculturalism and postcolonialism on the temporary exhibitions organised at the National Prehistoric and Ethnographic Museum ‘L. Pigorini’. The study is conducted on the African heritage and in the selected period 1994-2014. The research is carried out pinpointing three main channels through which the two ideological orientations could penetrate in the museum practices. By the evaluation of the exhibitions, this study provides a new methodology for the understanding of the influences of the most recent trends in museology within the museum contexts.

The purpose of this study is to examine the colonisation of Sápmi though the works of a local priest, by the name of Eric Grape. To do so, this study uses postcolonial theory when analysing the content of the works by Grape. Eric Grape was a priest active in the Lappmarks of northern Sweden in the early nineteenth century and who wrote articles for the Swedish Royal Academy of Sciences. The focus of the study is the othering of the Saami people and their culture, and the colonial production of knowledge that Grape produced about the Saami. Othering is a term by Edward Said and it is about the constructed difference between “we” the European culture and people regarded as the “other”. This term, the study argues, can also be applied when studying the colonial encounters between the Saami and Swedish colonial actors such as Grape. The main result of this study is that Grape portrays the Saami as different and more primitive than the Swedish settlers that occupy the northen part of Sweden, he describes the Saami as childish.

O Mapa Invertido da América do Sul (1943) é um mapa diferente. Primeiro, porque não foi feito pelos cânones da ciência cartográfica, mas pelas mãos de um artista uruguaio, chamado Torres-García. Segundo, porque não utilizou a orientação convencional ao Norte, mas inverte o posicionamento do Sul para o topo da imagem. A presente pesquisa foi motivada pela visão de mundo diferenciada que esse mapa artístico apresenta, onde o objetivo é compreender os diversos contextos que reproduzem esse mapa, contribuindo para sua notoriedade até os dias atuais. Para tanto, é necessário entender os significados, os questionamentos e as ideologias expressas nessa inversão, pois contribuem na identificação com a obra em tempos além de sua elaboração. Nesse sentido, a pesquisa foi embasada em um exame bibliográfico de correntes de pensamento que propõem uma visão crítica sobre os processos de formação histórica do Sul global, destacavelmente o póscolonialismo e o pósdesenvolvimento. Tais subsídios teóricos auxiliam em um entendimento de mapa que seja tão plural quanto às visões de mundo podem ser, trilhando uma relação entre geopolítica, cartografia e arte / The "Inverted Map of South America" (1943) is a different map. Firstly, because it was not created by the canons of cartographic science, but by the hands of a Uruguayan artist, called Torres-García. Secondly, because it did not use the conventional orientation to the North, but reversed the Souths position to the top of the image. This paper was motivated by the different worldview this artistic map displays, where the purpose is to understand the different contexts that reproduce this map, contributing to its prominence until latterly. In order to do so it is necessary to understand the meanings, questions and ideologies expressed in this inversion, since they contribute to the recognition with this art construction to times beyond its formulation. In this sense, the research was based on a literature survey of schools of thought that propose a critical view to the historical formation process of the global South, notably postcolonialism and the postdevelopment. Such theoretical subsidies help to understand a map that is as plural as worldviews may be, treading a relationship between geopolitics, cartography and art

Submitted by Fabio Sobreira Campos da Costa (fabio.sobreira@ufpe.br) on 2016-07-29T12:56:40Z No. of bitstreams: 2 license_rdf: 1232 bytes, checksum: 66e71c371cc565284e70f40736c94386 (MD5) Dissert_MariaLuiza-BC.pdf: 938722 bytes, checksum: be7c46c2bd834496f171f32afa38dfc7 (MD5) / Made available in DSpace on 2016-07-29T12:56:40Z (GMT). No. of bitstreams: 2 license_rdf: 1232 bytes, checksum: 66e71c371cc565284e70f40736c94386 (MD5) Dissert_MariaLuiza-BC.pdf: 938722 bytes, checksum: be7c46c2bd834496f171f32afa38dfc7 (MD5) Previous issue date: 2016-02-25 / CAPEs / Este trabalho consiste no estudo dos romances Slash (1985), da escritora okanagan Jeannette Armstrong, e Mean Spirit (1990), da chickasaw Linda Hogan, e busca examinar de que forma as autoras ficcionalizaram, nas suas obras, certos acontecimentos da história dos povos ameríndios no século XX, como os que envolveram a militância política que se fortaleceu a partir dos anos 60 na América do Norte e os assassinatos de membros da nação Osage na década de 1920. Para tanto, recorri ao conceito de metaficção historiográfica proposto por Linda Hutcheon (1988, 1989) e aos estudos em memória de Anh Hua (2005), Maurice Halbwachs (2006), Márcio Seligmann-Silva (2008), Marianne Hirsch (2008) e Aleida Assmann (2011). Considerando as obras de Armstrong e Hogan como espaços de enunciação de uma resistência cultural que vai além dos limites tribais, optei por adotar uma perspectiva cosmopolita tal qual sustentada por Arnold Krupat (2002), e que se apoia nas teorias póscoloniais segundo Mary Louise Pratt (1999), Homi Bhabha (2013), Ella Shohat (1996), Stuart Hall (2003), Kwame Anthony Appiah (1997) e Liane Schneider (2002, 2008). Ademais, foram de suma importância os diálogos com alguns nomes da crítica indígena como Graça Graúna (2013), Michael Dorris (1979), Craig S. Womack (1999), Louis Owens (1922), Simon Ortiz (2001), Winona Stevenson (1998), Paula Gunn Allen (1992) e Robert Warrior (2014). Intentei, assim, verificar como a resistência ameríndia toma corpo na escrita de Armstrong e Hogan, que constroem narrativas artisticamente complexas e de imensa relevância política. / This work consists of the study of Slash (1985), by Okanagan writer Jeannette Armstrong, and Mean Spirit (1990), by Chickasaw Linda Hogan, and it aims to examine the way in which the writers have fictionalized, in their books, certain events of the history of the American Indian peoples in the twentieth century, such as those concerning the militancy that gained strength in the 60s and the Osage murders that took place in the 20s. With that in mind, I have resorted to the concept of historiographic metafiction, proposed by Linda Hutcheon (1988, 1989) and to the memory studies by Anh Hua (2005), Maurice Halbwachs (2006), Márcio Seligmann-Silva (2008), Marianne Hirsch (2008) and Aleida Assmann (2011). Considering the works of Armstrong and Hogan as sites of enunciation of a type of cultural resistance that goes beyond tribal limits, I have chosen to adopt a cosmopolitan perspective such as sustained by Arnold Krupat (2002) and which leans on the postcolonial theories by Mary Louise Pratt (1999), Homi Bhabha (2013), Ella Shohat (1996), Stuart Hall (2003), Kwame Anthony Appiah (1997) and Liane Schneider (2002, 2008). Moreover, dialogues with the following authors of Native criticism were of the utmost importance: Graça Graúna (2013), Michael Dorris (1979), Craig S. Womack (1999), Louis Owens (1922), Simon Ortiz (2001), Winona Stevenson (1998), Paula Gunn Allen (1992) and Robert Warrior (2014). Thus, I have attempted to verify how the Amerindian resistance takes form in the writings of Armstrong and Hogan, who build narratives artistically complex and of an immense political relevance.

Submitted by Fabio Sobreira Campos da Costa (fabio.sobreira@ufpe.br) on 2016-08-03T13:52:33Z No. of bitstreams: 2 license_rdf: 1232 bytes, checksum: 66e71c371cc565284e70f40736c94386 (MD5) Dissert_MariaLuiza-BC.pdf: 938722 bytes, checksum: be7c46c2bd834496f171f32afa38dfc7 (MD5) / Made available in DSpace on 2016-08-03T13:52:33Z (GMT). No. of bitstreams: 2 license_rdf: 1232 bytes, checksum: 66e71c371cc565284e70f40736c94386 (MD5) Dissert_MariaLuiza-BC.pdf: 938722 bytes, checksum: be7c46c2bd834496f171f32afa38dfc7 (MD5) Previous issue date: 2016-02-25 / CAPEs / Este trabalho consiste no estudo dos romances Slash (1985), da escritora okanagan Jeannette Armstrong, e Mean Spirit (1990), da chickasaw Linda Hogan, e busca examinar de que forma as autoras ficcionalizaram, nas suas obras, certos acontecimentos da história dos povos ameríndios no século XX, como os que envolveram a militância política que se fortaleceu a partir dos anos 60 na América do Norte e os assassinatos de membros da nação Osage na década de 1920. Para tanto, recorri ao conceito de metaficção historiográfica proposto por Linda Hutcheon (1988, 1989) e aos estudos em memória de Anh Hua (2005), Maurice Halbwachs (2006), Márcio Seligmann-Silva (2008), Marianne Hirsch (2008) e Aleida Assmann (2011). Considerando as obras de Armstrong e Hogan como espaços de enunciação de uma resistência cultural que vai além dos limites tribais, optei por adotar uma perspectiva cosmopolita tal qual sustentada por Arnold Krupat (2002), e que se apoia nas teorias póscoloniais segundo Mary Louise Pratt (1999), Homi Bhabha (2013), Ella Shohat (1996), Stuart Hall (2003), Kwame Anthony Appiah (1997) e Liane Schneider (2002, 2008). Ademais, foram de suma importância os diálogos com alguns nomes da crítica indígena como Graça Graúna (2013), Michael Dorris (1979), Craig S. Womack (1999), Louis Owens (1922), Simon Ortiz (2001), Winona Stevenson (1998), Paula Gunn Allen (1992) e Robert Warrior (2014). Intentei, assim, verificar como a resistência ameríndia toma corpo na escrita de Armstrong e Hogan, que constroem narrativas artisticamente complexas e de imensa relevância política. / This work consists of the study of Slash (1985), by Okanagan writer Jeannette Armstrong, and Mean Spirit (1990), by Chickasaw Linda Hogan, and it aims to examine the way in which the writers have fictionalized, in their books, certain events of the history of the American Indian peoples in the twentieth century, such as those concerning the militancy that gained strength in the 60s and the Osage murders that took place in the 20s. With that in mind, I have resorted to the concept of historiographic metafiction, proposed by Linda Hutcheon (1988, 1989) and to the memory studies by Anh Hua (2005), Maurice Halbwachs (2006), Márcio Seligmann-Silva (2008), Marianne Hirsch (2008) and Aleida Assmann (2011). Considering the works of Armstrong and Hogan as sites of enunciation of a type of cultural resistance that goes beyond tribal limits, I have chosen to adopt a cosmopolitan perspective such as sustained by Arnold Krupat (2002) and which leans on the postcolonial theories by Mary Louise Pratt (1999), Homi Bhabha (2013), Ella Shohat (1996), Stuart Hall (2003), Kwame Anthony Appiah (1997) and Liane Schneider (2002, 2008). Moreover, dialogues with the following authors of Native criticism were of the utmost importance: Graça Graúna (2013), Michael Dorris (1979), Craig S. Womack (1999), Louis Owens (1922), Simon Ortiz (2001), Winona Stevenson (1998), Paula Gunn Allen (1992) and Robert Warrior (2014). Thus, I have attempted to verify how the Amerindian resistance takes form in the writings of Armstrong and Hogan, who build narratives artistically complex and of an immense political relevance.

Orientador: Omar Ribeiro Thomaz / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciências Humanas / Made available in DSpace on 2018-08-19T07:19:55Z (GMT). No. of bitstreams: 1 GuerraHernandez_HectorRolando_D.pdf: 22692622 bytes, checksum: 8e4246b21935840c62314f42cdd89ba7 (MD5) Previous issue date: 2011 / Resumo: O objectivo deste trabalho, foi o estudo de um grupo social formado essencialmente pelos antigos trabalhadores mozambiqueños na desaparecida República Democrática Alemã, conhecidos atualmente como "Magermane". Procurou-se estabelecer linhas de continuidade e ruptura entre o passado transnacional deste colectivo como migrantes trabalhistas e seu presente como grupo reivindicativo obliterado pelas esferas do poder, o qual leva 20 anos lutando por seu reconhecimento econômico e social em Moçambique. Este país africano, com uma história de ocupação colonial efetiva de não mais de 70 anos, depois de sua independência de Portugal em 1975, se transformou numa República independente, assumindo um projeto de desenvolvimento que a transformaria, entre 1977 e 1987, numa espécie de nova colônia dos países socialistas do chamado "Segundo Mundo", e posteriormente, com o fim da guerra fria e a queda do Muro de Berlim, tornar-se-ia numa depositaria dos novos postulados neoliberais. Estes antecedentes históricos são cruciais para o entendimento dos processos que intervieram na produção do Estado pós-colonial atual. Um processo que transparenta aquilo que constitui um dos fundamentos das "narrativas de injustiça" Magermane, e que consistem em denunciar uma realidade social que se sustenta e reproduz a partir da presença e persistência de um Estado contra sua sociedade, o qual recrear uma estrutura social conhecida, que situa na ponta de sua hierarquia uma elite empresarial patrimonialista. Uma estrutura que parece contemporizar com as percepções e representações de formas de dominação passadas, entendidas como superadas. Uma estrutura, finalmente, que se alimenta e reproduz de sua população, à qual persiste em tratar como súbditos / Abstract: The aim of this work, went the study of a social group formed essentially by the ancient Mozambican workers in the missing German Democratic Republic, known at present like "Magermane". It looked for establish lines of continuity and breaking-off between the transnational past of this community as labour migrants and his present as a obliterate vindicate group by the spheres of the power, which carries 20 years struggling by his economic and social recognition in Mozambique. This African country, with a history of effective colonial occupation of no more than 70 years, after his independence of Portugal in 1975, transformed in an independent Republic, assuming a project of development that would transform it, between 1977 and 1987, in a species of new colony of the socialist countries of the called "Second World", and later, with the end of the cold war and the fall of the Wall of Berlin, it would became in a depository of the new neoliberals postulates. These historical antecedents are crucial for the understanding of the processes that took part in the production of the current postcolonial State. A process that show what constitutes one of the foundations of the Magermane's "narratives of injustice", which consist in reporting a social reality that sustains and reproduces from the presence and persistence of a State against his society, which recreate a well-known social structure, that situates in the top of his hierarchy a patrimonialist business elite. A structure that seems to be accommodating toward to the perceptions and representations of old forms of domination, understood as surpassed. A structure, finally, that feeds and reproduces of his population, to which persists in treating like tributary subject / Doutorado / Antropologia / Doutor em Antropologia

Orientadores: Omar Ribeiro Thomaz, Viktor Alleksanderovitch Shnirelman / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciências Humanas / Made available in DSpace on 2018-08-21T21:37:36Z (GMT). No. of bitstreams: 1 Dunaeva_CristinaAntonioevna_D.pdf: 9545680 bytes, checksum: 723f88da16c4782aea09510f845ca197 (MD5) Previous issue date: 2013 / Resumo: A partir do exame da dicotomia entre os grupos "nós" e "outros", verificamos-se a existência e as possíveis causas do aumento da xenofobia e do preconceito racial na Rússia contemporânea. Por "nós", compreendem-se os russos e, também, os moradores de Moscou, capital do país, que se posicionam como o grupo receptor dos "outros": migrantes e moradores recém-chegados das outras regiões do país. As evidências de discriminação de alguns grupos sociais são descritas como xenofobia, migrantofobia, preconceito étnico e/ ou racial. O discurso discriminatório (institucional, midiático, coloquial) é, predominantemente, proferido em termos étnicos; a etnia aparece como um marcador de diferença e a pertença étnica como um dos principais fatores que levam à discriminação. A discussão sobre a problemática do uso de conceitos como "raça" e "etnia" e sobre a proximidade destes conceitos nas obras dos principais cientistas sociais e antropólogos soviéticos e russos traz contribuições a sua crítica e à compreensão de seus usos nas retóricas de exclusão e do fenômeno da xenofobia na Rússia contemporânea. O contexto específico da Rússia contemporânea é abordado em sua relação com os períodos históricos precedentes (império russo e URSS). Ao longo da tese, são descritos os processos de categorização étnica, a partir do primeiro censo promovido ainda no período imperial, na Rússia; e é abordada a relação entre os conceitos "raça" e "etnia". Afirma-se a evidência de retóricas e práticas racistas na Rússia contemporânea, incluindo a xenofobia e o preconceito a partir da diferença étnica. A análise específica do aumento da xenofobia na Rússia traz contribuições importantes para o debate científico em torno do contexto pós-socialista, pós-totalitarista e pós-colonialista / Abstract: Considering the examination of the dichotomy between the groups "we" and the "others", it is possible to notice the existence and the possible causes to the rise of xenophobia and racial prejudice in contemporary Russia. At the idea of "we", the Russians, and also, the residents of Moscow, the capital of the country, are comprehended - this is the group receiver of the "others": migrants and newcomers from other regions of the country. The evidences of discrimination of certain social groups are described as xenophobia, migrantophobia, ethnic and / or racial prejudice. The discriminatory discourse (institutional, at the media, or colloquial) is mainly pronounced in ethnic terms, and the ethnicity appears as a marker of difference and as one of the main factors leading to discrimination. The discussion on the issue of the use of concepts such as "race" and "ethnicity" and the proximity of them by leading Soviet and Russian social scientists and anthropologists brings contributions to its questioning and to the understanding of their uses in the rhetoric of exclusion and in the phenomenon of xenophobia in Russia nowadays. The specific context of actual Russia is discussed in relation with previous historical periods (Russian Empire and the USSR). Throughout the thesis, the processes of ethnic categorization, since the first census promoted at the imperial period in Russia, are described, and the relationship between the terms "race" and "ethnicity" is discussed. It is appointed the evidence of racist rhetoric and practices in Russia nowadays, including xenophobia and prejudice based on ethnic differences. And the analysis of the rise of xenophobia in Russia brings important contributions to the scientific debate about the postsocialism, postotalitarianism and postcolonialism / Doutorado / Ciencias Sociais / Doutora em Ciências Sociais

O presente trabalho pretende levantar e discutir, a partir de questões sobre a religiosidade provincial no alto império romano, os pilares, \"colunas de Júpiter\" e outros tipos de vestígios correlacionados. O interesse e estudo desses monumentos pela historiografia do século XIX estabeleceram um topos, em uso até hoje, que direciona as interpretações arqueológicas e religiosas das Gálias Romanas. Tendo como pressupostos teóricos os debates pós-contemporâneos e pós-coloniais e com o intuito de compreender as devoções e os cultos, foi realizada uma série de análises, com destaque para as de natureza iconográfica. / Starting from issues about the provincial religiosity in the high Roman Empire, this work aims at raising and discussing the pillars, \"Jupiter columns\" and other types of correlated vestiges. The interest arisen by these monuments and their study by the bibliography of the XIX century established a \"topos\" still in use, which gives directions to the Gallic Roman archaeological and religious interpretations. With the theoretical assumptions of the post-contemporary debates and post-colonial theories and in order to understand the devotions and worship services, a series of analysis was made, with special emphasis on an iconographic approach.

M.A. (Semitic Languages and Cultures) / Please refer to full text to view abstract

This study focuses on the different strategies that the author uses to subvert the patriarchal and the colonial discourses which are reflected in the novel "Les Honneurs perdus" of Calixthe Beyala. In the introduction a theoretical background is given which includes feminist and postcolonial literary theories and their relation to postmodern theories and deconstruction. The introduction underlines the importance of the constitution of subject in postcolonial and feminist theories in contrast to deconstruction of subject in postmodernism and poststructuralism. The analysis demonstrates that the novel can be seen as a female bildungsroman in the protagonist’s intent to create an autonomous identity. A gynocentric writing and the dialogue with another female character, the heroine’s antagonistic double, which includes the possibility of a female genealogy, as well as the final love to a white man, contribute essentially to transculturation and the construction of the heroine’s hybrid identity. The second chapter of the analysis shows that the dichotomies Europe–Africa and man–woman in the binary system of the western way of thinking are very marked in the novel. Finally the third chapter points out how the different narrative techniques like the mixing of different language levels, the creation of new words, the use of irony and carnivalation, a special form of parody, as well as the intertextuality of magic realism deconstruct and subvert the heritage of colonial and patriarchal values and demonstrate the post-colonial misery both in the protagonist’s native suburb in Cameroun and in Paris.