Submitted by BLANCA AUXILIADORA DUGARTE CORREDOR null (blancadugartecorredor@gmail.com) on 2016-01-13T19:09:01Z No. of bitstreams: 1 Minha Tese Doutorado_Dugarte BAC.pdf: 7647642 bytes, checksum: 8b774b843f2f8fc2bdda23da7acabf88 (MD5) / Approved for entry into archive by Ana Paula Grisoto (grisotoana@reitoria.unesp.br) on 2016-01-14T13:37:46Z (GMT) No. of bitstreams: 1 corredor_bad_dr_rcla_int.pdf: 7647642 bytes, checksum: 8b774b843f2f8fc2bdda23da7acabf88 (MD5) / Made available in DSpace on 2016-01-14T13:37:46Z (GMT). No. of bitstreams: 1 corredor_bad_dr_rcla_int.pdf: 7647642 bytes, checksum: 8b774b843f2f8fc2bdda23da7acabf88 (MD5) Previous issue date: 2016-01-08 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / Dentre as Eriocaulaceae (sempre-vivas) brasileiras, alguns representantes de Comanthera e Syngonanthus são os mais comercializados e utilizados na ornamentação e constam da lista brasileira de espécies ameaçadas de extinção. Essas plantas crescem nos campos rupestres, sob situações climáticas adversas. Estudos taxonômicos e filogenéticos de Comanthera subg. Comanthera indicam falta de dados para maior suporte ao subgênero e nomeiam clados na distribuição das espécies. Procurando auxiliar a taxonomia e filogenia do grupo, bem como interpretar as adaptações ao ambiente e fornecer dados para futuro manejo, estudou-se aspectos da morfologia e anatomia de 24 espécies de Comanthera (envolvendo as espécies do clado “V”, “U” e “X”) e de Syngonanthus nitens. As espécies do clado “V”: Comanthera brasiliana, C. brunnea, C. caespitosa, C. magnifica e C. suberosa apresentam germinação e desenvolvimento pós-seminal mais rápido (< 7 dias) do que as demais Eriocaulaceae, e crescem em solo quartzítico pobre em nutrientes, cuja água escoa rápido. Apresentam envoltório seminal com projeções da endotesta com formas diferentes que são úteis para separar as espécies. O levantamento de estruturas anatômicas de folhas e escapos dessas espécies como: tipo de câmara subestomática, estrutura da margem foliar e número de feixes vasculares indicam agrupamentos entre elas e servirão para a sustentação do clado filogenético em que estão inseridas. Estruturas anatômicas como: presença de células de paredes espessadas, de hipoderme e parênquima clorofiliano compacto são respostas adaptativas à escassez hídrica, ventos fortes e radiação excessiva, presentes nos campos rupestres. As espécies de Comanthera subg. Comanthera que ocorrem na Bahia (nove espécies - clado “X”) e Minas Gerais (10 espécies - clado “U”) apresentam estruturas anatômicas de folhas e escapos como: células epidérmicas de paredes espessadas, estômatos com câmaras subestomáticas simples e presença de hipoderme, com similaridade alta, que é interpretada como resposta adaptativa às condições ambientais e não refletem relações de parentesco entre elas. Para Syngonanthus nitens (capim-dourado), comprimento e espessura de folhas e escapos; espessura das paredes das células epidérmicas, quantidade de camadas de células da hipoderme e tipo de parênquima clorofiliano definem os morfotipos “douradinho” e “douradão” utilizados no artesanato do Jalapão-TO. A maior quantidade de colênquima do que de esclerênquima no córtex do escapo do morfotipo “douradão” torna-o mais flexível e é usado na confecção de peças maiores (cestos, bolsas, etc.). Raízes com córtex que acumulam ar, epiderme e hipoderme foliares constituídas por células de paredes finas e mesofilo frouxo são respostas adaptativas dos morfotipos ao solo encharcado onde crescem. / Among the Brazilian Eriocaulaceae (sempre-vivas), the species most widely commercialized and used for decoration belong to Comanthera and Syngonanthus, and are already on the Brazilian list of endangered species. These plants grow in upland "campo rupestre" vegetation, under adverse climatic conditions. Taxonomic and phylogenetic studies of Comanthera subg. Comanthera have revealed a lack support for the subgenus and have used clades instead for discussing species distributions. The present study aimed to contribute to the taxonomy and phylogeny of the group, clarify environmental adaptations and provide data for future environmental management of natural populations. Morphological and anatomical features of 24 species of Comanthera (involving species of clades “V”, “U” and “X”) and of Syngonanthus nitens were studied. Species of clade “V”  Comanthera brasiliana, C. brunnea, C. caespitosa, C. magnifica and C. suberosa  exhibit more rapid germination and post-seminal development (< 7 days) than other Eriocaulaceae, and grow in nutrient-poor quartzite soils with rapid water drainage. They have seed coats with endotestal projections of differing shapes that are useful for separating the species. The survey of anatomical structures of the leaves and scapes of these species, such as the type of substomatal chamber, leaf margin structure and number of vascular bundles, revealed groupings that will serve to support the phylogenetic clade in which they are included. Anatomical structures such as presence of thick cell walls, hypodermis and compact chlorenchyma are important adaptive responses to the water scarcity, strong winds, and excessive radiation prevalent in "campo rupestre" habitats. The species of Comanthera subg. Comanthera that occur in Bahia (nine species – clade “X”) and Minas Gerais (10 species – clade “U”), have very similar anatomical leaf and scape structures, such as thick epidermal cell walls, stomata with simple substomatal chambers and the presence of a hypodermis. This similarity is interpreted as an adaptive response to environmental conditions and not as an indication of their phylogenetic relationship. For Syngonanthus nitens (capim-dourado, or “golden grass”), length and thickness of leaves and scapes, thickness of epidermal cell walls, number of hypodermis cell layers and type of chlorenchyma define the “douradinho” and “douradão” morphotypes used by artesans to make craft products in Jalapão, Tocantins state. The larger proportion of collenchyma than sclerenchyma in the cortex of the scape of the “douradão” morphotype makes it more flexible and useful for larger craftwork, such as baskets and bags. Roots with a cortex that accumulates air, leaf epidermis and hypodermis with thin cell walls and lax mesophyll are adaptive responses of the morphotypes to the waterlogged soil in which they grow. / PEC-PG: 5821118

Denna uppsats behandlar porträtteringen av transmän i filmerna Pojkarna (2015) och Boys Don’t Cry (1999). Syftet är att undersöka hur karaktärernas könsidentiteter är porträtterade och även att kunna bidra med kunskap till filmskapare om hur man kan utveckla porträtteringar av transmän i film. Analysen skrivs ur ett queerteoretiskt och normkritiskt perspektiv och genomförs med hjälp av Jens Eders analysmetod Karaktärsklockan. Maskulinitetsteori används för att undersöka karaktärernas maskulina uttryckssätt. Resultatet av denna undersökning visar att karaktärerna är nyanserade men att filmskaparna berövar karaktärerna rätten till sina könsidentiteter genom att de ständigt behöver rättfärdiga sig själva och sedan avslutar de filmerna med en tragisk eftersmak. Att karaktärerna berövas ett lyckligt slut kan skapa reflektioner om att det är ouppnåeligt att leva ett bra liv som transperson. / This thesis will examine the portrayal of trans men in the films Girls Lost (2015) and Boys Don’t Cry (1999). The purpose is to analyse how the characters’ gender identities are portrayed, and be able to contribute with knowledge of how to further advance the portrayal of trans men in film. The analysis is written from a queer theoretical and norm-critical perspective, with support from Jens Eder’s method of analysis Clock of Character. Masculine theory is used in order to examine how the characters express their masculine traits. The result of this study shows that the characters are nuanced, though, the filmmakers deprive them of their right to their gender identities as they constantly need to justify themselves, as well as ending both films with a tragic aftertaste. As the characters are deprived of a happy ending, this might create reflections that a good life as a trans person is unachievable.

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Trans Cinema and its Exit Scapes offers a critical and creative intervention into cultural representations of gendered body dissidence in contemporary film. The study argues for the possibility of finding spaces of “disidentification”, so-called “exit scapes” within the films. Exit scapes disrupt the dominant cinematic regime set up for the trans character, which ties them into stories of discrimination, humiliation and violence. In Trans Cinema, for instance films such as Hedwig and the Angry Inch (2001), Transamerica (2005), Romeos (2011) and Laurence Anyways (2012), scenes of singing, dancing and dreaming allow a different form of engagement with the films. As argued here, they allow a critical re-reading and an affirmative re-imagining of trans embodiment. The aim of this study is to investigate the utopian and hopeful potential within Trans Cinema from a critical transfeminist perspective. While focusing in particular on trans entrants as “spectators” or readers, this study draws on the work of a wide range of feminist and cultural scholars, such as Sara Ahmed, Susan Stryker, José Esteban Muñoz, Trinh T. Minh-Ha, Karen Barad and Donna Haraway. The thesis etches out cinematic spatiotemporalities that unfold possibilities of utopian worlding and trans becoming through a set of conceptual innovations. By utilising a critical approach to audio-visuality and feminist film theory, the thesis re-conceptualises haptic spectatorship theory and its critique in western modernist ocularcentricism through a set of conceptual innovations. The methodological tools developed in this thesis, such as the “entrant”, the “exit scape” and “sensible cinematic intra-activity”, feature here as a multisensorial methodology for transdisciplinary transgender studies and feminist film theory as well as visual culture at large. / Trans Cinema and its Exit Scapes är en kritisk och kreativ intervention med fokus på kulturella representationer av kroppar som bryter mot en könsbinär ordning i samtida film. Studien argumenterar för möjligheten att hitta utrymmen för “disidentification”, så kallade “exit scapes” inom filmerna. Exit scapes stör den dominanta filmiska ordning som skapats för transkaraktären, en ordning som är förbunden med berättelser om diskriminering, förödmjukelse och våld. Inom Trans Cinema, i filmer som exempelvis Hedwig and the Angry Inch (2001), Transamerica (2005), Romeos (2011) and Laurence Anyways (2012), öppnar scener med sång, dans och drömmar upp för andra former av engagemang med filmerna. Som det argumenteras för i avhandlingen tillåter dessa ett kritiskt omformulerande av, och ett nytt affirmativt sätt att föreställa sig, transkroppslighet. Syftet med den här studien är att undersöka den utopiska och hoppfulla potential som finns inom transfilm utifrån ett kritiskt transfeministiskt perspektiv. Även om studien främst riktar sig till trans entrants som “åskådare” eller läsare, så har den en bred teoretisk bas hämtad från verk av en lång rad feministiska forskare inom kulturfältet, såsom Sara Ahmed, Susan Stryker, José Esteban Muñoz, Trinh T. Minh-Ha, Karen Barad och Donna Haraway. Denna avhandling skissar filmiska spatiotemporaliteter, vilka öppnar för möjligheter av utopiska värdsliga och transsubjektiva tillblivelser genom utvecklandet av olika teoretiska begrepp. Genom ett kritiskt förhållningssätt till audiovisualitet och feministisk filmteori, revideras och omformuleras haptisk åskådarskapsteori och dess kritik i en västerländsk okularcentrism genom olika teoretiska innovationer. De metodologiska verktygen som utvecklas i avhandlingen, såsom “the entrant”, “the exit scape” samt “sensible cinematic intra-activity” utgör här funktionen som multisensorisk metodologi för transdisciplinära transstudier, feministisk filmteori samt för visuell kultur i stort.

Trans Cinema and its Exit Scapes offers a critical and creative intervention into cultural representations of gendered body dissidence in contemporary film. The study argues for the possibility of finding spaces of “disidentification”, so-called “exit scapes” within the films. Exit scapes disrupt the dominant cinematic regime set up for the trans character, which ties them into stories of discrimination, humiliation and violence. In Trans Cinema, for instance films such as Hedwig and the Angry Inch (2001), Transamerica (2005), Romeos (2011) and Laurence Anyways (2012), scenes of singing, dancing and dreaming allow a different form of engagement with the films. As argued here, they allow a critical re-reading and an affirmative re-imagining of trans embodiment. The aim of this study is to investigate the utopian and hopeful potential within Trans Cinema from a critical transfeminist perspective. While focusing in particular on trans entrants as “spectators” or readers, this study draws on the work of a wide range of feminist and cultural scholars, such as Sara Ahmed, Susan Stryker, José Esteban Muñoz, Trinh T. Minh-Ha, Karen Barad and Donna Haraway. The thesis etches out cinematic spatiotemporalities that unfold possibilities of utopian worlding and trans becoming through a set of conceptual innovations. By utilising a critical approach to audio-visuality and feminist film theory, the thesis re-conceptualises haptic spectatorship theory and its critique in western modernist ocularcentricism through a set of conceptual innovations. The methodological tools developed in this thesis, such as the “entrant”, the “exit scape” and “sensible cinematic intra-activity”, feature here as a multisensorial methodology for transdisciplinary transgender studies and feminist film theory as well as visual culture at large. / Trans Cinema and its Exit Scapes är en kritisk och kreativ intervention med fokus på kulturella representationer av kroppar som bryter mot en könsbinär ordning i samtida film. Studien argumenterar för möjligheten att hitta utrymmen för “disidentification”, så kallade “exit scapes” inom filmerna. Exit scapes stör den dominanta filmiska ordning som skapats för transkaraktären, en ordning som är förbunden med berättelser om diskriminering, förödmjukelse och våld. Inom Trans Cinema, i filmer som exempelvis Hedwig and the Angry Inch (2001), Transamerica (2005), Romeos (2011) and Laurence Anyways (2012), öppnar scener med sång, dans och drömmar upp för andra former av engagemang med filmerna. Som det argumenteras för i avhandlingen tillåter dessa ett kritiskt omformulerande av, och ett nytt affirmativt sätt att föreställa sig, transkroppslighet. Syftet med den här studien är att undersöka den utopiska och hoppfulla potential som finns inom transfilm utifrån ett kritiskt transfeministiskt perspektiv. Även om studien främst riktar sig till trans entrants som “åskådare” eller läsare, så har den en bred teoretisk bas hämtad från verk av en lång rad feministiska forskare inom kulturfältet, såsom Sara Ahmed, Susan Stryker, José Esteban Muñoz, Trinh T. Minh-Ha, Karen Barad och Donna Haraway. Denna avhandling skissar filmiska spatiotemporaliteter, vilka öppnar för möjligheter av utopiska värdsliga och transsubjektiva tillblivelser genom utvecklandet av olika teoretiska begrepp. Genom ett kritiskt förhållningssätt till audiovisualitet och feministisk filmteori, revideras och omformuleras haptisk åskådarskapsteori och dess kritik i en västerländsk okularcentrism genom olika teoretiska innovationer. De metodologiska verktygen som utvecklas i avhandlingen, såsom “the entrant”, “the exit scape” samt “sensible cinematic intra-activity” utgör här funktionen som multisensorisk metodologi för transdisciplinära transstudier, feministisk filmteori samt för visuell kultur i stort.