[pt] A dissertação procura mapear a cultura de favela que se expandiu na década de 90, sondando as manifestações artísticas produzidas nas favelas. Através de obras de três autores, Carolina de Jesus, Paulo Lins e Luiz Paulo Corrêa e Castro, desenvolve o conceito de literatura de favela, identificando as tipologias recorrentes de favelainferno e favela-idílio na produção literária que dialoga com a temática da favela. / [en] The dissertation maps the culture of the favelas, greatly expanded during the 90´s, focusing on their artistic manifestations. Through the works of three authors, Carolina de Jesus, Paulo Lins and Luiz Paulo Corrêa e Castro, we explore the concept of favela literature and identify a binary typology (favela-inferno / favela-idílio) in the literary production that dialogues with the favela.

A elaboração deste trabalho foi motivada pela percepção de que as vozes de indivíduos subalternizados, embora muitas vezes explicitadas no texto literário, passam freqüentemente despercebidas no processo analítico desses textos. A crença de que isto se deve não a uma negligência preconcebida, mas antes a uma colonização das [nossas] perspectivas cognitivas (QUIJANO, 2005, p.237), motivou-nos, conseqüentemente, a realizar um trabalho de natureza propositiva. Um trabalho, cabe dizer, que torne legível, para o estudioso de literatura, um arcabouço teórico capaz de auxiliá-lo na estruturação de análises literárias que abracem uma perspectiva descolonizada. E que assim sendo, auxilie o leitor e/ou crítico literário a transcender o enfoque dado à caracterização da opressão que demarca a existência subalternizada, ao potencializar a atenção para com as estratégias de resistência postas em movimento, pelo indivíduo marginalizado, para garantir as condições necessárias à sua sobrevivência. Desse modo, e entendendo a desconstrução das subalternidades como opção ético-políticoepistemológica, tratamos de recuperar a perspectiva bakhtiniana do outro; os conceitos de Relação e de Crioulização, propostos por Édouard Glissant; as reflexões sobre o homo situs e os sítios simbólicos de pertencimento, elaboradas por Hassan Zaoual; e a razão cosmopolita proposta por Boaventura de Sousa Santos. Isto se deu, porque o consenso intelectual percebido nos textos teóricos considerados quanto à existência, à capacidade e ao valor do papel de pessoas historicamente outremizadas mostrou-se adequado ao modelo teórico que desejávamos propor. Mas também porque nossa intenção era a de somar em conjunto os esforços das diferentes disciplinas acadêmicas, para interpretar e documentar diferenças e construir pontos de vista plurais (DIAS, 1998, p.128). Cumpre, ainda, dizer que o desenvolvimento desta dissertação se apoiou no intuito de contribuir para com a difusão da noção de existência subalterna, memoravelmente trabalhada por Spivak nos anos 1980, e recentemente transcendida por pesquisadores latino-americanos, quando se atêm ao exame da colonialidade do poder e de uma geopolítica do conhecimento, e por intelectuais portugueses ao considerarem os estudos e movimentos desenvolvidos a partir do Sul Global. / By recognizing that the voices of subaltern characters were often overlooked in the study of literary texts, we decided to carry out a theoretical work that could assist the student of literature to structure his/her literary analysis by following a decolonized perspective. We wanted the scholar of literature to transcend the focus on the characterization of the oppression that marks the subaltern existence by paying more attention to the strategies of resistance carried out by marginalized individuals in a way to ensure the necessary conditions for their survival. Thus, we decide to consider the Bakhtinian perspective of the other; the concepts of Relation and of Creolization, considered by Edouard Glissant; the concepts of homo situs and of symbolic sites of belonging, developed by Hassan Zaoual, and the idea of a cosmopolitan reason, as it is proposed by Boaventura de Sousa Santos. This was done because the intellectual consensus revealed in these texts, regarding the existence, the capacity and the value of the role of subaltern people was adequate to the theoretical model that we wanted to propose. It is also important to mention that the development of this work contributed to the diffusion of the concept of subaltern existence, remarkably crafted by Spivak in 1980s, and recently surpassed by Latin American researchers, when they stick to the examination of the coloniality of power and of a geopolitics of knowledge, and by Portuguese intellectuals when they tend to consider the studies and the resistance movements developed from the South.

Supervisors: Luis Urrieta and Noah De Lissovoy This qualitative and sociohistorical study examines the lives and experiences of Chicana/o educators in Texas and the ideological and political discourses of equity and social justice that they draw from to shape their practice in three educational sites: the Llano Grande Center (LGC), Red Salmon Arts/Resistencia Bookstore (RSA), and the Advanced Seminar in Chicana/o Research (ASCR). I document their work based on the oral narratives of fifteen educators, site document analysis, and ethnographic work I conducted as observant participant associated with these organizations. This project extends recent scholarship that links critical pedagogy, social and cultural theories of identity formation and new social movement scholarship to understand the multiple cultural, social and political dimensions of activist education. My principal findings indicate new senses of individual and collective identity practice, reframed critical and culturally relevant pedagogies, and a reconceptualization of indigenous discourse and practice. These findings have important implications for activists, educators and researchers by rearticulating scholar activist work in new more emancipatory ways that considers place-based models of critical and cultural relevant teaching and learning and more radically democratic research practices. / text

The essay represents the projector principle, on which, as the essay’s author believes, the narration of The Summer Lightning and Other Stories by Olive Senior is based. The projector principle illustrates the idea that little details and images in the text serve big purposes, for example, reflect the emotional state of the characters or how the characters construct their identity. The literary analysis of the present essay aims at exploring a complicated identity construction in the context of Jamaica with its half-lost indigenous and half-remained colonial legacies through the identity construction of adolescent Jamaican protagonists of the short stories.

在這篇研究阿蘭達蒂•洛伊《微物之神》之再現與踰越的論文中，筆者所要探討的主題有二，第一點旨在分析作者如何透過雙胞胎女孩的稚氣觀察去敘事，呈現出印度南方小鎮中，一家族興落的故事。筆者藉由霍米•巴巴的殖民學舌和含混將小說中的後殖民景狀加以探討；第二點以佳亞特麗•史碧娃克的第三世界女性觀點，探討小說中阿慕的踰越社會加諸於女性之限制。尤其在殖民後的印度，女性的角色並未因解殖民而提高或改善，故其跨越性別邊界及限制之舉，實為後殖民女性自覺與自我定位之肯定。 第一章筆者將阿蘭達蒂之生長背景及寫作過程作簡要之介紹。第二章筆者將後殖民印度之文學情況與阿蘭達蒂之寫作特色做一連結及闡述。第三章筆者提出霍米•巴巴之殖民學舌及含混敘述小說中重要之片段。第四章筆者以佳亞特麗•史碧娃克於文章「賤民能否發言？」中對第三世界女性所受之同質化等之不平對待，引出小說中作者所要表達的議題。以小說中阿慕為例，筆者闡述後殖民女性應有超越束縛之意識，並進而達成自我的定位。第五章，筆者對《微物之神》之標題做出自己之見解，並總論此篇研究所欲達到之景境。 / In the study of Arundhati Roy’s The God of Small Things, I focus on two essential aspects: representation and transgression. The first concern lies in the author’s linguistic and literary presentation that is closely related to Homi K. Bhabha’s colonial mimicry and hybridity in the novel. My second concern is related to Gayatri C. Spivak’s postcolonial feminist thoughts and Ammu’s transgressive behaviors. In the first chapter, I offer an epitome of the thesis. The themes of biology and transgression expressed by the author testify to the postcolonial tasks of demolishing the authorized norm and praising the indigenous aesthetics. The literary and sexual transgressions in and of the novel illustrate the abatement of confinements and the liberation of the mind and body. The second chapter of the thesis discusses literary issues in postcolonial India that are closely related to Arundhati Roy’s novel and writing. In the third chapter, I further develop Homi K. Bhabha’s theories of mimicry and hybridity that accentuate literary strategies in Arundhati Roy’s The God of Small Things. The fourth chapter has deeply explored on Gayatri C. Spivak’s postcolonial feminist thoughts and analyzed the transgressors that break up the social bonds in the novel. In the final chapter, I explain the novel’s title with the stress on indigenous aesthetics and the ensuing change of little discourse.

This essay studies the Swedish museum debate during 2016–2017, regarding the display of history. The sources analysed here that represent the debate are the Swedish Govenment’s Proposition on Cultural Heritage Politics (Regeringens proposition 2016/17:116), the Museum Investigation (Ny Museipolitik 2015) and articles from Swedish daily newspapers. The essay uses Laurajane Smith’s work (Uses of Heritage 2006) on Authorized and Subaltern Heritage Discourses, as well as methods for argument analysis and construction of the Heritage node. The essay concludes that the Government’s Proposition is more closely tied to a Subaltern Heritage Discourse, while the Investigation lies somewhere in between both discourses, and the newspaper articles adhere to an Authorized Heritage Discourse. The Proposition construct the Heritage node in an open, multiculturalistic way that also focus on relevancy for today’s society and stresses the importance of the experience of the visit. The Investigation focus on the special role of the museum professionals, and also believes in a balance between traditional knowledge-based exhibitions and experience-based ones. The authors of the articles see the heritage as under threat from Government Politics, where knowledge and tradition is being replaced by norm criticism and multiculturalism.

Este trabalho discute as possibilidades de construção de ações emancipatórias frente às imposições hegemônicas. Para tanto, buscou-se compreender as práticas construídas nas ambiências das classes subalternas, em especial sua relação com o espaço no contexto da cidade. Tal relação foi discutida a partir do entendimento da comunicação e cultura como campo investigativo e da consideração do espaço como eixo articulador das novas subjetividades subalternas. Ao tomar como objeto de estudo o trabalho realizado pela Rede Livre Leste, o que se buscou, nesta pesquisa, foi mapear aspectos das novas subjetividades subalternas, analisando suas práticas culturais e seus processos comunicativos. Assim, avaliaram-se as potencialidades de constituição de novos fluxos emancipatórios diante da imposição das forças hegemônicas, ou seja, procurou-se estimar a viabilidade da constituição de espacialidades subalternas. / This paper discussed about the possibilities of the constructions of emancipatory actions before the hegemonic impositions in understanding the practices built in the ambiences of subaltern classes, especially its relationship with espace in the city context. These relationships have been discussed from the understanding of communication and culture as investigative field and taking into account the espace as the articulator central line of the new subaltern subjectivities. By taking as the study aim the work done by Rede Livre Leste, this paper aimed to map the aspects of the new subaltern subjectivities, analysing its cultural practices and its communicative processes to evaluate the potentialities of constitution of new emancipatory flows before the imposition of the hegemonic forces, that is, it was attempted to estimate the viability of the constitution of the subaltern spatialities.

Cette thèse se propose d’étudier le style indirect libre dans l’œuvre de Pier Paolo Pasolini à travers un axe de recherche qui peut, schématiquement, se rattacher à deux champs: le champs poétique, concernant l'activité littéraire et cinématographique de l'auteur et le champs théorique, où le problème de la forme esthétique devient l'occasion pour l'étude des principes linguistiques etsémiotiques qui en permettent la réalisation. Ce double parcours s'articule à son tour en quatre phases de développement: la phase de la « régression » théorisée dans les années quarante pour expliquer divers processus relatifs à l’emploi du dialecte en littérature ; celle de la « connexion sentimentale », notion tirée des Cahiers de prison de Antonio Gramsci pour décrire le rapport entre les intellectuels et les classes subalternes ; celle du discours indirect libre en tant que tel, qui se trouve à la base de lapoétique des romans romains des années cinquante, et qui est également présent dans d’autres œuvres élaborées plus tard ; et finalement la phase de la subjective indirecte libre, théorisée dans les années soixante pour décrire le style indirect libre au cinéma.La régression, la connexion sentimentale, le discours indirect libre, la subjective libre indirecte constituent le point de contact entre le parcours poétique et dans le même temps théorique de l'auteur. La régression dans la parole de l’autre, ou, comme au cinéma, dans le regard de l’autre, représente en dernière instance la tentative de l’auteur de traduire sur le plan littéraire et cinématographique la réalité de conflits historiques et existentiels. / This doctoral thesis studies the free indirect style in Pasolini's works through a double path of research. On one hand it takes into account his literary and cinematic production; on the other it studies the linguistic and semiotic principles on which its free indirect style hinges. This double path has been crossed in the light of four notions that Pasolini developed in his theoretical essays along his artisticactivity. The first one is the “regression”, elaborated in the 40s in order to describe the usage of the Friulian dialect of his early poems. The second one is the “sentimental connection”, which Pasolini discovered in Gramsci's Prison Notebooks and he employed to analyse the relationship between intellectuals and subaltern classes. The third one concerns the free indirect discourse used in Pasolini's Roman novels of the 50s and studied from a linguistic and semiotic point of view in some essays. The last one is the free indirect subjective theorised in the 60s to describe the cinematic adaptation of the free indirect style.Regression, sentimental connection, free indirect discourse and free indirect subjective are the most important notions of Pasolini's free indirect style. They show how the author established itslinguistic, political and sentimental relationship with the subalterns that populates his literary works aswell as his movies.

Les romans coloniaux tendaient à représenter les Autres de couleur de manière plus précise et réaliste que la littérature exotique. Comme dans un musée colonial, Ulysse cafre ou l'histoire dorée d'un Noir de Marius-Ary Leblond, Ameenah de Clément Charoux exposent la colonie, son fonctionnement et ses habitants. Les romanciers coloniaux mauriciens et réunionnais décrivent dans le détail, grâce au naturalisme l'intimité des races, autrement dit le génie de chaque race. Marius-Ary Leblond affirment qu'ils seraient plus aptes à décrire le réel insulaire. La représentation de l'Autre de couleur génère un conflit de légitimité. Les femmes de couleur, indiennes, noires, cafrines et métisses sont perçues dans les romans coloniaux comme des Autres à la fois racialisés et genrés. Elles sont subalternes des narrateurs et héros blancs qui parlent pour elles et les représentent. A contrario, dans les romans et les récits mémoriels postcoloniaux féminins, À l'autre bout de moi de Marie-Thérèse Humbert, Rouge Cafrine de Véronique Bourkoff et Femme sept peaux de Monique Séverin, les narratrices et les héroïnes critiquent la persistance de l'idéologie coloniale dans les sociétés anciennement colonisées. Elles donnent de nouvelles visions des femmes de couleur, capables de se représenter, de s'analyser et d'observer la société postcoloniale, car elles sont encore marquées par les stéréotypes et les discours colonialistes, orientalistes et phallocrate qui les détruisent. Paradoxalement, les identités complexes, hétérogènes et multiples des narratrices sont davantage présentes dans les fictions romanesques que dans les types autobiographiques, censés rendre compte de vérité identitaire. Ainsi, les autobiographies à Maurice et à La Réunion sont déconstruites dans les textes de notre corpus : Miettes et Morceaux d'Eileen Lohka, Letan lontan de Rada Gungaloo, Tête Haute de Mémona Hintermann et La Magie de Siva Desiles, une comédie musicale autobiograohique de Jasmine Desiles. / Colonial novels try to represant more precisely the Colored people than exotic literature. As colonial museum, Ulysse cafre ou l’histoire dorée d’un Noir written by Marius-Ary Leblond and Ameenah written by Clément Charoux expose colony, its functioning and natives. These colonials mauritians and reunioneses novelists use naturalism style to describe the intimate of races, genius of races. Marius-Ary Leblond say that they are better able to teach insular world than exotic literature. Colored people representations provoke legitimate conflict. In colonial novels, colored women, (Indians, black, “cafrine” , metis) are regarded as racial Other and gendered Other. They are subaltern of white narrators and heros. Conversely, in postcolonial women mauritian and reunionese novels, (Á l’autre bout de moi written by Marie-Thérèse Humbert, Rouge Cafrine written by Véronique Bourkoff and Femme sept peaux written by Monique Séverin) female narrators and heroines criticize continued colonial ideology, which still goes on in societies that were colonized. They give different visions of colored women, enough to represent themselves, to analyze themselves and observe postcolonial society. They still filled with stereotypes and colonialist, phallocrate, orientalist discourses. These rhetorics destroy their identity. Paradoxaly, complex, heterogeneous and multiple identities of female narrators figure into more novelistic fiction than autobiography. However, autobiography is supposed to account for true female narrator’s identity. This way, mauritian autobiography and reunionese autobiography are deconstructed in the texts of our corpus: Miettes et Morceaux written by Eileen Lohka, Letan lontan written by Rada Gungaloo, Tête Haute written by Mémona Hintermann and La Magie de Siva Desiles an autobiographic music hall written by Jasmine Desiles

Vilka erfarenheter har enskilda medlemmar av den svenska separatistiska facebookgruppen Heja Livet? Ur ett feministiskt perspektiv har vi genomfört kvalitativa personliga intervjuer vilket gav ett resultat som visar att gruppen bidrar med något betydelsefullt. Det personliga är politiskt och genom att ta del av andras berättelser kan enskilda kvinnor få ett högre feministiskt medvetande som kan bidra till feministiska handlingar. Det visar sig också att gruppen kan fungera som ett stöd i olika frågor för enskilda kvinnor i deras vardag. Vi presenterar ett teoretiskt resultat, omdefinierar innebörden av ett högre feministisk medvetande och argumenterar för att Heja Livet kan ses som en medvetenhetshöjande grupp. Faktumet att de flesta av våra intervjupersoner inte delar med sig av sina erfarenheter i facebookgruppen hotar dock konstruktionen av Heja Livet som en subalternativ offentlighet som utmanar dominerande offentligheter. Den vita medelklass cis-kvinnan är idealet i gruppen och det bristande intersektionella perspektivet gör att vi kritiserar Heja Livet som ett ett lyckat feministiskt projekt. / What experiences do individual members have of the Swedish separatist Facebook group Heja Livet? We have conducted qualitative personal interviews from a feminist perspective and have come to the conclusion that the group is contributing with something meaningful. The personal is political and by reading other women’s stories, individual women can achieve a higher feminist consciousness which can contribute to feminist actions. Another finding is that the group can also function as a support in different matters for individual women in their everyday lives. We are presenting a theoretical result, we redefine the meaning of a higher feminist consciousness and argue that Heja Livet can be seen as a consciousness raising group. The fact that most of the interviewed did not share their own experiences in Heja Livet, threatens the construction of the group as a subaltern counterpublic that challenges dominant publics. The white middle class cis-woman is the norm in Heja Livet and we criticize it for not being a successful feminist project because of the lack of an intersectional perspective.