At a time when scholars have rekindled the old debate about what is world literature and how can one study it (Casanova, 2004; Moretti, 2000, 2003; Damrosch, 2003, 2009), this thesis analyses the canonisation of Central American Revolutionary women's writing as it moves toward the 'centre' and becomes part of the world literary canon. Drawing on a core-periphery systemic model, this thesis examines how translation for the Anglophone market involves the marginalisation at various levels of the narratives of political radicalism and the erotic that feature in the life writing works of Gioconda Belli, Claribel Alegría and Rigoberta Menchú. The dataset chosen for this study consists of the Spanish originals and English translations of La mujer habitada (1988) and El país bajo mi piel (2001) by Belli; No me agarran viva (1983) and Luisa en el país de la realidad (1987) by Alegría, in collaboration with her husband Darwin J. Flakoll; and Me llamo Rigoberta Menchú (1983) and Rigoberta: La nieta de los mayas (1998) by Menchú. To develop this core-periphery systemic model, I have drawn on the work of scholars in the field of the sociology of translation such as Pascale Casanova (2004), Johan Heilbron (1999, 2010) and Gisèle Sapiro (2008). In the context of the study, peripheralisation has been reconceptualised to assist in locating the texts included in the dataset within a hierarchical power structure (external level of peripheralisation); and identifying the shifts that arise during the translation and circulation of the ontological and public narratives underpinning such texts (internal level of peripheralisation). The study of the internal level of peripheralisation will draw on narrative theory, as elaborated by Margaret Somers and Gloria Gibson (1994), Somers (1997) and Mona Baker (2006). The choice of narrative theory employed in the thesis aims to foreground the impact that translation and the publishing field have on the selection and consecration of a literary genre; facilitate the comparison between the texts and paratexts of the originals and their English translations, and disclose the mechanisms through which the agency of the woman/author is neutralised, and the narratives of sexuality, body, political radicalism and feminine subjectivity are constructed in the original and reinterpreted through translation. This comparative (para)textual analysis questions the nature of the process by which peripheral texts have accessed the Western canon. In light of the findings, the thesis advocates the need to redefine the concept of canonisation in order to acknowledge a possible conflict between the new assumed centrality of the consecrated/translated text and the layers of peripheralisation that might still be constraining the original narratives. Secondly, these findings draw attention to a gap in world literatures scholarship. By assuming the autonomy of literature as an artistic form, world literature scholars might be in danger of obscuring the potential for manipulation inherent in translation practice, particularly in spaces favouring domesticating approaches to translation. Thirdly, this work aims to serve as a reminder to scholars and activists not to overlook the impact of literary translation on the circulation of theories and narratives, particularly in the case of highly canonical texts such as that of Rigoberta Menchú (1984).

As the student population in U.S. public schools becomes more diverse, with an increase of students of color and from low socioeconomic backgrounds, it is critical that the opportunity gaps in our education system are addressed to provide an equitable education for urban youth. To mitigate these gaps, there is a need for an experienced urban teacher workforce, but urban schools face staffing challenges that make this difficult. There is an exceptional need for Latina/o teachers, who demonstrate positive impacts on Latina/o students, the largest minority population nationwide, however, the retention rate amongst Latina/o teachers is lower than that of other demographics. This phenomenological qualitative research study explored the personal and professional factors that sustain Latina veteran urban teachers in a predominantly Latina/o school district through the development of testimonios. Data was collected through a survey, instructional documents, and interviews to produce the individual testimonios of each participant’s history as a Latina veteran urban teacher and a cross-case analysis of the participants’ shared experiences. The findings demonstrated that Latina veteran urban teachers possessed la chispa, the spark, for serving students who share their cultural and linguistic identity. These teachers ignited, fueled, and preserved their chispa through various personal and professional factors, including a commitment to serving urban students, a dedication to continuous professional growth, and the support from personal and professional networks. These findings can inform teacher preparation programs and school systems on how to prepare and sustain Latina teachers for long-term careers in urban education.

La present tesi doctoral estudiarà la temàtica de la credibilitat del relat que els menors presumptament abusats expressen dels fets, en base a l'anàlisi del contingut del seu relat. Fins al moment, la prova que s'utilitza, anomenada CBCA és fonamentalment d'orientació cognitiva, desconsiderant del seu anàlisi, els possibles criteris psicosocials que els menors expressen.Així, la present tesi, a més d'estudiar la prova CBCA, proposa l'utilització d'indicadors psicosocials que, efectivament, són expressats en el relat dels presumptes fets i que, en base a l'anàlisi mètric pertinent, ens permeten presentar-los com a vàlids per a diferenciar relats creíbles, d'aquells relats inventats o falsejats.La part teòrica de la tesi, presenta un exhaustiu recull de les recerques més significatives sobre les següents temàtiques: la credibilitat, l'instrument CBCA, els factors que influeixen en el testimoni infantil i els indicadors psicosocials de credibilitat. La part empírica, en base a un disseny observacional-correlacional i amb una mostra de casos reals treballats a la seu de l'Equip d'Assesorament del Jutjats de Girona, durant els anys 2000-2001, presenta l'estudi i anàlisi del CBCA, criticant les limitacions importants que presenta aquest instrument i, naturalment, proposant l'incorporació dels indicadors psicosocials com a criteris per la diferenciació dels relats. Es realitza un complert anàlisi mètric i es comprova l'increment de la qualitat psicomètrica (fiabilitat, validesa, discriminació de ítems) del nou instrument proposat amb els indicadors psicosocials presentats: el secret, relació dependent-envolvent, progressió en l'abús, normes de conducta, símptomes psicològics, favors i regals. / The present doctoral thesis is based on the investigation whose thematic basic it is the credibility of the minor abused sexually. The basic instrument for this investigation, the CBCA (Criteria-Based Content Analysis) it comes being used on the part of the teams of forensic psychologists of the Spanish territory as well as of other many European and American countries. This instrument, relatively new (Steller, 1989) it was studied and analyzed in a previous investigation with the purpose of evidencing their limitations and this way, incrementing their options of becoming a really valid instrument in the course of any judicial act. One of the results of this investigation is that of the 19 original items, the discrimant analysis, offers us a final test restricted to only 12 items, finding, consequently, 7 items that should be eliminated of the initial listing. The use of this corrected test, discovers us 2 important observations with regard to the variable age: those children than more age, they really offer bigger volumes of information, but this bigger information is not excellent for the increment of his credibility. The differential age among a significantly richer volumen of information, settles down around the 8-9 years. In this work we can show psicosocials items with a good psichometric quality for change the initials criteria: the secret, depended-involved relation, progressive abuse, behaviour rules, psychological disorders, favors and presents

Este proyecto de investigación se caracteriza como estudio histórico-etnográfica basado en estudios de casos de la vida cotidiana de nueve mujeres en Valparaíso y Viña del Mar durante la dictadura chilena, analizando el testimonio de los efectos del régimen autoritario en la vida cotidiana de estas mujeres chilenas entre 1980 y 1987. La metodología se radica firmemente en el método etnográfico con entrevistas semi-abiertas y el análisis del discurso de los relatos. En la metáfora de la arpillera (un tapiz anónimo cosido en lona ensamblado a partir de piezas de tela que muestra escenas de la vida cotidiana o protesta la dictadura de Pinochet), trozos y pedazos de experiencia se juntan en el encima de la lona de la historia para dar forma al testimonio de vida la vida cotidiana. Este proyecto se centra en tres aspectos diferentes de la relación entre el Estado autoritario y la vida cotidiana: las técnicas de gobernabilidad (macro), narraciones de silencio y miedo (micro) y trayectorias narrados (espacial), el último inspirado por el ensayo Halbwachs en caminar por la ciudad. Para cerrar, la relevancia del estudio se destaca por el intento de comprender el efecto de un estado autoritario en el sujeto femenino y las respuestas y adaptaciones que las mujeres chilenas adoptaron en la vida privada y pública mediada por la violencia y el miedo bajo dictadura. La dialéctica del acontecimiento y la rutina de la vida cotidiana bajo la dictadura se unen en las memorias narradas, mediada por el presente vivido, lo cual permite una reflexión sobre la cuestión de la alteridad en la sociedad chilena. / The research project is characterized as a historical-ethnographic study based on case studies of the everyday lives of nine women in Valparaíso and Viña del Mar during the Chilean dictatorship, analyzing testimony of the effects of the authoritarian regime on the everyday life of Chilean women between 1980 and 1987. The methodology is firmly rooted in the ethnographic method with semi-open interviews and discourse analysis of the narratives. In the metaphor of the arpillera (an anonymous tapestry sewn on canvas constructed out of pieces of cloth showing scenes of everyday life or protesting the Pinochet dictatorship), scraps and pieces of experience are sewn onto the canvas context of history to shape the testimony of lived everyday life. This project focuses on three different aspects of the relationship between authoritarian state and everyday life: techniques of governmentality (macro), narratives of silence and fear (micro), and narrated trajectories (spatial) inspired by Halbwachs’ essay on walking the city. To close, the study’s relevance is highlighted by the intent to understand the effect of an authoritarian state on the female subject and the responses and adaptations that Chilean women adopted in private and public life shaped by violence and fear. The dialectics of event and routine of everyday life under dictatorship are thus stitched together in memory, mediated by the women’s lived present, facilitating a closing reflection about alterity in Chilean society.

This research project comprises a stage play Section 24 of the Criminal Code, and accompanying exegesis, which focuses upon the experience of a woman accessing the Criminal Justice system after she is raped. The play is in the verbatim model and draws upon court transcript, which is deconstructed to reveal the workings of Defence counsel 'storylines' and meta-narratives of gender, sexual availability and power. The exegesis investigates attitudes toward rape and rape victims perpetuated by Australian popular culture, and the way that myths about false rape complaints and 'deserving victims' continue to influence the reporting and conviction rates for rape. The thesis argues that recent reforms have yet to make an impact on the conviction rate or experience of women accessing the Justice system, because of entrenched misogyny within the system itself. Several factors contribute to widespread ignorance of the reality of our own Criminal Justice system, and the thesis proposes that a work of verbatim theatre may redress the paucity of understanding that enables the dysfunction of the current system. The paper explores the different approaches taken by Verbatim theatre practitioners and the appropriateness of the Verbatim theatre model for communicating this particular (lived) experience. Questions of ownership over one's story, and representation in that story indicate the emancipatory potential of a work. Where practitioners do not have a personal connection to their subject matter or material and access material that is already in the public domain, they may feel a greater freedom to manipulate story and character for dramatic effect, or to suit an activist agenda for change. It is shown that a playwright with a personal connection to her material and subject must address issues of ownership, ethical representation, veracity and verisimilitude when creating a piece of verbatim theatre. Preferencing the truth of the Complainant Woman's experience over the orthodoxies of the well-made play may contribute to a negative response to the work from male audiences. However, the thesis concludes that the subject of rape and its prosecution invokes a gendered response in itself, and ultimately questions the desirability of presenting a play that delivers a palatable story rather than an unpleasant truth.

This work explores soundscape and histories of sound technologies as they relate to the formation of subjectivity. It proposes voice as a cultural practice and a means for theorizing one’s own subjectivity. What is modernity in sonic terms? What does it mean to listen deeply in an industrialized society? What does it mean to be a socialized listener, a revolutionized listener? How might voice be taken as an avatar of the self? How does the auditory realm allow for embodied theorizing that responds to systems of power and oppressed subjectivities?

Made available in DSpace on 2016-12-23T14:34:13Z (GMT). No. of bitstreams: 1 Marcus Vinicius Marvila das Neves.pdf: 1608179 bytes, checksum: 831fa83e0bae4c61e43bc26bcc169907 (MD5) Previous issue date: 2010-07-30 / Se intenta con este trabajo estudiar la importancia de la música de vanguardia del siglo XX en la obra de Augusto de Campos. Para eso, es necesário pesquisar como el tema se presenta en los textos de la crítica musical, recogidos en el libro Música de Invenção (1998), y, sobre todo, analizar cómo el poeta se apropia de las técnicas de composición de los inventors para honrarlos en su poesía. Vamos a tomar una muestra de poemas que se refieren a tres de los músicos que aparecen con frecuencia en el paideuma sonoro del autor: Arnold Schoenberg (1874-1951), John Cage (1912-1992) y Giacinto Scelsi (1905-1988). También se hace uso de los conceptos de testigo, memoria y historia de la Literatura de testimonio a través de los discursos de Seligmann-Silva (2000, 2003), Felman (2000), Gagnebin (2004) para, por analogía, entender la posición adoptada por Augusto de Campos en su defensa de la música de invención y extender la idea de homenaje. Además se discutirán temas relacionados a la música contemporánea del siglo XX Caesar (2007), Gubernikoff (2007), Griffiths (1998), Ross (2009), Grout y Palisca (2005), Sadie (1994) y el mantenimiento del libro como suporte duradero Flusser (2010), Carriere y Eco (2010) -, vamos a trazar también un panorama general de los poemas que se refieren a los músicos de rechazo en las tres antologías del poeta de São Paulo / Quer-se com este trabalho estudar a importância da música de vanguarda do século XX na obra de Augusto de Campos. Para tanto, será necessário investigar como ela é apresentada nos textos críticos musicais, reunidos no livro Música de Invenção (1998), e, principalmente, analisar como o poeta se apropria de técnicas composicionais dos inventors para homenageá-los em sua obra poética. Tomaremos por amostragem os poemas que se referem a três dos músicos que aparecem com freqüência no paideuma sonoro do autor: Arnold Schoenberg (1874-1951), John Cage (1912-1992) e Giacinto Scelsi (1905-1988). Também se fará uso dos conceitos de testemunha, memória e história provenientes da Literatura de testemunho através dos discursos de Seligmann-Silva (2000; 2003), Felman (2000), Gagnebin (2004) para, por analogia, entender a posição assumida por Augusto de Campos na defesa da música de invenção e alargar a ideia de homenagem. Paralelamente serão abordados temas relativos à música contemporânea do século XX Caesar (2007), Gubernikoff (2007), Griffiths (1998), Ross (2009), Grout e Palisca (2005), Sadie (1994) e à manutenção do livro enquanto suporte durável Flusser (2010), Carrière e Eco (2010) , além de traçarmos um panorama geral dos poemas que se referem aos músicos de recusa nas três antologias do poeta paulista

La presente tesis doctoral analiza la autoexpresión audiovisual de la mujer en tránsito en el ámbito artístico. La investigación tiene un carácter interdisciplinar, ya que el análisis se realiza a través de las teorías feministas, la literatura comparativa, la teoría poscolonial, el psicoanálisis, la filosofía estética, la historia y, por último, el estudio del cine y de las artes visuales. En el análisis se destacan las problemáticas de la representación que encontramos al contrastar realidad con ficción y subjetividad en la expresión audiovisual. Nos basamos en el estudio de diversos documentales para poder observar con posterioridad la transición de los temas y la construcción de los lenguajes. También reflexionamos sobre el sentido del arte como testigo de nuestra época según los argumentos de Walter Benjamin, Philippe Lacoue-Labarthe y Jean-Luc Nancy, quienes realizan una crítica a la estetización de la política como punto de partida. Asimismo, se desarrolla un discurso sobre la subjetividad en el documental fundamentado en las reflexiones de Gilles Deleuze, Bill Nichols y Michael Renov. Por otra parte, se verifica la trayectoria e historia del documental japonés apoyándonos en las referencias de Tadao Sato, Makoto Sato y Tetsuya Mori. Nuestro objetivo al analizar las obras audiovisuales seleccionadas es profundizar en el discurso de la autobiografía de la mujer según contextos y características distintos. Para ello seguimos las reflexiones feministas de Shoshana Felman, Gayatri C. Spivak y Drucilla Cornell, quienes nos conducen -a través de la crítica de las teorías de Sigmund Freud, Jaques Derrida e Immanuel Kant, respectivamente- a la búsqueda de diversas expresiones audiovisuales de artistas contemporáneas que trabajan la autobiografía de la mujer en tránsito desde varias perspectivas y experiencias vitales. En el ámbito artístico cada vez son más visibles los trabajos sobre migraciones y otros movimientos sociales que cuestionan la identidad cultural, familiar e individual basándose en la reflexión sobre el multiculturalismo y el poscolonialismo. / Yokoigawa, M. (2012). Biografía y autobiografía de la mujer en tránsito en la expresión audiovisual contemporánea [Tesis doctoral]. Editorial Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/15182 / Palancia

There has been a significant increase in the number of Students of Color attending Catholic schools in the United States in the last forty years. However, only 17% of the professional staff in Catholic schools nationally are Teachers of Color (with about 9.6% identifying as Latino/a) (McDonald & Schultz, 2020). The racial gap between Students and Teachers of Color is a social justice issue (Berrios, 2016), and yet, research on why Teachers of Color are choosing to teach in Catholic urban schools and the motivating factors that sustain their work in hard-to-staff Catholic schools is limited. This qualitative research study was conducted using a Critical Race Methodology (CRM) grounded (Solorzano & Yosso, 2002) in two overarching theoretical frameworks: Critical Race Theory (CRT) and Latina/o Critical Race Theory (LatCrit). Critical Race Testimonio was used as a counter-story method to document the experiences of Latino/a Catholic school teachers who served in under-resourced urban Catholic schools (Perez Huber, 2008). This study was guided by three research questions: (a) what factors do Latino/a teachers describe as encouraging them to choose and sustain their urban Catholic school teaching profession; (b) how do Latino/a teachers describe their racialized experiences in urban Catholic schools; and (c) how can urban Catholic schools enhance recruitment and retention policies and practices to diversify their teaching workforce? This study explored the racialized experiences and factors which motivated, sustained, and contributed to Latino/a Catholic school teachers’ choices to work in under-resourced urban Catholic schools and highlighted the authority of Latino/a teacher epistemology and ontology to understand that if the demographics of Catholic schools continue to shift, the recruitment and retention practices of Latino/a teachers must also change to meet the needs of all students in urban Catholic schools.

Entendendo a literatura como palco de exposição de impasses e de (re)elaboração da memória coletiva e individual, esta tese busca analisar a literatura brasileira aliando forma literária e processo histórico-social. Para isso, investigaremos dois romances, Onde andará Dulce Veiga? (1990), de Caio Fernando Abreu, e Benjamim (1995), de Chico Buarque, publicados já na redememocratização mas que dialogam com o nosso passado recente: a ditadura civil-militar. A partir do contraste entre esses romances, procura-se refletir sobre uma sequência na história da literatura brasileira que compreende a emulação de um processo histórico específico: a redemocratização, problematizada a partir de narradores ou protagonistas que rememoram um passado esquecido colocando-se, no presente, como testemunhas culpadas. O movimento argumentativo se orientará a partir das discussões de Roberto Schwarz em “Cultura e Política: 1964-1969” aliando conceitos que nos permitem fazer um traçado panorâmico das relações entre a literatura e o processo histórico, entre eles o nacional-desenvolvimentismo, o romantismo revolucionário, a modernização conservadora, a indústria cultural e o movimento contracultural. Vinculam-se a esses termos categorias como experiência, memória, esquecimento, trauma e testemunho, bem como o ponto de vista da morte e a ciclicidade como forma, dispositivos que contribuem para uma análise estrutural das presentes obras. Intenta-se assim refletir sobre a mediação feita pela literatura contemporânea que olha em retrospecto para o regime autoritário e problematiza a redemocratização, assim como investigar essa literatura entendendo-a como parte de um processo literário específico. / Understanding literature as a stage for exposition of impasses and of (re)laboration of collective and individual memory, this thesis intends to analyze Brazilian literature allying literary form and socio-historical process. For this, we shall investigate two novels, Caio Fernando Abreu's Onde andará Dulce Veiga (1990) and Chico Buarque's Benjamim (1995), both published in the redemocratic period, but that establish a dialogue with our recent past: the civil-military dictatorship. From the contrast in between these two novels, we intend to reflect about a sequel in the history of Brazilian literature that comprehends the emulation of a specific historical process: the redemocratization, problematized from narrators or protagonists that recollect a forgotten past putting themselves, in the present, as guilty witnesses. The argumentative movement orients itself from the discussions of Roberto Schwarz's "Cultura e Política: 1964-1969", allying concepts which allow us to panoramically trace relations between literature and historical process, as to say, the national-developmentalism, the revolutionary romanticism, the conservative modernization, the cultural industry and the countercultural movement. These terms are tied to categories as experience, memory, obliviousness, trauma and testimonial, as well as the death point of view and the cyclicality as form, both being devices that contribute to an structural analysis of the present novels. We intend to reflect about the mediation made by contemporary literature that looks backwards to the authoritarian regime and problematize the redemocratization, as well to investigate this literature understanding it as part of a specific literary. / Se comprende la literatura como escenario de exposición de contiendas y de (re)elaboración de la memoria colectiva e individual; por lo tanto, esta tesis analiza la literatura brasileña aliando forma literaria y proceso histórico-social. Para ello, examinaremos dos novelas: Onde andará Dulce Veiga? [¿Dónde andará Dulce Veiga?] (1990), de Caio Fernando Abreu, y Benjamim [Benjamín] (1995), de Chico Buarque, publicadas ya en la redememocratización pero en diálogo con el pasado reciente de Brasil: la dictadura civil-militar. A partir del contraste entre esas novelas, se busca reflexionar sobre una secuencia en la historia de la literatura brasileña que comprende la emulación de un proceso histórico específico: la redemocratización, problematizada a partir de narradores o protagonistas que rememoran un pasado olvidado ubicándose, en el presente, como testigos culpables. El movimiento argumentativo se orientará a partir de las ideas de Roberto Schwarz en “Cultura e Política: 1964-1969” [“Cultura y política: 1964-1969”] aliando conceptos que nos permiten hacer un trazado panorámico de las relaciones entre la literatura y el proceso histórico, es decir, el nacional-desarrollismo, el romanticismo revolucionario, la modernización conservadora, la industria cultural y el movimiento contracultural. Se vinculan a esos términos categorías como experiencia, memoria, olvido, trauma y testimonio, así como el punto de vista de la muerte y la ciclicidad como forma, mecanismos que contribuyen para un análisis estructural de las obras. Se intenta así reflexionar sobre la mediación que hace la literatura contemporánea al mirar en retrospección el régimen autoritario y problematizar la redemocratización, así como investigar esa literatura comprendiéndola como parte de un proceso literario específico.