This dissertation critically evaluates the issue of the `silencing' of the subaltern woman in the 1988 version of Gayatri Spivak's essay `Can the Subaltern Speak?' The conclusions reached are then related to the novel The Purple Violet of Oshaantu by the Namibian woman writer Neshani Andreas. Chapter 1 deals with the essay `Can the Subaltern Speak?' and the `silenced' subaltern woman, examining both Spivak's theory on this issue as well as criticism of this theory by different postcolonial theorists. Chapter 2 presents aspects of both the creative and political practice of women, specifically the woman writer, in certain countries in Africa. Chapter 3 deals with the novel The Purple Violet of Oshaantu by Neshani Andreas and explores issues like the `silencing' of the subaltern women in the novel, opposition to patriarchal oppression and the engendering of agency by both the writer and the characters in the novel. / English Studies / M. A. (English)

Made available in DSpace on 2016-04-29T14:16:29Z (GMT). No. of bitstreams: 1 Isabel Cristina Chaves Lopes.pdf: 1316086 bytes, checksum: 8f41b997adb9d253081fad9a451478b0 (MD5) Previous issue date: 2014-03-28 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / With the advance of globalization, of the neoliberal economy, generating alarming rates of deterioration in the quality of life of millions of citizens worldwide, emphasizing the ephemeral, encouraging fragmentation of activities, it is still possible to talk about subjectivity of ethical values consistent with the construction of constitutional principles of the new culture. We understand that artistic activity, addressed as praxis can be characterized as mediation directed to the education of an individual´s radical critical stance, even in the context of capitalism restructured under the aegis of flexible accumulation, thereby mediating a formation of the ethical subject political process. Therefore, in this research, the use of art is examined from the Gramscian ontology, where the education of the lower classes, form the ethical- political subject, to carry out the great policy is imperative. In defense of this process, we incorporate the importance of developing for itself, a conscious class identity, which therefore should be to base the recognition of human diversity on. Thus we refer to the importance of the issue of subjectivity and the process that we advocate as tactical, to establish a critical dialogue between the historical and dialectical materialism and ideological expressions of the logic of late capitalism, called post- modern thought, with emphasis on multiculturalism . How to establish consistency in this line of analysis , culture is perceived as a social category based on way of life , a relationship with an expanded concept of education and art considered, this practice therefore in capitalism is expressed as the struggle class. Therefore, in the material organization of culture , this form of mediated social intervention is treated in the developed analysis considering these factors and defending the reality of women of the lower classes, who mostly in Brazil are black, the extent of cathartic processes that provide artistic and political praxis, thus aiming, among others, the completion of a form and coping with processes, of brutalization and dehumanization that the contexts experienced as being the same, be seen as a need and a right. We understand that without this emotional and political refinement, it is indeed impossible to speak of a collective will that is directed towards the construction of a new culture / Com o avanço da globalização da economia neoliberal, gerando índices alarmantes de deterioração da qualidade de vida de milhões de cidadãos no mundo inteiro, enfatizando o efêmero, estimulando a fragmentação das ações, ainda é possível falar em subjetivação de valores éticos condizentes com a construção do projetoconstituinte da nova cultura. Compreendemos que a atividade artística, abordada enquanto práxis, pode, caracterizar-se como uma mediação dirigida à estratégia de uma educação dos indivíduos radicalmente mais crítica, mesmo num contexto de capitalismo reestruturado sob a égide da acumulação flexível, mediando assim um processo de formação do sujeito ético-político. Nesta pesquisa, portanto, o recurso à arte é analisado a partir da ontologia gramsciana, onde a educação das classes subalternas, para formação do sujeito ético-político, para a realização da grande política é um imperativo. À defesa deste processo, destacamos a importância do desenvolvimento consciente de uma identidade de classe em si e para si, que, por conseguinte, deve embasar-se no reconhecimento da diversidade humana. Disto, depreendemos a importância da questão da subjetividade e do processo que advogamos como tático, de estabelecimento de um diálogo crítico entre o materialismo histórico e dialético e as expressões ideológicas da lógica do capitalismo tardio, denominadas pensamento pós-moderno, com destaque ao multiculturalismo. Como estabelecimento de coerência nesta linha de análise, a categoria cultura é apreendida enquanto base social, modo de vida, numa relação com um conceito ampliado de educação e de arte, esta considerada práxis, e, portanto, no capitalismo, expressão da luta de classes. Por conseguinte, a organização material da cultura, mediada por esta forma de intervenção social é tratada nas análises desenvolvidas, considerando estes fatores e defendendo à realidade das mulheres das classes subalternas, que em sua maioria no Brasil são negras, a extensão dos processos catárticos, que as práxis artística e política propiciam, objetivando assim, entre outros, a realização de uma forma de enfrentamento dos processos de embrutecimento e desumanização que os contextos que vivenciam imprimem às mesmas, visto ser isto uma necessidade e um direito seus. Compreendemos que, sem este refinamento emocional e político não é fato falar em vontade coletiva dirigida para a construção de uma nova cultura

abstract: RESUMEN Esta tesis investiga la escritura femenina testimonial de tres obras latinoamericanas. El testimonio de Asunta Quispe Huamán, publicado en Gregorio Condori Mamani. Autobiografía (1977), producido por Ricardo Valderrama y Carmen Escalante; Ese infierno: conversaciones de cinco mujeres sobrevivientes de la ESMA de Munú Actis, Cristina Aldini, Liliana Gardella, Miriam Lewin y Elisa Tokar (2001); y La distancia entre nosotros (2012) escrito por Reyna Grande. Los testimonios han sido analizados a través de diversas premisas teóricas compuestas de las ideas sobre la heterogeneidad latinoamericana de Antonio Cornejo Polar y teorías sobre el territorio, espacio y geografía de Henri Lefebvre, Rogerio Haesbaert, Edward Soya, Gilles Deleuze que nos han servido de plataforma para nuestro estudio. Asimismo se ha recurrido a escritos sobre el cuerpo y la frontera con teoristas feministas como Lucia Guerra, Nelly Richards, Jean Franco, Gloria Anzaldúa y Rosi Braidotti, entre otras. Este estudio se ha propuesto demostrar que estos testimonios Latinoamericanos en su polifonía social y cultural emplean discursos de dimensión multifocal que les permite reterritorializarse desde las márgenes a través de tácticas de resistencia en un proceso de permanente descolonización. Esos cuerpos nómades han sido hablados y programados por el discurso legitimador para desterritorializarlos pero ellos vuelven a reterritorializarse como “líneas de escape” que se transforman creando interconexiones de supervivencia creadora. Consecuentemente, a través del nomadismo de los sujetos analizados se forma una resistencia política que representa nuevos horizontes que son los proyectos en variados ámbitos: de género, raciales, culturales, de justicia del espacio y ambientales. Todos éstos en contrapunteo con el discurso hegemónico. / Dissertation/Thesis / Embargo / Doctoral Dissertation Spanish 2019

Os estudiosos das casas de elite (domus) datadas da Antiguidade Tardia, em geral, têm como foco os usos das mansões pelos proprietários. Nessa perspectiva, considera-se que as mansões eram planejadas de maneira a possibilitar e maximizar o poder dos aristocratas em inúmeras ocasiões. Os demais usuários das casas, no entanto, são tidos como meros receptáculos passivos da hegemonia aristocrática. Essa dissertação, a partir de um estudo de caso da cidade de Óstia (séculos IV e V d.C.), leva em conta os usos das mansões enquanto formas de afirmação do poder dos proprietários, mas também suas apropriações pelos grupos subalternos. Analiso evidências arqueológicas, epigráficas e textuais com o intuito de ter uma visão mais aprofundada sobre o tema. / The scholars of the elite houses (domus) dating from Late Antiquity, in general, focus on the uses of the mansions by the owners. From this perspective, the mansions are considered to be designed to enable and maximize the power of aristocrats on numerous occasions. The other users of the houses, however, are regarded as mere passive receptacles of aristocratic hegemony. This dissertation, based on a case study of the city of Ostia (4th and 5th centuries AD), takes into account the uses of the mansions as forms of affirmation of the power of the owners, but also their appropriations by the subaltern groups. I analyze archaeological, epigraphic and textual evidence with the intention of having a more in-depth view on the subject.

The aim of the present study is to analyze and compare the representation of the guerrilla soldier in six contemporary Central American novels. According to Claudio Guillén, the comparison is a dialogue between unity and diversity. It can be defined with the help of two coordinates: a spatial and a temporal. In this study the spatial coordinate includes Nicaragua, Guatemala and El Salvador, and the temporal extends from the mid-seventies to the eighties. The novels written in the seventies are Los compañeros (1976) by Marco Antonio Flores, ¿Te dio miedo la sangre? (1977) by Sergio Ramírez and Caperucita en la zona roja (1977) by Manlio Argueta. The ones written in the eighties are La mujer habitada (1988) by Gioconda Belli, La diáspora (1989) by Horacio Castellanos Moya and El hombre de Montserrat (1994) by Dante Liano. The novels are analyzed from a postcolonial perspective following the ideas of Alfonso de Toro and Santiago Castro-Gómez particularly. The method used is the phenomenological hermeneutics, as proposed by Mario J. Valdés. This implies an analysis performed on four levels: historical, formal, phenomenological and hermeneutic. Two of the key aspects in the analysis are the reader's aesthetic identification with the hero and the postcolonial concept subaltern. The main conclusion is that the representation of the guerrilla soldier in the corpus is very heterogeneous and that almost no protagonist can be considered a subaltern. The reader's identification with the guerrilla soldier ranges from admirative to ironic, though the main type is sympathetic. Hence, the representation may be considered a hybrid, using a term borrowed from anthropologist Néstor García Canclini that opposes binary schemes and essentialist thinking. The guerrilla soldier is regarded as an individual and not as an abstract idea, which indicates that the civil wars in Central America were not just a conflict between two ideologies, but above all a human experience.

According to critical pedagogues and post-development scholars, globalization and transnational movement open up new avenues for pedagogy; to be sure, some scholars assert the development sector is in need of a paradigm shift to accommodate "new forms of pedagogy" (Appadurai, 2000) while subaltern scholars call for "alternative pedagogies" (Sherpa, 2014) for the theorizing and understanding of subaltern, marginalized groups within the educational realm. In the search for and transition to a subaltern pedagogy, it is necessary to tap into the very voices of those who comprise the subaltern, because, as Kelly and Lusis (2006) assert, "Researchers are frequently interested in understanding the experiences of 'the immigrant,' as an objective analytical category, rather than the experiences of 'an immigrant'" (p. 831). The aim of this study is to examine the interplay between knowledge production of migrant workers, power as domination and empowerment, and the appropriation of space in considering how these groups are able to segue subaltern epistemologies into forms of activism and empowerment; as such, this study looks at constructions and deconstructions of power among historically oppressed peoples in macro, meso and micro contexts. I assert that dominant discourses of power attempt to perpetuate an intentional subjugation of oppressed groups, in this case, migrant workers, especially female domestic workers. However, via the creation of a critical, oppositional consciousness by way of reciprocity and dialogism within the migrant worker and Lebanese activist community, migrant workers are able to harness agency and empowerment even within the most oppressive of societal conditions. What this research reveals is that migrant workers are able to create powerful counter-cultural communities of practice and epistemological spaces for learning. Based on this research, I assert a subaltern praxis, a paradigm shift comprising of a subaltern pedagogy and practice, that incorporates ideas of critical pedagogy, spatial analysis, and postcolonial/third world feminisms; this dialectic triad informs the subaltern interstitial and liminal experience, the need for the building of a critical consciousness for educators and learners alike, and a re-mapping and re-configuration of subaltern epistemologies for the benefit of all who desire to learn about migration and the refugee experience.

This survey is a theoretical analysis concerning didactics of literature, in which I problematize what Martha C. Nussbaum describes as ”narrative imagination”. By using postcolonial theory, more specific: Gayatri Spivaks essay ”Can the Subaltern Speak?” and her theoretical formula ”a leap into the other’s sea”, I try to answer the following question: Can ”narrative imagination” be understood as a manifistation or concretisation of ”a leap into the other’s sea”? The answer that is given concerning my general question is simply: No. Nussbaums’ reader is far to active, whereas Spivak strongly argues that hearing and/or listening to the subaltern requires a state of self-suspendedness. Nussbaum also shows a great belief in literature as a representation of something truly real, but also as a representation of the Other. Drawing on Spivaks critique of Deleuze and Foucault, I have suggested that representation of this kind should, from a poststructuralistic and Marxist point of view, be seen as a theoretical misstake, for: representation postulates objectiveness or/and transparentness. Finally Nussbaums goals, in terms of cultivating the humanity, has been problematized. Her cosmopolitan and democratic approach is based upon – a form of – universalism and an ambition towards consensus, which – again: from a poststructuralistic perspective – is highly debatable. With this background I have concluded two implications concerning didactics of literature: Firstly, there are plenty of voices not represented by literature, a fact that needs to be considered. Thus, to base a world citizenship, a democracy or an understanding of the Other on works of literature is to restrict ”the world” or ”the Other” to the fictional, literary characters that has been written. Secondly Spivak urges us to reflect on the reader as an interpreter. A total suspension of the self is a naive statement – but she is right to point to the occidental subject as a member and reproducer of postcolonial discourse.

Submitted by Valquíria Barbieri (kikibarbi@hotmail.com) on 2017-11-08T20:00:30Z No. of bitstreams: 1 DISS_2012_Rodolfo Polzin Rondon.pdf: 4339130 bytes, checksum: 5bb03ef76575d2b2094f9fdde738cfd5 (MD5) / Approved for entry into archive by Jordan (jordanbiblio@gmail.com) on 2017-12-15T14:17:28Z (GMT) No. of bitstreams: 1 DISS_2012_Rodolfo Polzin Rondon.pdf: 4339130 bytes, checksum: 5bb03ef76575d2b2094f9fdde738cfd5 (MD5) / Made available in DSpace on 2017-12-15T14:17:28Z (GMT). No. of bitstreams: 1 DISS_2012_Rodolfo Polzin Rondon.pdf: 4339130 bytes, checksum: 5bb03ef76575d2b2094f9fdde738cfd5 (MD5) Previous issue date: 2012-02-07 / CAPES / A presente investigação inicia-se no edifício popularmente chamado de “camelódromo” ou Shopping Popular de Cuiabá. Construído há mais de quinze anos, esse espaço é parte constitutiva desta capital, ao mesmo tempo em que a integra aos fluxos globais de circulação de mercadorias, mais especificamente aos objetos Made in China. Por meio da proposta etnográfica “de perto e de dentro” seguimos, do fim para o começo, o percurso feito por essas “quinquilharias”, representadas no texto pelo gatinho da sorte ou Maneki Neko. Assim sendo, partimos do camelódromo (e de toda a sua constituição histórica e física) rumo à Ciudad Del Este, centro econômico do Paraguai, amplamente conhecido pelo comércio desse tipo de mercadoria e destino de compras dos camelôs do Shopping Popular de Cuiabá. Lá averiguamos de perto os fluxos e trânsitos desses objetos, descrevendo detalhadamente as práticas observadas que subsidiaram as reflexões acerca do termo “globalização subalterna”. Por fim, apresentamos os fatores que contribuíram, historicamente, para a consolidação da China como potência mundial produtora desses produtos e realizamos uma “biografia” do Maneki Neko, com o intuito de discutir de que forma esses objetos contribuem para a compreensão dos meios pelos quais agem os que estão fora dos fluxos hegemônicos do mundo contemporâneo. / The present investigation parts of the building popularly called "camelódromo" or Popular Shopping in Cuiabá. Built more than fifteen years ago, this space is a constitutive part of the city while integrates the global flows of movement of goods, more specifically the objects Made in China. Through the proposed ethnographic "near and inside" we made, the ending to beginning, the route taken by these "junk", represented in the text by luck cat or Maneki Neko. Therefore, we assume camelódromo (and all its history and physical constitution) towards Ciudad Del Este, the Paraguayan city widely known by the trade of this type of merchandise and shopping destination of the hawkers in the Popular Shopping in Cuiabá. There we analised closely the flows and transits of these objects, describing in detail the practices that supported the observed reflections on the term "subaltern globalization." Finally, we present the factors that contributed historically to the consolidation of China as a sign of power producing these objects and perform a "biography" of Maneki Neko, with the purpose of discuss where these objects contribute to the understanding of the means by which the act that are outside the hegemonic flows in the contemporary world.

Submitted by Maike Costa (maiksebas@gmail.com) on 2017-09-13T13:11:18Z No. of bitstreams: 1 arquivototal.pdf: 2573351 bytes, checksum: fcbda07a11ede6999282225ba91fd5f5 (MD5) / Made available in DSpace on 2017-09-13T13:11:18Z (GMT). No. of bitstreams: 1 arquivototal.pdf: 2573351 bytes, checksum: fcbda07a11ede6999282225ba91fd5f5 (MD5) Previous issue date: 2016-07-22 / This work has as its object the construction of cultural and political identity of Jurema Sagrada, a hibrid religious tradiction, that combines european, african and amerindian elements, in the urban space of Campina Grande, Paraíba. Methodologically, the research was based in bibliographical inquiry and etnography, where we sought, from observation and oral history, the construction of a religious and political experience narrative of the people of Jurema in Campina Grande, in opposition to their negative representation in religious, medical and juridical discourse. The work is also based in the subaltern studies perspective, intelectual school that proposes a political and epistemological inflection, aiming to elaboration of a critical theory of human rights from the persons and social groups historically marginalized, proposing the overcoming of the disjunctions of the modernity and the classical conceptions of human rights, that was deeply eurocentric and toward to legitimacy of capitalismo as economic and political system, and that failed in his intentions of universaliity, also criticized in this work. It analyzed also the effectiveness of the rights and public policies to the people of Jurema, where we conclude that the lacks of classic theoric approach of human rights reverberates also in you real application, being necessary, therefore, its reinvention based in experience of the subjects and social groups that citizenship was historicaly denied, for the construction of a effective universal pratice of human rights. / O presente trabalho tem como objeto a formação da identidade cultural e política da Jurema Sagrada, uma forma de religião híbrida, que reúne elementos europeus, africanos e ameríndios, no contexto do espaço urbano do município de Campina Grande/PB. Metodologicamente, a pesquisa baseou-se em levantamento bibliográfico e etnografia, onde se buscou, a partir da observação e do uso da história oral, a construção de uma narrativa da experiência religiosa e política do povo de Jurema campinense, em oposição à sua representação negativa no discurso religioso, médico e jurídico. O trabalho se pauta, ainda, na perspectiva dos saberes subalternos, corrente intelectual que propõe uma inflexão político- epistemológica, com vistas à elaboração de uma teoria crítica dos direitos humanos desde o olhar dos sujeitos e grupos sociais historicamente marginalizados, como proposta de superação das disjunções da modernidade e das concepções clássicas de direitos humanos, notadamente eurocêntricas e voltadas à legitimação do capitalismo como sistema econômico e político, e que falham em sua intenção de universalidade, a qual também é objeto de crítica na pesquisa. Analisou-se, ainda, a efetividade prática dos direitos e políticas públicas voltadas ao povo de Jurema, onde se constatou que as insuficiências da abordagem teórica clássica dos direitos humanos repercutem também em sua aplicabilidade real, sendo necessária, portanto, a sua reinvenção à luz das experiências dos sujeitos e grupos cuja cidadania fora negada, para que se possa construir uma prática efetivamente universal de direitos humanos.

Cette thèse porte sur l’émergence des groupes subalternes, particulièrement des minorités ethnoraciales et des femmes, sur la scène télévisuelle de l’humour, depuis Coluche jusqu’à nos jours. Elle interroge l’état des discours au moment de leur apparition et les capacités d’agir de l’humour. Elle articule le passage du comique en humoriste. Dans les années 1970, le comique bouffon incarne une figure de contestation d’un système de pouvoir centralisé, dont il est un observateur critique. Il se transforme avec la montée de l’individualisme en acteur d’un monde dont il produit une vision subjective. L’analyse d’un corpus de sketches tirés de douze émissions de talk show montre que les humoristes femmes proposent des personnages aux identités de genre fluctuantes et multiformes, à la charnière du masculin et du féminin, à travers des procédés parodiques et un jeu d’incarnation basé sur le corps. Les humoristes issus des minorités ethnoraciales proposent des contre-modèles à l’intégration républicaine avec des récits « authentiques ». Ils ouvrent la voie à l’expression de subjectivités non blanches et à la dénonciation des discriminations sur la base de la couleur de peau. Leur humour s’actualise en 2006 avec l’appropriation du stand-up, la mise en scène de la diversité et des multiples territoires de l’identité. Cette thèse conclut sur un processus de contre-offensive, ou backlash, contestant aux groupes subalternes les avancées conquises durant la période précédente. Ce backlash se manifeste à partir de 2007 par un humour basé sur des commentaires d’actualité et des caricatures. Il favorise les visées hégémoniques blanches et masculines dans l’humour et l’éviction des politiques des identités. / This thesis deals with the emergence of subaltern groups in mainstream television, from Coluche until today. It focuses on two groups, female humorists and ethnic minorities. It questions the agency of humour and its power of displacement of hegemonic media representations, as well as the state of discourses at the moment of the appearance of subaltern groups. It articulates the transformation of comedian into humorist. The buffoon of the late 1970s stands for the figure of contestation of a centralized power, which it comments with a critical gaze. The growth of individualism and expressions of identities turn the comedian into a humorist that assumes a role of actor of the world and a subjective gaze. The analysis of sketches in television talk shows reveals that female humorists expose multiple subjectivities and destabilize the binary system masculine-feminine, by resorting to body acts as parts of humoristic mechanisms. Humorists from ethnic minority groups denounce discriminations and perform hybrid bodies and identities that destabilize the republican model of integration. Their appropriation of stand-up comedy genre renews in 2006 the staging of diversity and of the multiple territories of identities. The period 2007-2010 shows a counter-offensive, a backlash that marks the return to dominant values in the field of humour and denies to subaltern groups the advantages they’ve gained during the previous period. It is characterized by a renewal of humour based on news comments and caricatures, by the hegemonic power of masculine white humorists and the eviction of identity politics.