The backwoods of our backyards : Ontario pioneers and the crisis of ecology /

Early in his landmark ecocritical book The Comedy of Survival, Joseph Meeker develops an intriguing hypothesis about human behaviour. He remarks the species Homo sapiens tend to behave like an invasive or pioneering organism, entering a bio-geographical region and aggressively outcompeting all other species for space and resources. Moreover, he suggests, human cultural traditions, at least in the West, have reinforced such behaviour, continually insisting that the impulses he describes are both necessary and right. While Meeker's work goes on to assess a number of literary works in both the tragic and comic modes, his work never fully explores this hypothesis in the context of human pioneers; that is, there is no ~xploration o( how these themes manifest themselves within our culture and what role they might play in the culture of specific pioneering groups. This project is an attempt at just such an analysis, examining the validity of Meeker's hypothesis through a case study of settler literature in Upper Canada/Ontario between the . years 1800-1867. It explores Meeker's work within three main areas: first, Chapter Two situates his book historically within the field of ecocriticism, showing what came before and the explosion of ecocritical inquiry that followed its release. This chapter also delves into the rift between the natural sciences and humanities, arguing that a move towards deeper interdisciplinarity is r:tecessary for the future. Chapter Three examines the biological and ecological ground on which Meeker rests his hypothesis through exploring evolutionary biology as well as invasive and pioneer species behaviour. Lastly, Chapter Four examines how these ecological principles are manifested in the writings of early Canadian settlers, suggesting that Meeker's hypothesis indeed finds itself on stable footing.

The journey towards comprehensive school health within an aboriginal community

The purpose of this research is to describe the journey towards Comprehensive School Health at two Aboriginal elementary schools. An advocate and a healthy schools committee were identified at both schools and were responsible for developing initiatives to create a healthy school community. A case study was used to gather an in-depth understanding of Comprehensive School Health for the two schools involved. As a researcher, I functioned within the role of a participantobserver, as I was actively involved in the programs and initiatives completed in both schools. The research process included: the pilot study, ethics clearance and distribution of letters of invitation and consent forms. Data collection included 16 semi-structured, guided interviews with principals, teachers, and stupents. Participant observations included sites of the gymnasium, classroom, playgrounds, school environments, bulletin boards as well as artifact analysis of decuments such as school newsletters, physical education schedules and school handbooks. The interviews were transcribed and coded using an inductive approach which involves finding patterns, themes and categories from the data (patton, 2002). Research questions guided the findings as physical activity, physical education, nutrition and transportation were discussed. Themes developed t~rough coding were teacherstudent interactions, cultural traditions, time constraints and professional development and were discussed using a Comprehensive School Health framework.

Aboriginal women in education : Honouring our experiences a vision of access to and success within the university

This thesis explores Aboriginal women's access to and success within universities through an examination of Aboriginal women's educational narratives, along with input from key service providers from both the Aboriginal and non-Aboriginal community. Implemented through the Wildfire Research Method, participants engaged in a consensusbased vision of accessible education that honours the spiritual, emotional, intellectual, and physical elements necessary for the success of Aboriginal women in university. This study positions Aboriginal women as agents of social change by allowing them to define their own needs and offer viable solutions to those needs. Further, it connects service providers from the many disconnected sectors that implicate Aboriginal women's education access. The realities of Aboriginal women are contextualized through historical, sociocultural, and political analyses, revealing the need for a decolonizing educational approach. This fosters a shift away from a deficit model toward a cultural and linguistic assets based approach that emphasizes the need for strong cultural identity formation. Participants revealed academic, cultural, and linguistic barriers and offered clear educational specifications for responsive and culturally relevant programming that will assist Aboriginal women in developing and maintaining strong cultural identities. Findings reveal the need for curriculum that focuses on decolonizing and reclaiming Aboriginal women's identities, and program outcomes that encourage balance between two worldviews-traditional and academic-through the application of cultural traditions to modern contexts, along with programming that responds to the immediate needs of Aboriginal women such as childcare, housing, and funding, and provide an opportunity for universities and educators to engage in responsive and culturally grounded educational approaches.

Identidty, displacement and embodiment in women's independent cinema

Ma thèse examine les déplacements multiples – déportation, exil, voyage – et l‟expérience diasporique de différentes communautés ethniques dans le cinéma indépendant de trois réalisatrices et artistes contemporaines : Julie Dash, Rea Tajiri et Trinh T. Minh-ha. J‟analyse la déconstruction et reconstruction de l‟identité à travers le voyage et autres déplacements physiques ainsi que les moyens d‟expression et stratégies cinématographiques utilisées par ces artistes pour articuler des configurations identitaires mouvantes. Je propose de nouvelles lectures de la position des femmes dans des milieux culturels différents en considérant la danse comme une métaphore de la reconfiguration de l‟identité féminine qui se différencie et s‟émancipe des traditions culturelles classiques. Les expériences de l‟histoire et de la mémoire, qui sont vécues dans les corps des femmes, sont aussi exprimées par le biais des relations intermédiales entre la photographie, la vidéo et le film qui proposent des images de femmes variées et complexes.

Dance and the colonial body : re-choreographing postcolonial theories of the body

Cette dissertation traite la danse comme une catégorie d’analyse permettant de réorienter ou de ré-chorégraphier les théories postcoloniales du corps. Mon étude montre qu’ Edward Said, par exemple, décrit la danse seulement à travers le regard impérial, et que Homi Bhabha et Gayatri Spivak négligent complètement le rôle de la dance dans la construction de la subjectivité postcoloniale. Mon étude explique que Stavros Karayanni récemment explore la danse masculine et féminine comme espaces de résistance contre la domination coloniale. Toutefois, l’analyse de Karayanni met l’accent seulement sur le caractère insaisissable de la danse qui produit une ambigüité et une ambivalence dans le regard du sujet impériale. Contrairement aux approches de Said et de Karayanni, ma dissertation explore la danse comme un espace ou le corps du sujet colonisé chorégraphie son histoire collective que l’amnésie coloniale ne cesse de défigurer au moyen de l’acculturation et de marchandisation. Je soutiens que la danse nous offre la possibilité de concevoir le corps colonisé non seulement dans son ambiguïté, comme le souligne Karayanni, mais aussi dans son potentiel de raconter corporellement sa mémoire collective de l’intérieur de la domination impériale. Ma dissertation soutient que les catégories de l’ambiguïté et de l’insaisissabilité mystifient et fétichisent le corps dansant en le décrivant comme un élément évasif et évanescent. Ma dissertation inclut plusieurs traditions culturelles de manière à réorienter la recherche ethnographique qui décrit la dance comme articulation codée par une culture postcoloniale spécifique. Mon étude montre comment le corps colonisé produit un savoir culturel à partir de sa différence. Cette forme de savoir corporelle présente le corps colonisé en tant que sujet et non seulement objet du désir colonial. Méthodologiquement, cette dissertation rassemble des théories occidentales et autochtones de la danse. Mon étude considère aussi les théories postcoloniales du corps dansant à partir des perspectives hétérosexuelles et homosexuelles. En outre, mon étude examine les manières dont les quelles les théories contemporaines de la danse, postulées par Susan Foster et André Lepecki par exemple, peuvent être pertinentes dans le contexte postcolonial. Mon étude explore également le potentiel politique de l’érotique dans la danse à travers des représentations textuelles et cinématographiques du corps. L’introduction de ma dissertation a trois objectifs. Premièrement, elle offre un aperçu sur les théories postcoloniales du corps. Deuxièmement, elle explique les manières dans lesquelles on peut appliquer des philosophies contemporaines de la danse dans le contexte postcoloniale. Troisièmement, l’introduction analyse le rôle de la dance dans les œuvres des écrivains postcoloniales célèbres tels que Frantz Fanon, Wole Soyinka, Arundhati Roy, et Wilson Harris. Le Chapitre un remet en question les théories de l’ambiguïté et de l’insaisissabilité de la danse à partir de la théorie de l’érotique postulé par Audre Lorde. Ce chapitre examine le concept de l’érotique dans le film Dunia de Jocelyne Saab. Le Chapitre deux ouvre un dialogue entre les théories occidentales et autochtones de la danse à partir d’une étude d’un roman de Tomson Highway. Le Chapitre trois examine comment l’écrivain Trinidadien Earl Lovelace utilise la danse de carnaval comme espace culturel qui reflète l’homogénéité raciale et l’idéologie nationaliste à Trinidad et en les remettant également en question.

La proyección de imagen a partir de Soft Power, mediante Nation Branding y Diplomacia Pública en el caso de Japón, durante el periodo 2002 – 2010

En el actual contexto de globalización y con el comienzo de la era de la información, cada vez más Estados han buscado proyectar una imagen favorable con el objetivo de atraer atención y crear una reputación que permitan cumplir objetivos de política exterior y fomentar el desarrollo económico, logrando de esta manera un posicionamiento en el sistema internacional mediante estrategias novedosas, que incluyen elementos tanto diplomáticos, políticos, económicos, como comerciales y culturales. Para Japón, Nation Branding y la diplomacia pública han sido dos de las principales herramientas para lograr este reposicionamiento internacional, resaltando atractivos como las tradiciones culturales, el turismo, los incentivos para negocios, y trabajando en conjunto entre el gobierno nacional, el sector privado y la sociedad civil para crear relaciones entre el país y gobiernos y sociedades a nivel internacional.

De escola paroquial a escola pública: o significado da escola no desenvolvimento de Sananduva/RS

A escola, como instituição social presente em Sananduva/RS, ê vista integrando-se no contexto sócio-econômico de dois períodos históricos que se sucedem: 1898-1926 e 1927-55. O significado desta instituição, nesta região. durante o transcurso destes dOj5 períodos históricos traduz os interesses do Estado, Igreja e Colonos em torno da educação. O papel predominante de um ou de outro destes agentes na orientação do processo educacional levou a instituição escolar a apresentar, sucessivamente significados diferentes. Nos primórdios do povoamento da região (1898- 1927) colocada, especialmente a serviço da Igreja e dos Colonos caracterizou-se como instrumento de preservação do patrimônio religioso-cultural destes Colonos. Ap5s trinta, tanto serviu ao Estado, quanto à Igreja e aos Colonos. Tornou-se a escola de "todos". Passou, por esta razão a evidenciar, de modo particular, o seu caráter de "escola pública".

A cultura de índio, seu menino, vem de longe aqui : formação histórica e territorialização dos Tremembé/CE

This dissertation is based on the ethnography of a strategic selection of three Tremembé ethnic situations, which are situated in the backlands of Acaraú and Itarema, municipalities located in Ceará State (Northeast Brazil). My main aims are the following. Firstly, I reconstitute the historical and social formation of three localities, called Lagoa dos Negros, Telhas, and Queimadas, related to a particular origin myth which refers to Almofala, an extinct colonial Aldeamento in the seashore, where the Tremembé indians and other native populations were converted and gathered under missionary administration. According to the origin myth, these three localities were set up after a strong drought which happened in 1888 (the so called three eights) when a group of Tremembé families moved to the countryside and established close to the Lagoa dos Negros and, later on, they were segmented into smaller groups which started to live in other areas and places not far from the former location. Notably, I develop an anthropological approach to understand the historical formation of these three localities. Secondly, I analyze some processes of territorialization, which were emerged from the 1980s and had important consequences to these indigenous families throughout the next two decades. This historical dimension is re-appropriated and ressignified in ethnic terms. A third point of my work is the analysis of the construction of territorialities and also the cultural and symbolic dimensions which are formulated by the Tremembé Indians who live in these localities. Therefore, I investigate some cultural traditions and rituals, such as the Torém dance, but I also examine their multiple semantics, which constitute a transversal direction throughout the history understood by the Tremembé of the different social situations I researched. To sum up, there is a process of cultural actualization, which is still going on and presents itself through the ludic sphere as well as their political and religions dimensions, which are usually associated to the ritual presentation of the Torém

O reino encantado do sertão: uma crítica da produção e do fechamento da representação do sertão no romance de Ariano Suassuna

Based on the relation history, literature and space, this work examines the production and the closing of the representation of the hinterland in the Romance d A Pedra do Reino of the paraiban writer Ariano Suassuna. Inspired by method proposed by deconstructionist by Jacques Derrida, our reflection decomposes the writing scene of Suassuna by means of it s tracks to interpret the operation of the representation of the space-hinterland for the speech of the writer. Being thus, we present the elements chosen for Suassuna to weave an identification it s with this space-hinterland, taking a priori as a sentimental place and of familiar origin . The construction of this relation of belonging in great is measured grounded for a familiar memory entangled in the context politician who culminated in the Revolution of 1930 and that he resulted for the writer in the death of father. Suassuna launches a look on the identity and the Brazilian culture that guided in the tradition concept it searchs to deny the gift grounding its speech in the return to the past, a past order . Specifically in it s romance we notice to exist the fusing of these tracks in the production of a representation of the hinterland that it intends to close a concept of this space and its culture. Soon, the idea of kingdom sends to the space of the enchantments manufactured in infancy and retaken by the intellectual radical who in the anxiety of honor the father figure, does not save efforts in constructing a space representation that, over all, either faithful the representation that it searchs to trace of proper itself. Under one it marks of universality , the hinterland-kingdom of Suassuna if discloses eurocentric in the measure where it perpetuates discurse the filiation of the European cultural traditions.

Ethnoveterinary knowledge and practices at Colares island, Para state, eastern Amazon, Brazil

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)

Poética da cabaça: fruto de tradição, arte e comunicação

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)

Temas sociocientíficos: análise dos processos argumentativos no contexto escolar

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)

Construindo indicadores para a paisagem do Parque Estadual da Serra do Mar - Núcleo Santa Virgínia

Pós-graduação em Geografia - IGCE

Sujeitos diaspóricos e negociações identitárias: o entre-lugar em Brazil-Maru e Sonhos Bloqueados

Pós-graduação em Letras - FCLAS

O mapa de ponta-cabeça

Joaquin Torres Garcia reversed the position of the map of the continent, reaching South America north. This little drawing illustrates an article by Torres García, 1935, in which he advocates the creation of a "Escuela del Sur". This image illustrates a need in Latin America to seek their own ways. Torres-Garcia was inspired by the preColumbian American heritage for their symbolic and Constructivism proposes that Latin America look to the popular ancestral and cultural traditions and build an art itself through which the continent would no longer be a tributary of European culture. As production visual modern and contemporary Latin American context of globalization, takes the center / periphery relationship? The colonizer's model center/periphery relationship persists in the Latin American visual production? The technologies offered other ways of representation that break with the culture of repetition? These questions guide our research.