Submitted by Roberth Novaes (roberth.novaes@live.com) on 2018-07-10T16:55:35Z No. of bitstreams: 1 Dissertação.Final.Cristina.pdf: 2084164 bytes, checksum: 4f56b252862c28b76da9c7c5f365f223 (MD5) / Approved for entry into archive by Setor de Periódicos (per_macedocosta@ufba.br) on 2018-07-10T19:17:54Z (GMT) No. of bitstreams: 1 Dissertação.Final.Cristina.pdf: 2084164 bytes, checksum: 4f56b252862c28b76da9c7c5f365f223 (MD5) / Made available in DSpace on 2018-07-10T19:17:54Z (GMT). No. of bitstreams: 1 Dissertação.Final.Cristina.pdf: 2084164 bytes, checksum: 4f56b252862c28b76da9c7c5f365f223 (MD5) / Esta pesquisa tem por objetivo produzir uma biografemia com a coleção de traços biográficos coletados na superfície do discurso de Estamira Gomes de Sousa (1941-2011), cuja vida foi publicizada pelo fotógrafo e diretor de cinema Marcos Prado (2006) Para realizar este exercício, trabalha com o discurso estético produzido pelo Documentário Estamira (PRADO, 2006) e as leituras das produções pós-Documentário– monólogo teatral Estamira – beira do mundo (2011), de Dani Barros e Beatriz Sayad, o espetáculo de dança Tauberbach (2012) de Alain Platel e o livro-fotograma Estamira – um mundo em abismo (2013). Catadora de materiais recicláveis por mais de 20 anos no Lixão Jardim Gramacho, o corpo-voz de Estamira é o texto-ação da sua resistência ao biopoder. Para delinear esta biografemia, uso como procedimento a análise de discurso, conforme situada por Eni de Lourdes Puccinelli Orlandi (2013). Na primeira seção apresento o conceito barthesiano de biografema para propor a memória produzida a partir de marcas e rastros narrativos. Na segunda seção, delineio os discursos artísticos como produção estética da memória de Estamira. Na terceira seção, leio a casa de Estamira como o biografema do pós-Documentário. Tendo em vista que a leitura dos discursos estéticos nas produções artísticas mostra que a memória de uma vida é construída por quem a produz, o campo de tensionamento desta investigação diz respeito às formas de representação de Estamira como “a louca” e “a bruxa do lixo” não somente pelos lugares de fala de quem produz esses discursos, como também pelos lugares de escuta que são constituídos a partir deles. Conforme lemos os sujeitos, assim produzimos a sua memória. Nas reflexões desta pesquisa, faço uso das escritas críticas de Deleuze e Guattari (1997), Eni de Lourdes Puccinelli Orlandi (2013) e Peter Pál Pelbart (2003). / This research aims to produce a biography with the collection of biographical features collected on the surface of the speech of Estamira Gomes de Sousa (1941-2011), whose life was publicized by photographer and film director Marcos Prado (2006). To carry out this exercise, it works with the aesthetic discourse produced by the documentary “Estamira” (PRADO, 2006) and the readings of the pós-Documentárioproductions - theatrical monologue “Estamira – beira do mundo” (2011), by Dani Barros and Beatriz Sayad, the dance show “Tauberbach” (2012) by Alain Platel and the textbook “Estamira – um mundo em abismo” (2013). A collector of recyclable materials for more than 20 years in the Garbage Garden Gramacho, Estamira's body-voice is the text-action of its resistance to biopower. To delineate this biography, as a procedure I use discourse analysis, as raised by Eni de Lourdes Puccinelli Orlandi (2013). In the first section I present the Barthesian concept of biographeme in order to propose the memory produced by marks and narrative traces. In the second section, I outline artistic discourses as the aesthetic production of Estamira's memory. In the third section, I read the house of Estamira as the pós-Documentáriobiographeme. Since the reading of aesthetic discourses in artistic productions shows that the memory of a life is constructed by the one who produces it, the field of tension of this investigation applies to the forms of representation of Estamira as "the crazy one" and "the witch of the garbage "not only by the position of speech of those who produce these discourses, but also by the position of listening that are constituted from them. As we read the subjects, so we produce their memory. In the reflections of this research, I make use of the critical writings of Deleuze and Guattari (1997), Eni de Lourdes Puccinelli Orlandi (2013) and Peter Pál Pelbart (2003).

In modern times of globalisation, most countries no longer consist of a homogeneous population. People from different backgrounds, with different stories, religion and culture live together in the same community. Unfortunately, this creates challenges and a modern state needs to have a plan for integration so that all these groups and individuals may live together peacefully, which is important in aspects of universal human rights and human dignity, but also for the function of a society. In this Master's thesis in Human Rights, questions about integration are discussed in a European context through four ideal-typical integration policy options from a model by Karin Borevi; together with perspectives from Seyla Benhabib, Abdelmalek Sayad and Charles Taylor. The four ideal-typical options for integration that are used in this thesis are: 1: Assimilaion to an ethnic community 2: Politics for ethnic exclusion 3: Assimilation to a civil community 4: Multicultural politics. Integration in Sweden, Great Britain and France during the 90's are used as illustrative examples of integration in order to be able to discuss the ideal-typical policy options in relation to real examples for demonstrating which political ideas and values that are built into different models of integration. In the end a normative discussion results in a solution of which values that should be prioritised and which strategy that is the best to accomplish these values. I conclude amongst other things that different forms of integration value culture, groups or individuals differently and that many different types of strategies and politics can be put into the same ideal-typical option for integration. People tend to treat cultures as unchangeable and well-defined units, even though they in reality seem to be of a changeable nature. The modern state should in my opinion work more with the principles around which type of society that would be the best for all its citizens and not so much how we should preserve what cannot be preserved in the first place, like cultures. We should create societies where cultures can mix and change. The global world is here to stay and so is the heterogeneous society, the state should focus on creating a society built on this fact, where society and people as individuals may grow.