No description available.

In this thesis, I explore the African, Caribbean, and Black communities— as it pertains directly to the Black racial classification— and their place within the Canadian blood donation system. The aim is to explore the ways in which the legacy of risk, the Black racial classification, pathology, and associations with disease may be manifested in donation policies and procedures (current and retired). Precisely, my interest lies in the subtle and diffuse ways in which Negrophobia (and its variant racism) survive in blood donation in spite of putative efforts to neutralize it. I undertook this study with the aim to fill a noticeable gap in the literature, by providing knowledge on the ways in which racial stereotypes can be disseminated discursively through institutionalized health policies. As data sources, I used explicitly publicly accessible national (and international) document materials on blood donation. With a critical discourse analysis methodology, the evidence presented demonstrate that under the guise of value-freedom, blood donation guidelines have the ability to reinforce dangerous assumptions providing a rationale for Negrophobic beliefs, behaviours and policies within the blood system. Studying blood donation in this manner offers evidence for the ways in which health institutions continue to treat Black populations based on racial stereotypes. This exceptional attention to the Black racial classification in blood donation provides important insights into the understanding of the lasting and plagued relationship that Black peoples have had with the scientific community, illustrating that institutionalized Negrophobia may remain imbedded despite decades of sociopolitical and medical progress.

Originada na escravidão e reforçada ainda hoje nas diversas formas de relações cotidianas, a imagem de sexualidade exagerada e inata, colada ao corpo negro, reproduz elementos de violência simbólica e condena, muitas vezes, o corpo negro à morte semiótica. Na tentativa de dissociar-se dessa imagem, o sujeito negro adota algumas estratégias que vão da atitude contida em relação ao exercício da sua afetividade e sexualidade, passando pelo questionamento dos condicionamentos eróticos e, por fim, constituindo uma outra semântica para o corpo negro. Dessarte, esta dissertação procurou perscrutar o enunciado e a enunciação das poesias eróticas de Cadernos Negros na tentativa de desvelar as relações estabelecidas entre as categorias semânticas liberdade vs. opressão; público vs. privado; e individual vs. coletivo. Cadernos Negros é um periódico literário, publicado ininterruptamente há 28 anos, cujo objetivo é divulgar uma enunciação negra na Literatura Brasileira. / The image of the black body has being linked to an exaggerated and innate sexuality originated in the slave era, and is even nowadays reinforced by daily and diverse social relations and interactions. This racialized notion of the black body reproduces elements of symbolic violence, and moreover, condemns the black body to a semiotic death. In an attempt to dissociate themselves from such images, the black writers adopt strategies that go from the attitude contained in the exercise of affectivity and sexuality, passing through the questioning of erotic conditioning, and finally, constituting an alternative semantics of the black body. From this perspective, this dissertation looks to articulate the enunciations of the Black Notebooks erotic poetry, in an attempt to highlight the established relations between semantic categories such as freedom vs. oppression, public vs. private, and individual vs. collective. The Black Notebooks is a literary periodical published uninterrupted in Brazil for 28 years. It\'s objective is to pursue the black utterance in Brazilian literature.

Plasmonic nanocrystals have a unique ability to support localized surface plasmon resonances and exhibit rich and intriguing optical properties. Engineering plasmonic nanocrystals can maximize their potentials for specific applications. In this dissertation, we developed three unprecedented Au nanorod-based plasmonic nanocrystals through rational design of the crystal shape and/or composition, and successfully demonstrated their applications in light condensation, photothermal conversion, and surface-enhanced Raman spectroscopy (SERS). The “Au nanorod-Au nanosphere dimer” nanocrystal was synthesized via the ligand-induced asymmetric growth of a Au nanosphere on a Au nanorod. This dimeric nanostructure features an extraordinary broadband optical absorption in the range of 400‒1400nm, and it proved to be an ideal black-body material for light condensation and an efficient solar-light harvester for photothermal conversion. The “Au nanorod (core) @ AuAg alloy (shell)” nanocrystal was built through the epitaxial growth of homogeneously alloyed AuAg shells on Au nanorods by precisely controlled synthesis. The resulting core-shell structured, bimetallic nanorods integrate the merits of the AuAg alloy with the advantages of anisotropic nanorods, exhibiting strong, stable and tunable surface plasmon resonances that are essential for SERS applications in a corrosive environment. The “high-index faceted Au nanorod (core) @ AuPd alloy (shell)” nanocrystal was produced via site-specific epitaxial growth of AuPd alloyed horns at the ends of Au nanorods. The AuPd alloyed horns are bound with high-index side facets, while the Au nanorod concentrates an intensive electric field at each end. This unique configuration unites highly active catalytic sites with strong SERS sites into a single entity and was demonstrated to be ideal for in situ monitoring of Pd-catalyzed reactions by SERS. The synthetic strategies developed here are promising towards the fabrication of novel plasmonic nanocrystals with fascinating properties for nanoplasmonics and nanophotonics.

No description available.

No description available.

Esta tese realiza uma análise do romance Um defeito de cor (2006), de Ana Maria Gonçalves, sublinhando os aspectos formais do texto e indicando como eles acionam problematizações urgentes para a crítica literária produzida no Brasil. Os procedimentos estéticos com que a representação em primeira pessoa é realizada na obra são concebidos como chave para vincular a literatura às narrativas historiográficas, sobretudo aquelas produzidas pela História Social da Escravidão, dando a ver como a obra de Gonçalves se vale da encruzilhada epistêmica entre ficção e realidade. Propõe-se, assim, que a carta configurada na obra, por meio da qual se constrói a enunciação de uma mãe africana que relata sua trajetória de vida, e nela as constrições ao exercício da maternidade ao longo do século XIX no Brasil e na África, performatiza uma corporalidade negra, convocando a crítica contemporânea a realizar o desrecalque do corpo negro de sua discursividade. Como desdobramento dessa proposição, o trabalho contrapõe a narradora Kehinde, elaborada a partir de um foco narrativo complexo, à figura estereotipada da mãe preta, presente de reiteradas maneiras no cânone literário nacional. Visibilizam-se com essa estratégia os mecanismos simbólicos de interdição do reconhecimento da ascendência africana no/do Brasil pelo discurso nacionalista, ao mesmo tempo em que se reflete sobre as possibilidades de encenação e disrupção desse construto ideológico pelo romance de Gonçalves. / This thesis analyzes the novel Um defeito de cor (2006), by Ana Maria Gonçalves, highlighting the formal aspects of the text and indicating how they trigger urgent problematizations for the literary criticism produced in Brazil. The aesthetic procedures with which first-person representation is carried out in the novel are conceived as a key to linking literature to historiographical narratives, especially those produced by the Social History of Slavery, showing how the work of Gonçalves uses the epistemic crossroads between fiction and reality. It is proposed, therefore, that the letter set forth in the work, through which the enunciation of an African mother is constructed, which relates her life trajectory, and in her the constrictions to the exercise of motherhood throughout the nineteenth century in Brazil and Africa, performs a black corporality, summoning the contemporary critique to realize the vizualization of the black body of its discursivity. As an unfolding of this proposition, the work contrasts the narrator Kehinde, elaborated from a complex narrative focus, to the stereotyped figure of the \"mammy\", present in the national literary canon. The symbolic mechanisms of the interdiction of the recognition of African ancestry in Brazil by the nationalist discourse are visible with this strategy, while at the same time reflecting on the possibilities of staging and disruption of this ideological construct by Gonçalves\' novel.

L’enjeu de cette thèse est de présenter les différents statuts de l’image du corps, dans la photographie contemporaine en Martinique. La photographie a joué un rôle dans la conquête coloniale et la construction d’une image fantasmée de l’Autre. Il nous apparaît essentiel d’évoquer l’importance du contexte colonial puis postcolonial. Dans la photographie contemporaine des années 1970 à nos jours en Martinique, les images du corps posent la question du regard. Cette dimension de la transformation de l’être en tant qu’objet à l’être en tant que sujet, est au cœur de notre réflexion soutenue par celle des penseurs originaires de la Caraïbe (Frantz Fanon, Edouard Glissant, Stuart Hall) : images du corps marqué, fragmenté, dépossédé, de traces de mémoire, en errance ou en quête d’identité. La question plurielle de la visibilité et de l’invisibilité de l’image du corps sont au cœur de notre démarche de recherche. Sans pour autant être exhaustif, à la suite d’une analyse d’un corpus limité de photographies, des thématiques susceptibles d’exprimer une fixité de l’image du corps ou son caractère plus ouvert, sont dégagées. Le choix de quatre photographes Martiniquais en priorité, David Damoison, Gilles Elie-dit-Cosaque, Jean-Luc De Laguarigue et Joël Zobel, offre la possibilité de définir un cadre d’analyse et de comparaison, avec le souci d’établir des liens avec les concepts à l’œuvre dans les images de quelques photographes de la Caraïbe anglophone, originaires de Jamaïque et de Barbade. Comment les enjeux identifiés sont-ils présents dans l’œuvre de ces photographes Martiniquais et se prolongent ils dans les perspectives de la nouvelle scène artistique contemporaine ? / The aim of this thesis is to present the different statuses of the image of the body, in contemporary photography in Martinique. Photography played a role in the colonial conquest and the construction of a fantasized image of the Other. It seems essential to us to evoke the importance of the colonial and post-colonial context in the fantasized elaboration of the image of the Other. In contemporary photography from the seventies to the present day in Martinique, the images of the body pose the question of the gaze. The dimension of the transformation of the human being as an object to being as a subject is at the heart of our reflection supported by the thinkers originating from the Caribbean (Frantz Fanon, Edouard Glissant, Stuart Hall): images of the body marked, dismembered, fragmented, dispossessed, traces of memory, wandering or absent to itself or in search of identity. The pluralistic question of the visibility and invisibility of the image of the body are at the heart of our research process. Without being exhaustive, following an analysis of a limited corpus of photographs, themes that are capable of expressing a fixed image of the body or its more open character are uncovered. The choice of four Martinique photographers as a priority, David Damoison, Gilles Elie-dit-Cosaque, Jean-Luc De Laguarigue and Joël Zobel, offers the possibility of defining a framework of analysis and comparison, with the concern to establish links with the concepts at work in the images of some photographers of the English-speaking Caribbean, originating in Jamaica and Barbados. How are the identified issues present in the work of these Martinican photographers and are they in the perspective of the new contemporary art scene?

Submitted by JÚLIO HEBER SILVA (julioheber@yahoo.com.br) on 2017-04-05T18:38:02Z No. of bitstreams: 2 Dissertação - Ana Clara Gomes Costa - 2017.pdf: 2398244 bytes, checksum: 32439b1cc364aa06fc3f98eb7e0e29fb (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Approved for entry into archive by Luciana Ferreira (lucgeral@gmail.com) on 2017-04-06T11:47:00Z (GMT) No. of bitstreams: 2 Dissertação - Ana Clara Gomes Costa - 2017.pdf: 2398244 bytes, checksum: 32439b1cc364aa06fc3f98eb7e0e29fb (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Made available in DSpace on 2017-04-06T11:47:00Z (GMT). No. of bitstreams: 2 Dissertação - Ana Clara Gomes Costa - 2017.pdf: 2398244 bytes, checksum: 32439b1cc364aa06fc3f98eb7e0e29fb (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Previous issue date: 2017-02-24 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / Based on a proposal that sees communication beyond the media processes, this research investigates how communicative actions present in everyday life corroborate to strengthen discourses, ideologies and power relations, marginalizing, segregating and stigmatizing blacks youths, once that it is not recognized by society as a social group formed by subjects of rights. The racism over blackness and the black body establishes the stereotype of the black person’s suspicion and attachment to banditry. This reality conceives a trajectory of violence, violations and inconsistencies with the black population, which is blamed for the high crime rates that increase the statistics of urban violence in the city of Goiânia. On the basis of racism and socioracial hierarchization, blacks youths are subjugated and embedded in a chain of extirpation of formal rights. They are also subject to violent actions by the society and the police, which has it as the main target of investigations and preventive actions. The police violence is, therefore, legitimated by society as a way of containing urban violence. This, in turn, is represented by the association of the blacks youths to the crimes occurred in the spaces of the city. In addition to the communicative processes of everyday life that contribute to the legitimacy of police violence, media communication also ratifies racism and exclusion processes, since a discourse of effectiveness and efficiency is used in the face of police actions that fight crime, under the constant vigilance and punishment of blacks youth. With the use of the methodological procedures of the focus group, linked to observation, reporting and documentary analysis, this research aims to analyze how black bodies are instrumented by communicative actions to legitimize police violence against the black youth. The reaffirmation of such bodies and the recognition that it is essential to combat racism stemming from the stigmatization of black bodies can be a strong point in the fight against racism. / Com base em uma proposta que vê a comunicação para além dos processos midiáticos, esta dissertação investiga como ações comunicativas presentes no dia-a-dia corroboram para fortalecer discursos, ideologias e relações de poder, marginalizando, segregando e estigmatizando as juventudes negras, uma vez que esta não é reconhecida pela sociedade como um grupo social formado por sujeitos de direitos. O racismo sobre a negritude e o corpo negro funda o estereótipo da suspeição e da vinculação da pessoa negra ao banditismo. Esta realidade concebe uma trajetória de violência, violações e incoerências com a população negra, que é responsabilizada pelos altos índices de crimes que aumentam as estatísticas da violência urbana, na cidade de Goiânia. Com base no racismo e na hierarquização sociorracial, as juventudes negras são subjugadas e inseridas em uma cadeia de extirpação de direitos. Elas também são submetidas a ações violentas da sociedade e da polícia, que a tem como alvo principal de investigações e de ações preventivas. A violência policial é, portanto, legitimada socialmente como forma de conter a violência urbana. Esta, por sua vez, é representada pela associação das juventudes negras aos crimes ocorridos nos espaços da cidade. Além dos processos comunicativos do cotidiano que contribuem para a legitimação da violência policial, a comunicação midiática também ratifica o racismo e os processos de exclusão, uma vez que se utiliza de um discurso de eficácia e eficiência diante das ações policiais que combatem o crime, sob a constante vigilância e punição impostas às juventudes negras. Com o uso dos procedimentos metodológicos do grupo focal, vinculado à observação, do relato e da análise documental, esta dissertação tem como objetivo analisar de que forma os corpos negros são instrumentalizados pelas ações comunicativas para legitimar a violência policial contra a juventude negra. A ressignificação de tais corpos e a constatação de que é fundamental combater o racismo oriundo da estigmatização dos corpos negros pode-se constituir um ponto forte na luta antirracista.

Esta tese realiza uma análise do romance Um defeito de cor (2006), de Ana Maria Gonçalves, sublinhando os aspectos formais do texto e indicando como eles acionam problematizações urgentes para a crítica literária produzida no Brasil. Os procedimentos estéticos com que a representação em primeira pessoa é realizada na obra são concebidos como chave para vincular a literatura às narrativas historiográficas, sobretudo aquelas produzidas pela História Social da Escravidão, dando a ver como a obra de Gonçalves se vale da encruzilhada epistêmica entre ficção e realidade. Propõe-se, assim, que a carta configurada na obra, por meio da qual se constrói a enunciação de uma mãe africana que relata sua trajetória de vida, e nela as constrições ao exercício da maternidade ao longo do século XIX no Brasil e na África, performatiza uma corporalidade negra, convocando a crítica contemporânea a realizar o desrecalque do corpo negro de sua discursividade. Como desdobramento dessa proposição, o trabalho contrapõe a narradora Kehinde, elaborada a partir de um foco narrativo complexo, à figura estereotipada da mãe preta, presente de reiteradas maneiras no cânone literário nacional. Visibilizam-se com essa estratégia os mecanismos simbólicos de interdição do reconhecimento da ascendência africana no/do Brasil pelo discurso nacionalista, ao mesmo tempo em que se reflete sobre as possibilidades de encenação e disrupção desse construto ideológico pelo romance de Gonçalves. / This thesis analyzes the novel Um defeito de cor (2006), by Ana Maria Gonçalves, highlighting the formal aspects of the text and indicating how they trigger urgent problematizations for the literary criticism produced in Brazil. The aesthetic procedures with which first-person representation is carried out in the novel are conceived as a key to linking literature to historiographical narratives, especially those produced by the Social History of Slavery, showing how the work of Gonçalves uses the epistemic crossroads between fiction and reality. It is proposed, therefore, that the letter set forth in the work, through which the enunciation of an African mother is constructed, which relates her life trajectory, and in her the constrictions to the exercise of motherhood throughout the nineteenth century in Brazil and Africa, performs a black corporality, summoning the contemporary critique to realize the vizualization of the black body of its discursivity. As an unfolding of this proposition, the work contrasts the narrator Kehinde, elaborated from a complex narrative focus, to the stereotyped figure of the \"mammy\", present in the national literary canon. The symbolic mechanisms of the interdiction of the recognition of African ancestry in Brazil by the nationalist discourse are visible with this strategy, while at the same time reflecting on the possibilities of staging and disruption of this ideological construct by Gonçalves\' novel.