My premise in this dissertation is that the tradition of independent theatre for young audiences created in Córdoba, Argentina is a worthy community of practice for Applied Theatre study. To provide the much needed documentation of and exposure to this community of practice, and to defend the hypothesis that this community of theatre practice represents a valuable contribution to the Applied Theatre canon, this research project focuses on the following questions: What are the key characteristics of independent theatre for young audiences practice in Córdoba, Argentina between 2001 and 2016? What are the recurring themes and ideas emerging from this community of practice and in circulation among its artists? How are these characteristics, themes and ideas similar to and different from the overall community of independent theatre practice in Córdoba, Argentina during the same period? / Graduate

In this thesis, I examine the relationship between activism and the two introductory-level Women's Studies classes, Introduction to Women's Studies and Issues in Feminism, and the social justice mission of the Women's Studies department. These two classes are the pillars for the program and are often the first classes that draw students into the program. I propose that the Women's Studies department does promote social justice through the curriculum and there are ways that the department could do more to facilitate activism in the classroom and beyond the classroom. The Women's Studies department at the University of South Florida is one of the longest freestanding Women's Studies departments. The department was established in 1970 and as an academic field is a child of the idealism and activism of the feminist movement. I believe that Women's Studies as an academic discipline has a responsibility to promote social justice because of its parentage. A case study approach enables me to see how activism manifests in a very specific location and provides real-life examples that can then be applied and adapted to other programs. I conducted two different analyses of the department: a syllabus review and in-depth interviews with instructors. The intention of the syllabus review was to see how the classes present on paper. The interviews allowed me to examine what actually occurred in the classroom. I was able to provide a snapshot of the call to activism, the manifestations of activism, and the facilitation of activism, which enabled me to theorize new ways to incorporate activism into not only introductory-level classes, but to all Women's Studies classes.

This research seeks to explore the origins and values of participatory action research, as well as its role in transforming possibilities to knowledge production and shaping equal relationships between research participants. Drawing from the theoretical frameworks of intersectionality and decoloniality and with a focus on the experience of the asylum interview, the research seeks to explore the ways that those epistemological paradigms intertwine with participatory research to deconstruct the dichotomy between researcher and research subject (expert/community) and re-balance the power differentials embedded within academia, canonical knowledge production and traditional research methodologies, to initiate change.On one hand, the research documents the tangible difficulties and practical obstacles that young researchers may come across when employing participatory and inclusive approaches to research, discussing with honesty and self-reflectivity the limitations and shortcomings of this effort. More importantly though, it provides the space and framework for a young woman who navigated the European asylum system, to voice, without mediation and within academia, her narrative and lived experience, and discuss ways towards fairer and more humane asylum systems. As such, it is also a testament to what PAR can offer when conducted with respect and reference to its ontological and epistemological origins, within universities that can sustain it.

Etudier la façon dont l’individu s’exprime, se raconte et s’invente dans la littérature de l’époque romantique en Russie exige la résolution du problème posé par les spécificités du champ culturel russe. D’une part, les différents processus ou moments qui ont marqué les étapes de l’individuation en Europe occidentale (Renaissance, Réforme, Lumières) ne sont apparus dans l’histoire russe que sous des formes indirectes et affaiblies. D’autre part, les confessions auriculaires, fondamentales d’après Michel Foucault pour l’autoanalyse moderne en Europe, n’ont pas eu une grande importance dans l’Église orthodoxe russe. Enfin, les pratiques « autobiographiques » et autoréflexives en Russie restent entravées par plusieurs tabous qui émanent aussi bien des milieux intellectuels et culturels que des cercles du pouvoir. Aussi, au moment où le romantisme met à l’ordre du jour partout en Europe l’expression de soi, quelles en sont les modalités chez les écrivains russes ? En l’absence de textes autobiographiques au sens rousseauiste du terme, c’est par l’exploration des nombreuses zones d’ombre de la vie littéraire où s’épanouissait l’affirmation subjective qu’il est possible de répondre à cette question, en ayant recours à la fois à des genres « reconnus » et à des genres « mineurs », et en analysant des formes littéraires plus ou moins marginales : histoires personnelles, traductions, écriture féminine, ou encore littérature russe d’expression française. L’époque romantique, de ce point de vue, n’est pas, comme on la présente souvent dans l’histoire littéraire, un moment de passage ou de transition : il s’agit au contraire d’un moment crucial pour l’affirmation de la subjectivité dans la culture russe. / In order to study how an individual expresses and invents himself in the Russian literature of the Romantic era, it is necessary to solve the problems connected with the peculiarities of the Russian cultural field. On the one hand, the various processes that were important for individualization in Western Europe (the Renaissance, the Reformation, the Enlightenment) had in Russian history special, weakened forms. On the other hand, the secret confession, which, according to M. Foucault, is fundamental to the development of introspection in Europe, did not have much importance in the Russian Orthodox Church. In addition, autobiographical and autoreflexive practices are blocked in Russia by a variety of taboos, which are imposed by intellectual, cultural, and power circles. This raises the question of how Russian writers avoided all these limitations, when the author's self-expression had become extremely important in the European romantic literature. To answer to this question, we investigated various areas of literature, including peripheral: recognized and secondary genres, personal stories, translations, women's prose, texts written in French, etc. From this point of view, the romantic period is not just an epoch of transition, as it is often represented in the history of Russian literature, but the most important moment for affirming subjectivity in Russian culture.