Jinnen är ett frekvent förekommande väsen i arabisk kultur och litteratur alltsedan förislamsk tid. Syftet med denna litteraturstudie är att undersöka hur jinnerna beskrivs och representeras i Fenixtrilogin av Sonia Nimr. Deras narrativa och litterära funktioner i böckerna relateras till deras representation och funktion i arabisk kultur och i ungdomsfantasy. Mieke Bals klassifikation av roller i en narrativ cykel används i analysen. Resultatet är att jinnen har en stark koppling till den klassiska bilden av en jinn i arabisk litteratur och kultur, men att några detaljer skiljer sig. Mest framträdande är jinnens entydigt goda egenskaper och funktioner i berättelsen. Slutsatsen är att trilogin ligger tydligt i linje med annan fantasylitteratur för ungdomar, men att jinnen har en unik roll som hjälpare eller god kraft. Den får i och med det en tydlig pedagogisk roll, i linje med barn- och ungdomslitteraturen. / The jinn is a frequently occurring entity in Arabic culture and literature since pre-Islamic times. The purpose of this literature study is to examine how the jinn are described and represented in the Thunderbird trilogy by Sonia Nimr. Their narrative and literary functions in the books relate to their representation and function in Arab culture and in young adult fantasy. Mieke Bal’s classification of roles in the narrative cycle is used in the analysis. The result is that the jinn bears a strong resemblance to the classical image of a jinn in Arabic literature and culture, but that some details differ. Most prominent are the jinn’s unambiguously good qualities and functions in the story. The conclusion is that the trilogy is clearly in line with other fantasy literature for young adults, but that the jinn has a unique role as a helper or as the good power. It therefore has a clear pedagogical role in line with children’s literature and Young Adult literature.

Submitted by Suelen Reis (suziy.ellen@gmail.com) on 2013-05-09T19:24:43Z No. of bitstreams: 1 tese Lucia Leiro.pdf: 1524537 bytes, checksum: 7e0cfcff7c0c938ea411eefee7b46841 (MD5) / Approved for entry into archive by Alda Lima da Silva(sivalda@ufba.br) on 2013-05-10T20:42:01Z (GMT) No. of bitstreams: 1 tese Lucia Leiro.pdf: 1524537 bytes, checksum: 7e0cfcff7c0c938ea411eefee7b46841 (MD5) / Made available in DSpace on 2013-05-10T20:42:01Z (GMT). No. of bitstreams: 1 tese Lucia Leiro.pdf: 1524537 bytes, checksum: 7e0cfcff7c0c938ea411eefee7b46841 (MD5) Previous issue date: 2003 / A tese de doutorado intitulada A família nas a família na literatura baiana de autoria feminina contemporânea: um estudo feminista sobre as narrativas de Sonia Coutinho e Helena Parente Cunha é uma análise das narrativas das escritoras sobre a temática da família sob a perspectiva feminista. Na primeira parte, trato do conceito de crítica e da posição do crítico na modernidade e na contemporaneidade, mostrando que o exercício de crítica foi construído para ser um território hostil às mulheres. Na segunda parte, aprofundo a análise dos lugares da crítica, mostrando as leituras do ponto de vista da ótica masculina e feminista e apresento os romances e contos das duas escritoras, organizando-os cronologicamente e enfocando o ângulo de leitura da crítica.Na terceira parte, analiso os arranjos familiares que foram organizados no Brasil, levando em consideração a estrutura do clã, agrupamento que caracterizou as famílias do período colonial, e a família burguesa, de formação nuclear, que caracterizou a ordem familiar nas cidades. Na quarta parte, trato dos discursos sobre a família na modernidade e na contemporaneidade, do lugar do masculino e do lugar feminista, cotejando diferentes posicionamentos acerca dos papéis da mulher na sociedade. Enfim, na quinta parte, analiso as produções de Sonia Coutinho e Helena Parente Cunha sob uma abordagem feminista, subdividindo o capítulo em : a mulher solteira: "Decidir sem medo de assumir fraturas e fissuras", a mulher casada: "Aliança feita de cimento e asa constrói o lastro e o cume" e a mulher divorciada: "A liberdade inteira e toda solidão do mundo". / Salvador

In this thesis, depending on Benedict Anderson’s Studies of nationalism in his book The Imagined Communities, I will prove that in her historical fiction for children, Wondrous Journeys in Strange Lands, the Palestinian writer Sonia Nimr is reviving and reforming Arab national identity. Anderson identifies the nation as a group imagined by its members; the people who perceive and identify themselves as equal members in this group. For the people to imagine their nation, Anderson states three tools: the map as a representation of the geographical space, the census as a representation of population identity categories that live in a particular land, and the museum as the representation of historical and the legal continuity of certain ethnicities in a certain geographical space. The three tools are thoroughly abstracted and used in Nimr’s book as we follow the footsteps of Nimr’s heroine in her travels, we see her drawing Arab historical map, when Palestine was a canton in the great Arab State. The social fabric Nimr weaves by the characters in her book reflects the real and the reformed census of Arab ethnicities and their social classes with the highlighting of the essential role of Arabic women in society. The narrated society of Nimr’s work reforms nation’s census which accords with the extended pan Arab geography of Arab nation. The nation imagining requirements are completed by visiting the history and wandering in the historical Arabic cantons and cities which materialize Nimr’s trail to perpetuate those important places in her textual museum, which she builds in her addressed work to children to answer their question about who we are and how we are the most eligible ethnicities to live on this land. Nimr does not promote a certain political agenda nor casts a holy cover on the past; by contrast, she teaches Arab children past lessons to revive and reform their modern Arab national identity as a remedy for the catastrophic national present.

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Ma thèse de doctorat, In the Circle: Jazz Griots and the Mapping of African American Cultural History in Poetry, étudie la façon dont les poètes afro-américains des années 1960 et 1970, Langston Hughes, David Henderson, Sonia Sanchez, et Amiri Baraka, emploient le jazz afin d’ancrer leur poésie dans la tradition de performance. Ce faisant, chacun de ces poètes démontre comment la culture noire, en conceptualisant à travers la performance des modes de résistance, fût utilisée par les peuples de descendance africaine pour contrer le racisme institutionnalisé et les discours discriminatoires. Donc, pour les fins de cette thèse, je me concentre sur quatre poètes engagés dans des dialogues poétiques avec la musicologie, l’esthétique, et la politique afro-américaines des années 1960 et 1970. Ces poètes affirment la centralité de la performativité littéraire noire afin d’assurer la survie et la continuité de la mémoire culturelle collective des afro-américains. De plus, mon argument est que la théorisation de l’art afro-américain comme engagement politique devient un élément central à l’élaboration d’une esthétique noire basée sur la performance. Ma thèse de doctorat propose donc une analyse originale des ces quatre poètes qui infusent leur poèmes avec des références au jazz et à la politique dans le but de rééduquer les générations des années 2000 en ce qui concerne leur mémoire collective. / My doctoral dissertation, In the Circle: Jazz Griots and the Mapping of African American Cultural History in Poetry studies the ways in which African American poets of the 1960s and 1970s, Langston Hughes, David Henderson, Sonia Sanchez, and Amiri Baraka employ jazz in order to ground their poetry in the tradition of performance. In so doing, each poet illustrates how black expressive culture, by conceptualizing through performance modes of resistance, has historically been used by people of African descent to challenge institutionalized racism and discriminatory discourses. Therefore, for the purpose of this dissertation, I focus on four poets who engage in dialogues with and about black musicology, aesthetics, and politics of the 1960s and 1970s; they assert the centrality of literary rendition for the survival and continuance of the collective cultural memory of Black Americans. In turn, I suggest that their theorization of artistry as political engagement becomes a central element in the construction of a Black Aesthetic based on performance. In the Circle: Jazz Griots and the Mapping of African American Cultural History in Poetry thus proposes an original analysis of how the four poets infused jazz and political references in their poetics in order to re-educate later generations about a collective black memory.

Desde 2005 quando os moradores da região do Butantã tomaram conhecimento que o poder público estava finalizando a elaboração da minuta do projeto de lei que regulamentaria a Operação Urbana Consorciada Vila Sônia, prevista no Plano Diretor Estratégico de 2002, os conflitos vieram à tona. Durante um longo período os moradores se reuniram a partir de associações e entidades representantes dos moradores dos diversos bairros que compõem a Subprefeitura do Butantã, como a AMAPAR e a Rede Butantã, como também criaram novos movimentos para representá-los diante do poder público e para organizar a população que ainda não tinha conhecimento das possíveis modificações que a OUVCS traria à região. Os embates foram longos e o resultado foi a paralisação desta operação urbana. Esta pesquisa procurou desvendar o contexto socioeconômico em que nascem e se firmam estas políticas públicas para a produção do espaço urbano, bem como analisar as razões que fizeram com que estes instrumentos urbanísticos, como as operações urbanas previstas no Estatuto da Cidade de 2001, ganhassem tanta primazia na metrópole paulistana em detrimento dos demais instrumentos, também previstos no Estatuto da Cidade, que poderiam amenizar as nossas desigualdades socioespaciais. Partimos do pressuposto que tais instrumentos urbanísticos veem contribuindo de forma mais acentuada para a realização do capital financeiro e imobiliário no espaço urbano, ao invés de trazer melhorias sociais e ambientais à população, como tem sido anunciado pelos discursos que tentam legitimá-las. No caso específico do Butantã, nos preocupamos em compreender a dinâmica da região na reprodução da metrópole paulistana, bem como analisar as estratégias de luta dos movimentos sociais da região e as estratégias e discursos do Estado na tentativa de implementar a OUCVS, abrindo caminho para mais uma frente de expansão para o setor imobiliário dentro da metrópole. / Since 2005, when the inhabitants of the region of Butantã learned that the government was finalizing the draft of a bill which would regulate the Vila Sonia Consortium for Urban Operation, foreseen in the Strategic Master Plan of 2002, conflicts have emerged. For a long period, the inhabitants of this region assembled in associations and representative organizations of residents of the several neighbourhoods which compose the Sub Prefecture of Butantã, such as AMAPAR and the Rede Butantã, and created new movements to both represent them in the public administration and organise the population who still didnt know about the modifications that the OUVCS (Vila Sonia Consortium for Urban Operation) would possibly bring to the region. The conflict was long, resulting in the paralysation of this urban operation. This research has tried to unveil the socio-economic context which gives rise and establish these public policies for the production of the urban space, analysing the reasons which have allowed urban instruments such as this one, alongside the urban operations foreseen in the 2001 Statute of the City, to reach such importance in the metropolis of São Paulo in detriment of other possible instruments, also foreseen in the Statute of the City, which could lessen our socio and spatial inequalities. We have worked on the assumption that such urban instruments have been contributing more markedly to the financial and real estate capital achievements of the urban space as opposed to bringing social and environmental improvements to the population, as it has been heralded in speeches which try to legitimate them. In the specific case of Butantã, we were concerned with understanding the dynamics of the region in the reproduction of the metropolis of São Paulo and analysing both the fighting strategies of the social movements in the region and the strategies and official speeches attempting to implement the OUCVS (Vila Sonia Consortium for Urban Operation), thus paving one more way to the expansion of the real estate sector in the metropolis.

This thesis is an interdisciplinary analysis of jazz music and poetry produced by African-American artists, primarily in New York, over the course of the 1960s, set within the broad context of the civil-rights and black-nationalist movements of the same period. Its principal contention is that the two forms afford each other symbiotic illumination. Close reading of jazz musicology in particular illuminates the directions taken by the literature of the period in a manner that has rarely been fully explored. By giving equal critical attention to the two artistic forms in relation to each other, the epistemological and social radicalism latent and explicit within them can more fully be understood. Through this understanding comes also a greater appreciation of the effects that the art of this period had upon the politics of civil rights and black nationalism in America - effects which permeated wider culture during a decade in which significant change was made to the legal position of African-Americans within the United States, change forced by a newly, and multiply, vocalized African-American consciousness. The thesis examines the methods by which jazz and literature contributed to the construction of new historically-constituted black subjectivities represented aurally, orally and visually. It looks at how the different techniques of each form converse with each other, and how they prompt consequential re-presentations and re cognizations of established forms from within and without their own continua. That examination is conducted primarily through forensic close readings of records made between 1960 and 1967, which though of widely differing styles nevertheless can be said to fall under the broad umbrella term of 'post-bop' jazz, alongside equally close readings of poetry written primarily by members of the New York wing of the equally broadly-termed Black Arts Movement [BAM] between 1964 and 1969.

Ma thèse de doctorat, In the Circle: Jazz Griots and the Mapping of African American Cultural History in Poetry, étudie la façon dont les poètes afro-américains des années 1960 et 1970, Langston Hughes, David Henderson, Sonia Sanchez, et Amiri Baraka, emploient le jazz afin d’ancrer leur poésie dans la tradition de performance. Ce faisant, chacun de ces poètes démontre comment la culture noire, en conceptualisant à travers la performance des modes de résistance, fût utilisée par les peuples de descendance africaine pour contrer le racisme institutionnalisé et les discours discriminatoires. Donc, pour les fins de cette thèse, je me concentre sur quatre poètes engagés dans des dialogues poétiques avec la musicologie, l’esthétique, et la politique afro-américaines des années 1960 et 1970. Ces poètes affirment la centralité de la performativité littéraire noire afin d’assurer la survie et la continuité de la mémoire culturelle collective des afro-américains. De plus, mon argument est que la théorisation de l’art afro-américain comme engagement politique devient un élément central à l’élaboration d’une esthétique noire basée sur la performance. Ma thèse de doctorat propose donc une analyse originale des ces quatre poètes qui infusent leur poèmes avec des références au jazz et à la politique dans le but de rééduquer les générations des années 2000 en ce qui concerne leur mémoire collective. / My doctoral dissertation, In the Circle: Jazz Griots and the Mapping of African American Cultural History in Poetry studies the ways in which African American poets of the 1960s and 1970s, Langston Hughes, David Henderson, Sonia Sanchez, and Amiri Baraka employ jazz in order to ground their poetry in the tradition of performance. In so doing, each poet illustrates how black expressive culture, by conceptualizing through performance modes of resistance, has historically been used by people of African descent to challenge institutionalized racism and discriminatory discourses. Therefore, for the purpose of this dissertation, I focus on four poets who engage in dialogues with and about black musicology, aesthetics, and politics of the 1960s and 1970s; they assert the centrality of literary rendition for the survival and continuance of the collective cultural memory of Black Americans. In turn, I suggest that their theorization of artistry as political engagement becomes a central element in the construction of a Black Aesthetic based on performance. In the Circle: Jazz Griots and the Mapping of African American Cultural History in Poetry thus proposes an original analysis of how the four poets infused jazz and political references in their poetics in order to re-educate later generations about a collective black memory.

Este trabalho investiga a produção em fotografia e vídeo de artistas que utilizaram o próprio corpo como objeto de representação nos anos 1970, sob um viés de análise feminista e de gênero. O objetivo principal foi o de destacar se houve ou não a influência do movimento feminista de segunda onda na obra de artistas brasileiras. As artistas Anna Bella Geiger, Anna Maria Maiolino, Iole de Freitas, Lenora de Barros, Regina Vater e Sonia Andrade fazem parte do meu escopo de estudos de caso. O desenvolvimento do trabalho foi fundamentado em entrevistas inéditas com as artistas pesquisadas e a apreciação de suas obras que atendem ao recorte escolhido. A partir da criação de três categorias baseadas no conteúdo dos trabalhos artísticos, foram definidos os seguintes temas: a esfera do privado em oposição à pública, a construção ficcional de si e a estética da violência. Cada um desses núcleos temáticos orientam os três capítulos que constituem a dissertação: “O corpo é a casa”, “O corpo é a camuflagem” e “O corpo é a fissura”, respectivamente. No primeiro capítulo, apresento obras que expõem questões relativas ao espaço doméstico e às funções gendradas vivenciadas por mulheres, por meio da interlocução teórica de Hannah Arendt e Jayne Wark. No segundo, aponto obras que se relacionam com a ideia de identidade fragmentada com base em construções ficcionais de si. Teresa de Lauretis, Donna Haraway, Luiz Sérgio de Oliveira e Janet Wolff foram as contribuições teóricas mais significativas do capítulo. Por fim, no terceiro, abordo obras produzidas no contexto da ditadura militar no Brasil, que confrontam as violências do período decorrente de censuras, torturas e cerceamento das liberdades individuais e coletivas, baseando-me em três autores que se dedicaram sobre o período: Artur Freitas, Claudia Calirman e Margareth Rago. Com o suporte metodológico de uma análise de conteúdo das entrevistas e o parecer teórico-crítico das obras, foi possível inferir que o discurso das artistas sobre os seus trabalhos não possui intenções feministas na maioria das vezes. Todavia, as ideias presentes nos seus trabalhos em fotografia e vídeo indicam preocupações comuns ao feminismo daquele período. A contradição entre o discurso e a prática foi a pergunta que guiou o processo de escrita do trabalho. / This work investigates the photography and video production of artists who used their own body as an object of representation in the 1970s, under a bias of feminist and gender analysis. The main objective was to highlight the possible influence of the second wave feminist movement on the work of brazilian artists. The artists Anna Bella Geiger, Anna Maria Maiolino, Iole de Freitas, Lenora de Barros, Regina Vater and Sonia Andrade are part of my scope of case studies. The development of the work was based on unpublished interviews with the artists researched and the appreciation of their work that meet the chosen cut. From the creation of three categories based on the content of artistic work, the following themes were defined: the private sphere as opposed to the public, the fictional construction of self, and the aesthetics of violence. Each of these thematic nuclei guide the three chapters that constitute the dissertation: "The body is the house", "The body is the camouflage" and "The body is the fissure", respectively. In the first chapter, I present works that expose questions regarding the domestic space and the gendered functions experienced by women, through the theoretical interlocution of Hannah Arendt and Jayne Wark. In the second, I point to works that relate to the idea of fragmented identity based on fictional constructions of self that artists have developed for photography and video. Teresa de Lauretis, Donna Haraway, Luiz Sérgio de Oliveira and Janet Wolff were the most significant theoretical contributions of the chapter. Lastly, in the third, I approach works produced in the context of the military dictatorship in Brazil, which confront the violence of the period resulting from censorship, torture and restriction of individual and collective freedoms, based on three authors who dedicated themselves on the period: Artur Freitas, Claudia Calirman and Margareth Rago. With the methodological support of a content analysis of the interviews and the theoretical-critical opinion of the works, it was possible to infer that the discourse of the artists about their works does not have feminist intentions in the majority of the times. However, the ideas present in their work in photography and video indicate concerns common to feminism during that period. The contradiction between discourse and practice was the question that guided the writing process of the work.