The aim of this study is to investigate life forms and the dynamics of cultural processes in the parish of Tärna, Västerbotten. The material is an investigation of the life stories of two families, which have been investigated from an overall scientific aspect. The aim has been to examine the exploitation of resources by individuals and cognitive structures within the framework of ecological adaption. These aspects have been illuminated by the use of comprehensive source materials. Estate inventories have revealed different object categories which were associated with the exploitation of natural resources. Church registers, judgement books, tape recordings from folklore archives and the author's own interview material described life stories in a Saami mountain family and a settler family. It turned out that people in the mountains had supported themselves on a combination of stock-raising, hunting and fishing. Comprehensive socialized knowledge of the environment and its resources was a decisive factor for ecological adaption and survival.  The settler family had a solid knowledge of various handicrafts. The Saami in Tärna have settled down at an early stage and abandoned their former nomadism. The Saamish family investigated had a strong sense of family identity and their living story-telling tradition strengthened their identity and became a uniting factor. At the end of the 19th century and the beginning of the 20th century innovations began to emerge in the mountain parish, which often came to revolutionize the whole life pattern. The process of cultural change in Tärna in the 20th century has been dramatic. It has included the development of technology, modernization and changing exploitation of resources. Through the investigation of the life stories of the two families a clear picture has emerged of the exploitation of resources and of values, i.e. the total life pattern. / digitalisering@umu

Cette thèse explore les connections entre la littérature canadienne contemporaine féminine et le féminisme transnational. Le « transnational » est une catégorie qui est de plus en plus importante dans la critique littéraire canadienne, mais elle n’est pas souvent evoquée en lien avec le féminisme. À travers cette thèse, je développe une méthodologie de lecture féministe basée sur le féminisme transnational. Cette méthodologie est appliquée à la littérature canadienne féminine; parallèlement, cette littérature participe à la définition et à l’élaboration des concepts féministes transnationaux tels que la complicité, la collaboration, le silence, et la différence. De plus, ma méthodologie participe à la recontextualisation de certains textes et moments dans l’histoire de la littérature canadienne, ce qui permet la conceptualisation d’une généalogie de l’expression féministe anti-essentialiste dans la littérature canadienne. J’étudie donc des textes de Daphne Marlatt, Dionne Brand, et Suzette Mayr, ainsi que le périodique Tessera et les actes du colloque intitulé Telling It, une conférence qui a eu lieu en 1988. Ces textes parlent de la critique du colonialisme et du nationalisme, des identités post-coloniales et diasporiques, et des possibilités de la collaboration féministe de traverser des frontières de toutes sortes. Dans le premier chapitre, j’explique ma méthodologie en démontrant que le périodique féministe bilingue Tessera peut être lu en lien avec le féminisme transnational. Le deuxième chapitre s’attarde à la publication editée par le collectif qui a été formé à la suite de la conférence Telling It. Je situe Telling It dans le contexte des discussions sur les différences qui ont eu lieu dans le féminisme nord-américan des dernières décennies. Notamment, mes recherches sur Telling It sont fondées sur des documents d’archives peu consultés qui permettent une réflexion sur les silences qui peuvent se cacher au centre du travail collaboratif. Le trosième chapitre est constitué d’une lecture proche du texte multi-genre « In the Month of Hungry Ghosts, » écrit par Daphne Marlatt en 1979. Ce texte explore les connexions complexes entre le colonialisme, le postcolonialisme, la complicité et la mondialisation. Le suject du quatrième chapitre est le film Listening for Something… (1994) qui découle d’une collaboration féministe transnationale entre Dionne Brand et Adrienne Rich. Pour terminer, le cinquième chapitre explore les liens entre le transnational et le national, la région – et le monstrueux, dans le contexte du roman Venous Hum (2004) de Suzette Mayr. Ces lectures textuelles critiques se penchent toutes sur la question de la représentation de la collaboration féministe à travers les différences – question essentielle à l’action féministe transnationale. Mes recherche se trouvent donc aux intersections de la littérature canadienne, la théorie féministe contemporaine, les études postcoloniales et la mondialisation. Les discussions fascinantes qui se passent au sein de la théorie transnationale féministe sont pertinentes à ces intersections et de plus, la littérature contemporaine féminine au Canada offre des interventions importantes permettant d’imaginer la collaboration féministe transnationale. / This dissertation explores connections between contemporary Canadian women’s writing and transnational feminism. The category of the transnational is increasingly important within Canadian literary criticism, but it is infrequently evoked in relation to feminism. Throughout this thesis, I develop a transnational feminist reading methodology that can be brought to bear on Canadian women’s writing, even as the literature itself participates in and nuances transnational feminist mobilizations of concepts such as complicity, collaboration, silence, and difference. Furthermore, my transnational feminist reading strategy provides a method for the rehistoricization of certain texts and moments in Canadian women’s writing that further allows scholars to trace a genealogy of anti-essentialist feminist expression in Canadian literature. To this end, I read texts by Daphne Marlatt, Dionne Brand, and Suzette Mayr, alongside Tessera, a collectively-edited journal, and conference proceedings from the 1988 Telling It conference; these texts speak to national and colonial critique, post-colonial and diasporic identities, and the potentials of feminist collaboration across various borders. In the first chapter, I situate my reading methodology by arguing for a transnational feminist understanding of Tessera, a bilingual feminist journal that began publishing in 1984. My second chapter examines the collectively-edited publication that emerged from Telling It in the context of North American feminist evocations of difference in recent decades. Notably, my research on Telling It benefits from rarely-accessed archival material that grounds my discussion of the gaps and silences of collective work. In my third chapter, I perform a close reading of Daphne Marlatt’s 1979 multi-genre text “In the Month of Hungry Ghosts” as it explores the complex connections between colonialism, post-colonialism, complicity and globalization. The subject of my fourth chapter is the 1994 film Listening for Something…, a transnational feminist collaboration between Dionne Brand and Adrienne Rich. Finally, my fifth chapter discusses the place of the transnational in relation to the regional, the national – and the monstrous in the context of Suzette Mayr’s Venous Hum. In all of these close textual readings, my dissertation asks how Canadian women writers represent, theorize, and critique the kinds of collaboration across differences that lie at the heart of transnational feminist action. My research is therefore located at the crossroads of Canadian literature, contemporary feminist theory, and postcolonial and globalization studies. The vibrant field of transnational feminist theory is relevant to this disciplinary intersection and, furthermore, contemporary Canadian women’s writing provides important interventions from which to imagine transnational feminist collaboration.

The loss of intimacy is a pervasive tale, felt especially poignantly when the particular story, with its plot lines of love and betrayal, soaked as they are in rage and grief, is my own. By inverting the research process, whereby I call upon friends, and strangers who become friends, to assist me in the meaning-making process, this autoethnographic account of the twenty year downward spiral of my now defunct marriage makes tangible the shared project of making sense of intimacy, love and loss. It connects the personal to the social, cultural, and (most especially) the politically gendered nature of heterosexual relationship experience. It speaks of the process that makes it possible for me to tell my story and of the ethical tensions involved in telling a story of

Encore peu étudiée, l’histoire des revues cinématographique françaises pendant la période de la Libération et de l’après-guerre (1945-1952) voit se dessiner une ligne de partage entre les revues spécialisées et les grandes revues populaires comme Cinémonde, Ciné-Miroir ou Mon Film qui reprennent des rubriques anciennes comme celle du « film raconté ». L’Ecran Français, en intégrant des éléments propres aux revues populaires (Courrier des lecteurs, publicité et fascination pour la star) et aux revues spécialisées (positionnement politique et discours averti sur le cinéma), propose un temps la synthèse inédite de ces deux courants. C’est autour de la visée didactique et morale que s’établit apparemment la distinction qui deviendra de plus en plus nette au fil des années. La volonté commune des revues spécialisées est en effet de faire partager un enseignement du cinéma en s’inscrivant dans la continuité des mouvements d’éducation populaire. Certaines revues sont issues de ciné-clubs laïcs (Ciné-Club et Informations-Ufocel) ou catholiques (Télé-Ciné). D’autres, telle la prestigieuse Revue du cinéma fondée par Jean George Auriol, et La Gazette du cinéma dirigée par Maurice Schérer, défendent avec force le cinéma américain : elles ont ainsi constitué un « terrain expérimental » pour les tout nouveaux Cahiers du cinéma. Proche dans l’esprit de la revue Raccords, Positif semble recueillir et transmettre l’héritage de deux revues assez confidentielles : Saint Cinéma des Prés, qui défendait autant le cinéma expérimental que le cinéma américain classique, et L’Age du cinéma, qui revendiquait une approche surréaliste tout en refusant les films relevant d’un avant-gardisme trop signifié. La grande cinéphilie des années cinquante et soixante s’avère indissociable de la cinéphilie méconnue de l’immédiat après-guerre. / Rarely touched as subject, the history of French cinematographic journals during the aftermath of the Second World War (1945-1952) was divided into two streams: those of specialized journals and those of generalized ones such as Cinémonde, Ciné-Miroir ou Mon Film. They transformed the columns of ancient journals into “film-telling”[Film raconté]. L’Ecran Français, however, was the only journal able to synthesize elements both from generalizing journals (i.e. readers’ letter, advertisement, and cult for stars) and from specializing journals (i.e. political position and comments regarding the cinema). Since then, the two streams of journals were more and more distinguished by their didactic and moral differences. The common point for specialized journals was their expectation for promoting cinematographic education alongside the popular educating movement. Some journals were issued from secular cine-clubs (Ciné-Club and Informations-Ufocel) while others were from catholic ones (Télé-Ciné). There were otherwise journals, which were meant to actively defend American cinema, such as the reputed Revue du cinéma founded by Jean George Auriol, as well as La Gazette du cinéma by Maurice Schérer. These journals also contributed to “experimental aspects” for the newly-born journal Cahiers du cinéma. Positif was a journal similar to that of Raccords in terms of spirit; it seemed to unite and transmit the legacy of two confidential journals: Saint Cinéma des Prés, which defended as well experimental cinema as American cinema, and L’Age du cinéma, which claimed a surrealist approach while denying those films that over-emphasized avant-gardism. In the long run, the great Cinephilia in the fifties and sixties were proved to be closely connected to the unfamiliar Cinephilia right after the Second World War.

Orientador: Marilda da Silva / Banca: Alda Junqueira Marin / Banca: Claudia Raimundo Reyes / Banca: Edvanda Bonavina da Rosa / Banca: Vera Teresa Valdemarin / Resumo: Este trabalho consiste em um estudo que busca aprofundar a contribuição que a atividade de contar e recontar histórias na pré-escola pode propiciar para a aquisição do Capital Cultural dos alunos. A pergunta nuclear desta pesquisa é a seguinte: seria o Conto-Reconto um procedimento didático que favorece a aquisição do capital cultural, sobretudo pelas classes populares? Entre meus objetivos procurei verificar as contribuições de caráter cultural que a atividade Conto-Reconto de histórias trouxe aos envolvidos (professoras, alunos e mães). Neste contexto, os estudos de Pierre Bourdieu constituíram o eixo norteador de minha investigação, sobretudo os conceitos de habitus e capital cultural, os quais forneceram os subsídios necessários para a análise dos dados. Com a finalidade de abarcar os objetivos propostos optei pela abordagem qualitativa, com ênfase no estudo de caso. Assim, a coleta dos dados ocorreu por meio de entrevistas semi-estruturadas. Os sujeitos deste estudo são sete professoras de EMEIs (Escola Municipal de Educação Infantil) da cidade de Matão-SP, que estão trabalhando com a atividade Conto-Reconto nos últimos dez anos; além de dez alunos que participaram desses recontos, bem como as mães desses alunos. Entendo que essa investigação poderá possibilitar uma fértil reflexão acerca dos procedimentos escolares, no que diz respeito à aquisição e/ou ampliação do capital cultural e suas implicações para as relações da escola com a família e a comunidade, uma vez que poderemos observar quais as reais contribuições que tal atividade tem trazido no que se refere à reestruturação do habitus, à formação de leitores e escritores, ao estreitamento da relação pais-filhos-escola e, principalmente, à aquisição do capital cultural / Abstract: This work is a study that intends to develop the contribution that the activity of telling and retelling stories in preschool can give for the acquisiton of Students Cultural Capital. The main question of this research is: Would the Telling-Retelling a didactic procedure that sustains the cultural capital acquisition, especially by the popular classes? Among our purposes, we search to verify the cultural character contribution that the telling-retelling activity brought to those involved (teachers, students and mothers). In this context, Pierre Bourdieu's studies built the guiding line of our research, particularly the habitus and cultural capital concepts, which provided us the necessary assistance for data analysis. To the purpose of comprehend the proposed objectives, we chose the qualitative approach, with emphasis on the case study. So, the data were collected through semi-structures interviews. Our study subjects are seven EMEIs teachers (municipal school of childhood education) from the city of Matão - SP, which are working with the activity Telling-Retelling in the last ten years; besides ten students who participated in these retellings, as well as their mothers. We understand that our research will enable a rich reflexion about school procedures, regarding cultural capital acquisition and/or explansion and its implications for the relationship between school, family and community, so we can look at the real contributions that such activity has brought regarding the habitus restructing, writers and readers formation, the narrowing of the parent-child relationship at, especially the cultural capital acquisition / Doutor

Civil Partnership is significant because its availability indicates that social attitudes about sexual minorities have altered dramatically over the past two decades (Weeks 2007: 3, Shipman and Smart 2007). At one time, social attitudes labelled people’s attractions to persons of the same sex as ‘abnormal’, and resulting same-sex relationships were expected to be invisible and conducted in private (Plummer 1975, Weeks 1977, Rich 1980). These expectations have changed, to such an extent, that it is now rather common to view same-sex and opposite-sex relationships as the ‘same’ and equally worthy of recognition and rights (Weeks 2007, Heaphy et al. 2013).This project explored what (if any) impact inhabiting this contemporary socio-cultural and historical climate is having on the everyday lives of sexual minorities. Finch’s (2007) concept of ‘display’ was employed as a conceptual lens to explore the ‘narratives’ that 42 civil partners aged 30 to 65 told about displaying their non-heterosexual orientation and same-sex relationship in encounters with others. I argued that if these more liberal attitudes had impacted on their lives it should be discernible from the personal stories they told about the interactions they had with one of six different audiences (e.g. self, couple, family, friends, acquaintances and strangers).Three main findings and arguments were formed from my analysis of these civil partners’ narratives. First, despite the remarkable changes in social attitudes towards sexual minorities, the stories my interviewees told illustrated that there is a generational difference in terms of the impact that these more liberal attitudes have been able to have on the ways that they display their non-heterosexual orientation and relationship. Essentially, these social attitudes have noticeably influenced the lives that younger generations are able to lead. Second, my use of ‘display’ as a conceptual lens to examine interviewees’ narratives has illuminated how the stigmatizing spotlight attached to non-heterosexual orientation and same-sex relationships has diminished over time. This was signalled by how narrators approached the display of their non-heterosexual orientation and their same-sex relationship. Third, ‘display’ as a conceptual lens has been significant for illuminating the challenges and negotiations involved in displaying a civil partnership and, I argued, is able to offer a more nuanced understanding of the continuing salience of the heterosexual assumption in an ‘era of equality’.

Cette recherche étudie, dans une démarche inductive, ce que sont devenus les lycéens passés par une structure scolaire différente dont les pratiques pédagogiques et le projet d'établissement inspirés par l'éducation nouvelle affichent l'ambition de « former des jeunes autonomes responsables, ouverts, créatifs, capables de s'adapter, d'évoluer et de travailler en équipe ». Le dispositif méthodologique de recueil des données est constitué de quarante-deux récits de vie d'anciens élèves sortis de l'établissement entre 1990 et 2005, d'analyses secondaires de questionnaires existants, de statistiques produites par l'institution scolaire et du suivi de 450 anciens élèves sur les réseaux sociaux numériques depuis 2008. Les résultats montrent comment les élèves ont construit leur identité dans une expérience scolaire singulière et en quoi cette scolarité a joué, d'après eux, sur ce qu'ils sont devenus. Plus loin, ils montrent aussi que ce qui a été déterminant sur le long terme dans le devenir des élèves et la réussite de leur insertion sociale et professionnelle se serait passé en dehors de la classe, dans les relations et les apprentissages autonomes entre pairs, entre jeunes et adultes, la construction de réseaux sociaux durables et dans le développement de compétences psychosociales où la dimension collective est centrale. Enfin, cette étude atteste que cet établissement n'est pas à l'écart du monde mais au contraire que la parole des anciens élèves renseigne sur ce que seront les lycéens français demain. / This research based on an inductive approach, studies what the students became after having studied in a high school where different educational methods and an official school project inspired by the new education emphasize the ambition to train responsible and autonomous young students, open-minded as well as creative, who are able to adapt, evolve and work in a team. The methodological device of data collection consists of 42 accounts made by former students of this particular school who left the institution between 1990 and 2005, but also of secondary analyses of existing surveys, statistics produced by the school institution and the follow-up of 450 former students on social networks since 2008. The results show how these students built their identity thanks to a particular school experience and how according to them, their school years changed who they are today. They also show that what was decisive in the long run for their own personal success, their social and professional integration, happened outside their class, thanks to relationships and autonomous learning process between peers, but also between adults and themselves, or with the building of lasting social network and in the development of psychosocial skills where the collective dimension is central. This study also demonstrates that this school isn't aside the world but on the contrary that their words tell about what the future students will be.

Este estudo propõe uma investigação sobre a importância e a necessidade da presença de um narrador de estórias tradicionais no cotidiano escolar, por meio da apresentação de um relato de experiência, desenvolvida em duas escolas públicas na favela da Maré, no Rio de Janeiro, em 2007. A partir de uma abordagem teórica e estética, a pesquisa trata das estórias tradicionais como obras de arte de tempos muito antigos, que podem redimensionar o desejo e o autoconhecimento de alunos e professores, promovendo situações no cotidiano escolar que propiciam a aprendizagem significativa. A utilização de uma visão sistêmica, em que os diversos elementos de estudo formam um sistema de sistemas, foi a base da construção do trabalho de observação e reflexão sobre as experiências empreendidas e os diversos conceitos articulados a elas, propiciando um olhar cíclico, circular, onde cada elemento é pensado em si e em relação aos outros sistemas. Esses elementos, além das estórias, são o narrador, as escolas, os professores, os alunos, a sala de aula e a Maré. Outros elementos que entram na construção do trabalho são o próprio conceito de aprendizagem significativa, a caracterização das estórias tradicionais e de experiência estética, este último, um conceito fundamental para o entendimento e proposição do trabalho com arte, dentro ou fora da escola. / This study aims to investigate the importance and necessity of a narrator in traditional stories in the school routine. It is going to be presented reports of real experiences developed in two public schools located in Favela da Maré, Rio de Janeiro. From the theoretical and aesthetic approach, the research relates traditional stories, such as works of art dated from ancient times which may draw the wish and self knowing of students and teachers, promoting daily school experiences that provide a significant learning. The use of a systemic vision in which the different elements of studies form a system of systems was the base of construction of the observation and reflection work of the undertaken experiences and the distinct concepts articulated to it, providing a cyclical look, where each element is interpreted related to the others. These elements, beyond the stories, are the narrator, the schools, the teachers, the classrooms and Favela da Maré itself. Other elements present in quest are the concept of significantly learning, the characterization of traditional stories and experience aesthetics, the latter, a key concept for understanding and proposition of working with art, inside or outside the school.

Cette thèse explore le phénomène de whistleblowing et comment il a été encadré, principalement du point de vue anglo-saxon, à travers des lectures proches de récits culturels et une vue critique sur l'érudition existante sur whistleblowing. À travers des lectures rapprochées d'une sélection de cas, la poursuite, l'importance et l'impact de la vérité apparaîtront comme le thème central dans les récits culturelles explorées, mais aussi les moments où la vérité est rendu impuissante, en raison de sa nature coercitive comme factualité. L'impuissance de la vérité vécue par les lanceurs d'alerte ("les whistleblowers") est ce qui relie d'autre part les récits culturels à l'art tragique. Les diseurs de vérité ne sont pas reconnus, et ils entrent dans un conflit tragique parce qu'elles révèlent des vérités qui ne sont pas pratiques pour les gens au pouvoir. En d'autres termes, les whistleblowers, en disant la vérité, cherchent à élargir l'espace épistémique dans la sphère publique et à tenir les gens et le pouvoir responsables. Cependant, ils sont continuellement négativement encadrés avec des métaphores conceptuelles qui obstruent la perception d'eux en tant que conteurs de la vérité. / This dissertation posits that whistleblowing is factual truth-telling, or truthful public denunciation. In scholarship, media, and in the popular perception of whistleblowing, the truth-claim is often overlooked, and in many occasions hampered by the dominant ways it is framed (e.g. as leak, which is explored among other frames as a problematic conceptual metaphor). Interestingly, the representation of the whistleblower is different in cultural narratives. Through close readings of a selection of cases, the pursuit, importance, and impact of truth will appear as the central theme in the explored plots, but also the moments where truth becomes impotent, due to its coercive nature as factuality - a process that furthermore connects whistleblowing with the idea of the tragic. Put differently, the special literary interest of narratives of whistleblowing is to turn ignorance into knowledge, knowledge into telling, and how the unraveling of truth becomes a reversal of fortune for the truth-teller who enters a particular tragic conflict. As frame, as narrative, and as a modern phenomenon of truthful public denunciation, whistleblowing offers particular moments of truth, often about moments of falsehood, and ultimately seeks to be a moment of impetus: for the public to restore justice, and for readerships and audience of narrative and dramatic configurations to choose or to distance themselves from multiple proposals of justice emplotted - not only ethical justice, but also epistemic, hermeneutical, and testimonial justice. In other words, whistleblowers, by telling the truth, seek to expand the epistemic space in the public sphere and hold people and power accountable.

La importancia de visibilizar y representar las problemáticas sociales es cada vez más considerada por la sociedad civil. Ante esto, el Estado ha tomado iniciativas publicitarias que pretenden educar y concientizar con respecto a estos temas, una de ellas es la campaña #NoDaRisa, en la que se trata el racismo, machismo y transfobia aún presentes en la sociedad. Considerando que el emisor es una entidad del Estado que trata problemáticas sociales, esta es una campaña institucional y de bien social a la vez. Además, se desarrolla el storytelling como técnica publicitaria fundamental. El presente trabajo de investigación tiene como objetivo analizar los elementos del storytelling presentados en los spots #NoDaRisa que pueden influir en el comportamiento de los hombres de 20 a 35 años del nivel socioeconómico B y C. Se utilizará un enfoque cualitativo, el cual permitirá identificar, analizar e interpretar la información obtenida en las entrevistas individuales mediante la guía de indagación semiestructurada / The importance of making visible and representing social problems is increasingly being considered by civil society. Given this, the government has taken advertising initiatives that seek to educate and raise awareness regarding these issues, one of them is the #NoDaRisa campaign, which deals with racism, sexism and transphobia still present in society. Considering that the issuer is a state entity that deals with social problems, this is both an institutional and social good campaign. In addition, storytelling is developed as a fundamental advertising technique. This research work aims to analyze the elements of storytelling shown in the #NoDaRisa spots that can influence the behavior of men between 20 and 35 years of age from socioeconomic levels B and C. A qualitative approach will be used, which will allow to identify, analyze and interpret the information obtained in the individual interviews using the semi-structured inquiry guide. / Trabajo de investigación