Escritas encarceradas: representações do universo prisional feminino nas páginas do jornal da Penitenciária Talavera Bruce

O jornal da Penitenciária Feminina Talavera Bruce, intitulado Só Isso!, produzido no período de 2004 a 2008, constitui objeto e fonte privilegiada nesta dissertação. Na análise do impresso, a metodologia de pesquisa esteve centrada na produção, circulação e recepção do referido jornal, buscando refletir sobre os possíveis sentidos constituídos nas escritas das apenadas, para uma melhor compreensão das práticas cotidianas dessas mulheres, principalmente, no que tange a uma realidade tão específica, fazendo emergir o registro de um modo de vida tão particular. Nesse sentido, busquei compreender o impresso pesquisado em seus destinos e representações mergulhando em nuances e particularidades que o tema comporta, buscando o universo de significados, isto é, a possibilidade de entendimento acerca das relações estabelecidas por esses sujeitos privados liberdade com a escrita na prisão, o que permitiu perceber quem são apenadas, como expressam suas sensibilidades e subjetividades, como vivem, por que escrevem e quais dificuldades enfrentam. Para analisar esse periódico, aproximei-me de fundamentos e de metodologia vinculados à História da Cultura Escrita e também de autores que auxiliaram a problematizar as questões voltadas para as vicissitudes do encarceramento feminino. Sendo assim, a interpretação desenvolvida está alicerçada em autores que apontam e problematizam a importância de compreender a escrita e o seu suporte, estudiosos que discutem as escritas em espaços de confinamento que, via de regra, procuram ocupar o tempo, experimentar a liberdade ou burlar a solidão, além de pesquisadores que ajudam a pensar a escrita de si e suas representações, e outros voltados para a História da Educação que pensam e discutem a importância do impresso enquanto fonte de pesquisa. Tendo em vista o fato desse tema ter uma fronteira tênue entre os campos de pesquisa, dialogo também com antropólogos e sociólogos que trazem dados sistematizados sobre o universo prisional e auxiliam na sua compreensão. O trabalho de pesquisa sobre jornal, representou, portanto, compreender um pouco mais sobre a realidade das mulheres privadas de liberdade, valorizando a escrita oriunda de um contexto em que os rigorosos meios de controle utilizados pela instituição penitenciária acabam por desumanizar os sujeitos apenados. Desta forma, o direito ao ato de escrita e leitura na prisão, torna-se revestido de uma função social e educativa fundamental para a sobrevivência no cárcere. A tentativa dessa pesquisa é, de alguma forma, trazer contribuições que possam refletir em garantia de direitos e oportunidades, possibilitando aos sujeitos encarcerados dignidade e melhores condições de vida.

Writing embodied practice from the inside : outside the exegesis

The textual turn is a good friend of expert spectating, where it assumes the role of writing-productive apparatus, but no friend at all of expert practices or practitioners (Melrose, 2003). Introduction The challenge of time-based embodied performance when the artefact is unstable As a former full-time professional practitioner with an embodied dance practice as performer, choreographer and artistic director for three decades, I somewhat unexpectedly entered the world of academia in 2000 after completing a practice-based PhD, which was described by its examiners as ‘pioneering’. Like many artists my intention was to deepen and extend my practice through formal research into my work and its context (which was intercultural) and to privilege the artist’s voice in a research world where it was too often silent. Practice as research, practice-based research, and practice-led research were not yet fully named. It was in its infancy and my biggest challenge was to find a serviceable methodology which did not betray my intentions to keep practice at the centre of the research. Over the last 15 years, practice led doctoral research, where examinable creative work is placed alongside an accompanying (exegetical) written component, has come a long way. It has been extensively debated with a range of theories and models proposed (Barrett & Bolt, 2007, Pakes, 2003 & 2004, Piccini, 2005, Philips, Stock & Vincs 2009, Stock, 2009 & 2010, Riley & Hunter 2009, Haseman, 2006, Hecq, 2012). Much of this writing is based around epistemological concerns where the research methodologies proposed normally incorporate a contextualisation of the creative work in its field of practice, and more importantly validation and interrogation of the processes of the practice as the central ‘data gathering’ method. It is now widely accepted, at least in the Australian creative arts context, that knowledge claims in creative practice research arise from the material activities of the practice itself (Carter, 2004). The creative work explicated as the tangible outcome of that practice is sometimes referred to as the ‘artefact’. Although the making of the artefact, according to Colbert (2009, p. 7) is influenced by “personal, experiential and iterative processes”, mapping them through a research pathway is “difficult to predict [for] “the adjustments made to the artefact in the light of emerging knowledge and insights cannot be foreshadowed”. Linking the process and the practice outcome most often occurs through the textual intervention of an exegesis which builds, and/or builds on, theoretical concerns arising in and from the work. This linking produces what Barrett (2007) refers to as “situated knowledge… that operates in relation to established knowledge” (p. 145). But what if those material forms or ‘artefacts’ are not objects or code or digitised forms, but live within the bodies of artist/researchers where the nature of the practice itself is live, ephemeral and constantly transforming, as in dance and physical performance? Even more unsettling is when the ‘artefact’ is literally embedded and embodied in the work and in the maker/researcher; when subject and object are merged. To complicate matters, the performing arts are necessarily collaborative, relying not only on technical mastery and creative/interpretive processes, but on social and artistic relationships which collectively make up the ‘artefact’. This chapter explores issues surrounding live dance and physical performance when placed in a research setting, specifically the complexities of being required to translate embodied dance findings into textual form. Exploring how embodied knowledge can be shared in a research context for those with no experiential knowledge of communicating through and in dance, I draw on theories of “dance enaction” (Warburton, 2011) together with notions of “affective intensities” and “performance mastery” (Melrose, 2003), “intentional activity” (Pakes, 2004) and the place of memory. In seeking ways to capture in another form the knowledge residing in live dance practice, thus making implicit knowledge explicit, I further propose there is a process of triple translation as the performance (the living ‘artefact’) is documented in multi-facetted ways to produce something durable which can be re-visited. This translation becomes more complex if the embodied knowledge resides in culturally specific practices, formed by world views and processes quite different from accepted norms and conventions (even radical ones) of international doctoral research inquiry. But whatever the combination of cultural, virtual and genre-related dance practices being researched, embodiment is central to the process, outcome and findings, and the question remains of how we will use text and what forms that text might take.

Inside the pleasure dome : cultural tourism on Australia’s Gold Coast

The City of the Gold Coast in Queensland, Australia, will host the Commonwealth Games in 2018. In advance of the Games, the City is beginning to reposition the traditional marketing programs that were based around the four S’s- ‘sun, sand, surf and sex.’ There is a new emphasis on urban sophistication, sport, science, education and the environment. At the same time, local communities are asking for renewed attention to residential issues, particularly relating to recognising the importance of culture to the region. In this paper I explore the development of integrated computer technologies (ICTs) as a way of linking tourism, culture and place in the experience economy of the Gold Coast. The discussion is framed by theories of the post-tourist, contemporary cultural tourism and the role of mobile technologies, and the figure of the ‘referential tourist.’ An examination of stakeholder responses to changing business and social frameworks on the Gold Coast shows how discussions about a range of issues coalesce around cultural tourism. Local communities have the opportunity to engage with the new tourist as they move quickly between leisure and cultural experiences, at once connected to tourist expectations but increasingly self-directed. The Surfers Paradise Nights campaign, which is based around social media, is a case in point. This campaign aims to interest visitors in becoming a part of a familiar third place, an online space, but one that will sustain an emotive connection to the physical location and events. The paper also draws on research carried out in Brisbane, Queensland, in relation to building connections between place and culture on designated, self-directed journeys via iPhone technology. Participant responses indicate the importance of narrative to developing cultural frameworks.

Helsinki adventure : inside the ‘design nation’

A travel article about Helsinki exploring the city's design culture. I’M often told that I’m from Finland. Even those who’ve known me for years confuse it with my birthplace, which is, in fact, Iceland. I’m not sure why the two countries are mixed up in this way, but it might be that Iceland and Finland are, in a sense, the “other” Scandinavian nations – on different sides of the Nordic world, but in the mind joined as its outer borders...

Reflections of reflections : authors, narrators and worlds inside and outside of autobiographical fiction

Mémoire numérisé par la Division de la gestion de documents et des archives de l'Université de Montréal

Pandora`s box : academic perceptions of student plagiarism in writing

Plagiarism is viewed by many academics as a kind of Pandora's box—the elements contained inside are too frightening to allow escape for fear of the havoc that may result. Reluctance by academic members of staff to discuss student plagiarism openly may contribute to the often untenable situations we, as teachers, face when dealing with student plagiarism issues. In this article, I examine the dilemmas English for Academic Purposes (EAP) staff face when dealing with student plagiarism in the tertiary classroom. The perceptions of all 11 teachers involved in teaching a first year EAP writing subject at South-Coast University are detailed in light of the university's policy on plagiarism. My research indicates that not only is an agreed definition of plagiarism difficult to reach by members of staff teaching the same subject, but plagiarism is a multi-layered phenomenon encompassing a spectrum of human intention. Evaluating the spectrum can lead to differences in the implementation of university plagiarism policy, the result of which embodies issues of equity. The aim of the article is to encourage policy-makers and academic staff to acknowledge the concerns about implementation of plagiarism policy. Collaborative, cross-disciplinary re-thinking of plagiarism is needed to reach workable solutions.

Learners’ motivation and identity in the Vietnamese EFL writing classroom

The study reported in this paper explores issues of motivation and learners’ identity in English as a Foreign Language (EFL) writing classroom in Vietnam from the perspectives of the learners. It was conducted with thirty English-major students at a university in central Vietnam. While relevant literature appears to place much emphasis on students’ extrinsic motivations related to institutional needs, their linguistic needs, and social needs in learning EFL writing, students are not only concerned with these but more significantly, with their intrinsic motivations such as their interest, passion and inspiration, which are linked to their personal and cultural needs in writing. Students in this study show their potential to write independently, creatively and passionately if they are really motivated. This reflects an image of students who are able and ready to write with a sense of authorship in a foreign language, which is different from how they appear to be in the routine described with writing as imitating the model and developing some preconceived ideas. The research also suggests that decisions about appropriate methods and materials for teaching writing in the study context need to be based on a comprehensive interpretation of not only the visible signs or visible needs mainly shaped by institutional requirements and social expectations but also what is deep inside students’ act of writing in a foreign language involving their own cognitive and affective process embedded in their unrecognised needs.

Knowing Indonesia Inside and Out: Herb Feith and the Intellectual Search for Understanding

Herb Feith was one of Australia's first and most prominent scholars of Indonesia. His books and articles dating from the late 1950s are still read by students of Indonesian politics today, and his opinion on Indonesia's future was sought until the day he died by people both in Australia and in Indonesia. He was also among the first to teach peace studies in Australian universities and is remembered for his activism on human rights, peace, and environmental issues as well as his scholarship. Jemma Purdey is researching and writing a biography of Herb Feith with particular focus on his engagement with Indonesia, both as scholar and humanist. This article endeavours to open up one of the areas explored in the biography, the relationship between the ‘foreign’ scholar and his subject, Indonesia. How does the initial point of engagement with Indonesia impact on the scholars’ way of ‘knowing’ it? The article is also a preliminary reflection on the process of writing, as the author negotiates her approach as biographer.

Femtosecond laser writing of buried waveguides in erbium III-Doped oxyfluoride glasses and nano-glass-ceramics

Femtosecond-pulsed laser writing of waveguides, a few mm long, is demonstrated; waveguides were written orthogonally to the writing beam inside the bulk of ErIII-doped oxyfluoride glasses at a depth of 160 mum. The writing beam was 795 nm wavelength, 54 fs pulse duration and 11 MHz repetition rate. Tracks were written at pulse energies of 13.1 nJ to 26.1 nJ and sample translational velocity of 10 mmmiddot.s-1 to 28 mmmiddots-1. The influence of translational velocity and pulse energy on the cross-sectional shape and integrity of the written tracks is reported. Tracks tend to be narrower as the pulse energy is lowered or translational velocity decreased. Above 22.9 nJ, pulse energy, tracks tend to crack. The estimated refractive index profile of one track has a maximum increase of refractive index of 0.003 at the centre. These glasses normally form nano-glass-ceramics on heat treatment just above the glass transformation temperature (Tg). Here, a post-fs-writing heat-treatment just above Tg causes nano-ceramming of the glass sample and removes a light-guiding peripheral region of the fs-written tracks suggesting that this region may have been fs-modified by stress alone. Waveguiding at 651 nm and 973 nm wavelengths, and upconversion, are demonstrated in optimally written tracks.

Femtosecond laser writing of buried waveguides in erbium III-Doped oxyfluoride glasses and nano-glass-ceramics

Femtosecond-pulsed laser writing of waveguides, a few mm long, is demonstrated; waveguides were written orthogonally to the writing beam inside the bulk of ErIII-doped oxyfluoride glasses at a depth of 160 mum. The writing beam was 795 nm wavelength, 54 fs pulse duration and 11 MHz repetition rate. Tracks were written at pulse energies of 13.1 nJ to 26.1 nJ and sample translational velocity of 10 mmmiddot.s-1 to 28 mmmiddots-1. The influence of translational velocity and pulse energy on the cross-sectional shape and integrity of the written tracks is reported. Tracks tend to be narrower as the pulse energy is lowered or translational velocity decreased. Above 22.9 nJ, pulse energy, tracks tend to crack. The estimated refractive index profile of one track has a maximum increase of refractive index of 0.003 at the centre. These glasses normally form nano-glass-ceramics on heat treatment just above the glass transformation temperature (Tg). Here, a post-fs-writing heat-treatment just above Tg causes nano-ceramming of the glass sample and removes a light-guiding peripheral region of the fs-written tracks suggesting that this region may have been fs-modified by stress alone. Waveguiding at 651 nm and 973 nm wavelengths, and upconversion, are demonstrated in optimally written tracks.

Inside convention hall at NOW conference, Atlantic City

General note: Title and date provided by Bettye Lane.

Inside convention center

General note: Title and date provided by Bettye Lane.

Basil Paterson, Secretary of State (left) and Mary Anne Krupsak inside convention center

General note: Title and date provided by Bettye Lane.