Esta Tese de Doutorado tem por objetivo discutir a questão da mimesis da interioridade no Mercador de Veneza, de William Shakespeare. A pesquisa está embasada na obra Inwardness and Theater in the English Renaissance, de Maus (1995), e na obra Shakespeare Philosophy, de McGinn (2007), na crítica literária da peça. Maus apresenta a interioridade como um constructo social e cultural da Renascença Inglesa. Ela analisa a interioridade tomando como base a oposição entre aparências, consideradas falsas e enganosas na época, e interioridade, que era tida como manifestações sinceras e verdadeiras das dimensões interiores do indivíduo. Contudo, McGinn vai além da discussão de Maus sobre interioridade, ao perceber que Shakespeare representou as dimensões obscuras incontroláveis do indivíduo. Ele apresenta as forças misteriosas que controlam os pendores interiores das personagens. Além disso, a tese busca analisar a constelação de motivos e a retórica da interioridade que representam sentimentos interiores na peça de Shakespeare. Parte da hipótese de que a mimesis shakespeariana da interioridade é representada em sinais, sutis tais como os silêncios, os não-ditos, as rupturas de linguagem, gestos corporais, pathos, contradições de ideias e pensamentos, a consciência, vergonha e atos falhos. Ademais, a mimesis shakespeariana da interioridade é construída através do artifício do espelhamento que é a representação das dimensões interiores e os pendores da mente nos sentimentos, ideias, gestos, pensamentos, comportamento e atitude de outras personagens. Na verdade, Shakespeare não inventou a interioridade, mas aprofundou a representação da interioridade introduzindo traços inovadores na linguagem do drama. Este trabalho também discute o estranho desenvolvimento da crítica sobre a peça, apresentando que a crítica dos séculos XVIII e XIX lia Shylock como um herói trágico, ao passo que a crítica do século XX lia Shylock como um vilão cômico, provavelmente influenciada pelo antissemitismo da primeira metade do século. Essa pesquisa foca sobre a estranha relação entre Antonio e Bassanio, assim como sua relação com Shylock. Sua relação é representada como homoerótica e o desejo de um frívolo sacrifício de Antonio por Bassanio sugere a interioridade de Antonio. Shylock é também representado como o pai primordial da peça e esse detalhe sugere a causa da tristeza de Antonio no começo da peça. Analisa também o teste dos escrínios de Portia e demonstra seu desejo de defraudar o testamento de seu pai, tão logo ela pede que se toque uma canção que sugere em suas rimas o verdadeiro escrínio. Discute os problemas da consciência de Launcelot e da interioridade de Jessica. Analisa também a relação distante entre Jessica e Shylock, como também sua partida da casa de seu pai e roubo de seu dinheiro, como uma forma de afrontar o poder patriarcal. Centra-se também na cegueira de Shylock para com as intenções reais de sua filha. Interpreta a cena do julgamento de Shylock e como Portia forja um julgamento fraudulento, anulando o contrato de Shylock a tomando sua propriedade. Apresenta uma discussão sobre a mimesis shakespeariana de interioridade, com base nas considerações de Auerbach e Dubois, assim como discute o problema do gênero da peça, sugerindo que a peça não é uma mera comédia, mas uma tragicomédia. / This Doctorate thesis aims at discussing the issue of mimesis of inwardness in The Merchant of Venice, by William Shakespeare. This survey is based on Maus‘ Inwardness and Theater in the English Renaissance (1995), McGinn‘s work Shakespeare Philosophy (2007) and the literary criticism on the play. Maus presents inwardness as social and cultural construct of the English Renaissance. She analyses inwardness based on the opposition between appearances, considered false and deceitful in the age, and inwardness, which was taken as true and sincere manifestations of the inward dimensions of the self. However, McGinn goes beyond Maus‘ discussion on inwardness, perceiving that Shakespeare represented the uncontrolled obscure inward dimensions of the self. He presents the mysterious forces which control the characters‘ inward dispositions. Moreover, the thesis aims at analysing the constellation of motifs and the rhetoric of inwardness which represent inward feelings in Shakespeare‘s play. It parts from the hypothesis that Shakespearean mimesis of inwardness is represented in subtle signs such as silences, non-said, breaks in language, bodily gestures, pathos, contradictions in ideas and thoughts, conscience, shame, and verbal slips. Furthermore, Shakespeare‘s mimesis of inwardness is contructed through the mirroring device which is the representation of a character‘s inward dimensions and dispositions of the mind in other character‘s feelings, ideas, thoughts, gestures, behaviour and attitude. Actually, Shakespeare did not invent inwardness, but he deepened the representation of inwardness introducing innovating traits in language in the drama. This work also discusses the awkward development of the criticism on the play, presenting that the 18th and 19th century criticism read Shylock as a tragic hero, whereas 20th century criticism read Shylock as a comic villain probably influenced by anti-Semitism of the first half of the century. This research focuses on the awkward relationship between Antonio and Bassanio, as well as their relationship with Shylock. Their relation is depicted as homoerotic and Antonio‘s desire of a frivolous sacrifice for Bassanio suggests Antonio‘s inwardness. Shylock is also depicted as the primordial father of the play and such detail hints at the cause of Antonio‘s sadness in the beginning of the play. It analyses Portia‘s casket trial and demonstrates her desire of outwitting her father‘s will, as soon as she demands to play a song which suggests in its rhyme the true casket. It discusses the problems of conscience in Launcelot‘s and Jessica‘s inwardness. It also analyses the distant relationship between Jessica and Shylock, as well as her leaving her father‘s house and taking his wealth, as a way of affronting the patriarchal power. It focuses on Shylock‘s blindness towards his daughter‘s real intentions. It analyses the trial scene and how Portia forges a fraudulent trial, undoing Shylock‘s bond and taking his property. It presents a discussion on Shakespeare‘s mimesis of inwardness, based on Auerbach‘s and Dubois‘ assumptions, as well as discusses the problem of the genre of the play, suggesting that the play is not a mere comedy, but a tragicomedy.

Esta Tese de Doutorado tem por objetivo discutir a questão da mimesis da interioridade no Mercador de Veneza, de William Shakespeare. A pesquisa está embasada na obra Inwardness and Theater in the English Renaissance, de Maus (1995), e na obra Shakespeare Philosophy, de McGinn (2007), na crítica literária da peça. Maus apresenta a interioridade como um constructo social e cultural da Renascença Inglesa. Ela analisa a interioridade tomando como base a oposição entre aparências, consideradas falsas e enganosas na época, e interioridade, que era tida como manifestações sinceras e verdadeiras das dimensões interiores do indivíduo. Contudo, McGinn vai além da discussão de Maus sobre interioridade, ao perceber que Shakespeare representou as dimensões obscuras incontroláveis do indivíduo. Ele apresenta as forças misteriosas que controlam os pendores interiores das personagens. Além disso, a tese busca analisar a constelação de motivos e a retórica da interioridade que representam sentimentos interiores na peça de Shakespeare. Parte da hipótese de que a mimesis shakespeariana da interioridade é representada em sinais, sutis tais como os silêncios, os não-ditos, as rupturas de linguagem, gestos corporais, pathos, contradições de ideias e pensamentos, a consciência, vergonha e atos falhos. Ademais, a mimesis shakespeariana da interioridade é construída através do artifício do espelhamento que é a representação das dimensões interiores e os pendores da mente nos sentimentos, ideias, gestos, pensamentos, comportamento e atitude de outras personagens. Na verdade, Shakespeare não inventou a interioridade, mas aprofundou a representação da interioridade introduzindo traços inovadores na linguagem do drama. Este trabalho também discute o estranho desenvolvimento da crítica sobre a peça, apresentando que a crítica dos séculos XVIII e XIX lia Shylock como um herói trágico, ao passo que a crítica do século XX lia Shylock como um vilão cômico, provavelmente influenciada pelo antissemitismo da primeira metade do século. Essa pesquisa foca sobre a estranha relação entre Antonio e Bassanio, assim como sua relação com Shylock. Sua relação é representada como homoerótica e o desejo de um frívolo sacrifício de Antonio por Bassanio sugere a interioridade de Antonio. Shylock é também representado como o pai primordial da peça e esse detalhe sugere a causa da tristeza de Antonio no começo da peça. Analisa também o teste dos escrínios de Portia e demonstra seu desejo de defraudar o testamento de seu pai, tão logo ela pede que se toque uma canção que sugere em suas rimas o verdadeiro escrínio. Discute os problemas da consciência de Launcelot e da interioridade de Jessica. Analisa também a relação distante entre Jessica e Shylock, como também sua partida da casa de seu pai e roubo de seu dinheiro, como uma forma de afrontar o poder patriarcal. Centra-se também na cegueira de Shylock para com as intenções reais de sua filha. Interpreta a cena do julgamento de Shylock e como Portia forja um julgamento fraudulento, anulando o contrato de Shylock a tomando sua propriedade. Apresenta uma discussão sobre a mimesis shakespeariana de interioridade, com base nas considerações de Auerbach e Dubois, assim como discute o problema do gênero da peça, sugerindo que a peça não é uma mera comédia, mas uma tragicomédia. / This Doctorate thesis aims at discussing the issue of mimesis of inwardness in The Merchant of Venice, by William Shakespeare. This survey is based on Maus‘ Inwardness and Theater in the English Renaissance (1995), McGinn‘s work Shakespeare Philosophy (2007) and the literary criticism on the play. Maus presents inwardness as social and cultural construct of the English Renaissance. She analyses inwardness based on the opposition between appearances, considered false and deceitful in the age, and inwardness, which was taken as true and sincere manifestations of the inward dimensions of the self. However, McGinn goes beyond Maus‘ discussion on inwardness, perceiving that Shakespeare represented the uncontrolled obscure inward dimensions of the self. He presents the mysterious forces which control the characters‘ inward dispositions. Moreover, the thesis aims at analysing the constellation of motifs and the rhetoric of inwardness which represent inward feelings in Shakespeare‘s play. It parts from the hypothesis that Shakespearean mimesis of inwardness is represented in subtle signs such as silences, non-said, breaks in language, bodily gestures, pathos, contradictions in ideas and thoughts, conscience, shame, and verbal slips. Furthermore, Shakespeare‘s mimesis of inwardness is contructed through the mirroring device which is the representation of a character‘s inward dimensions and dispositions of the mind in other character‘s feelings, ideas, thoughts, gestures, behaviour and attitude. Actually, Shakespeare did not invent inwardness, but he deepened the representation of inwardness introducing innovating traits in language in the drama. This work also discusses the awkward development of the criticism on the play, presenting that the 18th and 19th century criticism read Shylock as a tragic hero, whereas 20th century criticism read Shylock as a comic villain probably influenced by anti-Semitism of the first half of the century. This research focuses on the awkward relationship between Antonio and Bassanio, as well as their relationship with Shylock. Their relation is depicted as homoerotic and Antonio‘s desire of a frivolous sacrifice for Bassanio suggests Antonio‘s inwardness. Shylock is also depicted as the primordial father of the play and such detail hints at the cause of Antonio‘s sadness in the beginning of the play. It analyses Portia‘s casket trial and demonstrates her desire of outwitting her father‘s will, as soon as she demands to play a song which suggests in its rhyme the true casket. It discusses the problems of conscience in Launcelot‘s and Jessica‘s inwardness. It also analyses the distant relationship between Jessica and Shylock, as well as her leaving her father‘s house and taking his wealth, as a way of affronting the patriarchal power. It focuses on Shylock‘s blindness towards his daughter‘s real intentions. It analyses the trial scene and how Portia forges a fraudulent trial, undoing Shylock‘s bond and taking his property. It presents a discussion on Shakespeare‘s mimesis of inwardness, based on Auerbach‘s and Dubois‘ assumptions, as well as discusses the problem of the genre of the play, suggesting that the play is not a mere comedy, but a tragicomedy.

Abstract Inspired by feminist standpoint theory, this doctoral thesis studies what the voices and silences about experiences of sexual violence tell us when voiced by adolescent girls who have been in residential care institutions. This group of girls evidently experience more sexual violence compared to their peers. This dissertation is based on four scientific Articles. In Article I, Erving Goffman’s theory is used to analyse the girls’ experiences of being in residential institutions and Articles II–IV focus on their sexual violence experiences. Data is generated in 2013 through semi-structured interviews with 11 girls aged 14–17 years old, and through interviews with one of these girls from 2013–2017. Data from Bulgaria, Catalonia and Italy regarding the violent experiences of 46 girls is also used in Article II. Qualitative content analysis (Articles I–III) and the Listening Guide method (Article IV) were used in data analysis. The Articles reveal that the girls have multiple vulnerabilities that affect on creating safe connections, as well as voicing their experiences. The majority of the girls did not voice their experiences of sexual violence as violence and based on the data it can be interpreted that the sense of being cared for by someone might impact on what was named and/or recognised as sexual violence. The phenomenon was named abusive illusion of care and proposed to be included in Jenny Pearce’s social model of abused consent. A new term was also suggested for the area of girls’ sexually risky behaviour, which is further developed in this compilation report as sexism-related internalised sexual violence. In this compilation report, the main results of the Articles are combined and re-read in the light of Carol Gilligan’s theorisations. Those findings confirm that girls’ voices and silences about their sexual violence experiences are a complex and multidimensional combination of self-silence and being silenced, connection and resistance. Sexual violence experiences should be considered as contextual, relational, contradictory and situational phenomena. It is suggested that violence prevention programmes be organised in a gender-responsible way for all from an early age. Furthermore, professionals should be educated to recognise the hidden aspects in sexual violence and conceptualisations of sexual violence needs to be developed further. / Tiivistelmä Feministisen standpoint-teorian inspiroimana tässä väitöskirjassa tutkitaan, mitä lastensuojelulaitoksissa asuneiden tyttöjen äänellisyydet ja vaikenemiset kertovat heidän kokemastaan seksuaalisesta väkivallasta. Aiempi tutkimustieto osoittaa tämän tyttöryhmän kokevan vertaisiaan enemmän seksuaalista väkivaltaa. Väitöskirjaan sisältyy neljä tieteellistä artikkelia. Artikkeli I:ssa analysoidaan tyttöjen laitoskokemuksia Erving Goffmanin teorian avulla. Artikkeleissa II–IV keskitytään tyttöjen seksuaalisen väkivallan kokemuksiin. Aineisto koostuu yhdentoista 14–17-vuotiaan tytön puolistrukturoidusta haastattelusta vuodelta 2013 sekä yhden tytön haastatteluista vuosilta 2013–2017. Artikkeli II:ssa on otteita Bulgariasta, Italiasta ja Kataloniasta kerätyistä aineistoista koskien neljänkymmenenkuuden tytön väkivaltakokemuksia. Analyysissa käytettiin sisällönanalyysiä (Artikkelit I–III) ja Listening Guide -metodia (Artikkeli IV). Osatutkimuksista selvisi, että tyttöjen moniulotteiset haavoittuvuudet vaikuttavat turvallisten yhteyksien luomiseen sekä omien kokemusten kertomiseen. Suurin osa tytöistä ei sanallistanut seksuaalisen väkivallan kokemuksiaan väkivallaksi, ja tyttöjen kokema välittäminen näytti vaikuttavan siihen, minkä he tunnistivat ja/tai nimesivät seksuaaliseksi väkivallaksi. Ilmiö nimettiin “vahingolliseksi välittämisen illuusioksi,” ja se esitetään lisättäväksi Jenny Pearcen seksuaalista suostumusta koskevaan malliin. Tyttöjen seksuaalisen riskikäyttäytymisen alueelle ehdotettiin uutta termiä, ja tässä yhteenveto-osuudessa se on edelleen kehiteltynä “seksismiin perustuva sisäistetty seksuaalinen väkivalta.” Yhteenveto-osuudessa artikkeleiden päätulokset on yhdistetty ja niitä on uudelleen luettu Carol Gilliganin teoriaa hyödyntäen. Näin saadut tulokset osoittavat, että tyttöjen äänellisyydet ja vaikenemiset seksuaalisesta väkivallasta sisältävät moniulotteisen yhdistelmän vaikenemista ja vaietuksi tulemista, kuulumisen tunnetta sekä vastarintaa. Seksuaalisen väkivallan kokemukset tulisikin nähdä relationaalisena ja moniäänisenä, sekä tilanne- ja kontekstisidonnaisena ilmiönä. Lapsille tulisi suunnata varhaisessa vaiheessa väkivaltaa ennaltaehkäiseviä sukupuolivastuullisia koulutuksia. Lisäksi ammattilaisille tulisi järjestää koulutusta seksuaalisen väkivallan piiloisten muotojen tunnistamiseksi ja seksuaalisen väkivallan sanallistuksia tulisi edelleen kehittää.

The cedar dugout canoe is iconically associated with First Nations peoples of the Pacific Northwest coast, but the vital contribution it made to the economic and social development of British Columbia is historically unrecognized. This beautifully designed and crafted oceangoing vessel, besides being a prized necessity to the maritime First Nations peoples, was an essential transportation link for European colonists. In speed, maneuverability, and carrying capacity it vied with any other seagoing technology of the time. The dugout canoe became an important site of engagement between First Nations peoples and settlers. European produced textual and visual records of the colonial period are examined to analyze the dugout canoe as a site of intercultural interaction with a focus upon the European representation. This research asks: Was the First Nations' dugout canoe essential to colonial development in British Columbia and, if so, were the First Nations acknowledged for this vital contribution? Analysis of primary archival resources (letters and journals), images (photographs, sketches and paintings) and colonial publications, such as the colonial dispatches, memoirs and newspaper accounts, demonstrate that indeed the dugout canoe and First Nations canoeists were essential to the development of the colony of British Columbia. However, these contributions were differentially acknowledged as the colony shifted from a fur trade-oriented operation to a settler-centric development that emphasized the alienation of First Nations’ land for settler use. By focusing research on the dugout canoe and its use and depiction by Europeans, connections between European colonists and First Nations canoeists, navigators and manufacturers are foregrounded. This focus brings together these two key historical players demonstrating their “entangled” nature (Thomas 1991:139) and breaking down “silences” and “trivializations” in history (Trouillot 1995:96), working to build an inclusive and connected history of colonial British Columbia. / Graduate

This thesis explores modalities in two hagiographical collections from the late Middle Ages; the Legenda Aurea and the Gilte Legende by drawing inspiration from post-colonial hybridity theories.. It conducts a close textual analysis by studying the use of pronouns in five saints’ legends where female saints transcend traditional gender identities and become men, and focuses on how they transcend, live as men, and die. The study concludes that the use of pronouns is fluid in the Latin Legenda Aurea, while the Middle English Gilte Legende has more female pronouns and additions to the texts where the female identity of the saints is emphasised. This is interpreted as a sign of the feminisation of religious language in Europe during the late Middle Ages, and viewed parallel with the increase of holy women at that time. By doing this, it underlines the importance of new words and concepts when describing and understanding medieval views on gender.