A MULHER AL��M DO BEM E DO MAL: Mal��vola e a representa����o cinematogr��fica do feminino integrado

Estudo sobre as constru����es simb��licas e identit��rias da mulher presentes na narrativa e na estrutura das personagens femininas do filme Mal��vola (2014) ��� produ����o dos est��dios Disney (EUA). A narrativa �� inspirada no conto de fadas ���A Bela Adormecida do Bosque��� e distingue-se pela perspectiva feminina, modificando as possibilidades de interpreta����o, al��m de possibilitar a quebra do paradigma dicot��mico relacionado ao Bem e ao Mal. A pesquisa tem por objetivo estudar a evolu����o das constru����es imagin��rias da mulher no cinema e tra��ar paralelos entre as caracter��sticas arquet��picas das personagens de Mal��vola em rela����o �� identidade da mulher na contemporaneidade. Para tal, ser�� tomado como referencial te��rico os estudos do imagin��rio social, com as obras de Gilbert Durand, Edgar Morin e, em especial, Michel Maffesoli; conceitos da psican��lise a partir dos trabalhos de C.G. Jung, Erich Neumann, Marie-Louise Von Franz e Clarissa Pinkola Est��s; as teorias de Stuart Hall, Laura Mulvey e Gilles Lipovetsky relacionadas aos estudos culturais com ��nfase em g��nero; e tamb��m o ecofeminismo atrav��s dos trabalhos de autoras como Vandana Shiva e Maria Mies. Nosso referencial te��rico-metodol��gico �� a Hermen��utica de Profundidade (HP) visando �� interpreta����o da estrutura simb��lica de nosso objeto. Resultam desta pesquisa a verifica����o de um processo de satura����o de padr��es identit��rios e simb��licos provindos da modernidade e a evolu����o de novas din��micas nas narrativas presentes nas m��dias e na comunica����o.

Freedom of thought in the aftermath of the Charlie Hebdo attacks

Peer reviewed

National, Regional, Global TV in Algeria : University students and television audience after the 2012 Algerian Media law

Acknowledgments: The authors would like to thank the colleagues Saida Kheira Benammar, who helped to set up the survey in Mostaganem, and Mohamed Chihat, who helped to contact and meet researchers in Algiers, for their generous and wholehearted support. Viola Sarnelli also wishes to thank Prof. Bel Abbes Neddar, who sponsored and supervised her post-doctoral fellowship at the University of Mostaganem, and his Magistere students, for their active participation in the Media and Cultural Studies seminars.

Unnatural History: Ecological Temporality in Post-1945 American Literature

<p>While environmental literary criticism has traditionally focused its attention on the textual representation of specific places, recent ecocritical scholarship has expanded this focus to consider the treatment of time in environmental literature and culture. As environmental scholars, activists, scientists, and artists have noted, one of the major difficulties in grasping the reality and implications of climate change is a limited temporal imagination. In other words, the ability to comprehend and integrate different shapes, scales, and speeds of history is a precondition for ecologically sustainable and socially equitable responses to climate change.</p><p>My project examines the role that literary works might play in helping to create such an expanded sense of history. As I show how American writers after 1945 have treated the representation of time and history in relation to environmental questions, I distinguish between two textual subfields of environmental temporality. The first, which I argue is characteristic of mainstream environmentalism, is disjunctive, with abrupt environmental changes separating the past and the present. This subfield contains many canonical works of postwar American environmental writing, including Aldo Leopold���s A Sand County Almanac, Edward Abbey���s Desert Solitaire, Annie Dillard���s Pilgrim at Tinker Creek, and Kim Stanley Robinson���s Science in the Capital trilogy. From treatises on the ancient ecological histories of particular sites to meditations on the speed of climate change, these works evince a preoccupation with environmental time that has not been acknowledged within the spatially oriented field of environmental criticism. However, by positing radical breaks between environmental pasts and environmental futures, they ultimately enervate the political charge of history and elide the human dimensions of environmental change, in terms both of environmental injustice and of possible social responses.</p><p>By contrast, the second subfield, which I argue is characteristic of environmental justice, is continuous, showing how historical patterns persist even across social and ecological transformations. I trace this version of environmental thought through a multicultural corpus of novels consisting of Ralph Ellison���s Invisible Man, Ishmael Reed���s Mumbo Jumbo, Helena Mar��a Viramontes��� Under the Feet of Jesus, Linda Hogan���s Solar Storms, and Octavia Butler���s Parable of the Sower and Parable of the Talents. Some of these novels do not document specific instances of environmental degradation or environmental injustice and, as a result, have not been critically interpreted as relevant for environmental analysis; others are more explicit in their discussion of environmental issues and are recognized as part of the canon of American environmental literature. However, I demonstrate that, across all of these texts, counterhegemonic understandings of history inform resistance to environmental degradation and exploitation. These texts show that environmental problems cannot be fully understood, nor environmental futures addressed, without recognizing the way that social histories of inequality and environmental histories of extraction continue to structure politics and ecology in the present.</p><p>Ultimately, then, the project offers three conclusions. First, it suggests that the second version of environmental temporality holds more value than the first for environmental cultural studies, in that it more compellingly and accurately represents the social implications of environmental issues. Second, it shows that ���environmental literature��� is most usefully understood not as the literature that explicitly treats environmental issues, but rather as the literature that helps to produce the sense of time that contemporary environmental crises require. Third, it shows how literary works can not only illuminate the relationship between American ideas about nature and social justice, but also operate as a specifically literary form of eco-political activism.</p>

Global Factors Affecting Women's Participation in Leadership

This dissertation is a multi-level, cross-cultural study of women in leadership conducted with both macro-society data and individual-level data aggregated to the country level. The research questions are, ���What macro and micro forces are hindering or advancing women into business or political leadership?��� ���How do these forces impact the level of women���s involvement in business and political leadership in a particular country?��� Data was collected from 10 secondary sources, available for 213 countries, and includes about 300 variables for business leadership (N=115) and political leadership (N=181). To date, most women in leadership research has been Western- or US- based, and little rigorous empirical, multi-level research has been done across countries. The importance of cross-cultural studies on women in leadership stems from the potential to better understand why some countries have more women in positions of both business and political leadership; and the factors that affect women���s involvement in such positions in different countries. A ���Levels of Women���s Participation in Leadership��� country model is tested using cluster and discriminant analyses. Results indicate that the factors that affect women���s participation in leadership in countries with fewer women leaders are different from the factors that affect women���s participation in countries with high levels of participation. This dissertation proposes that initiatives to increase participation of women in leadership need to consider the relevant factors that significantly affect countries at certain Levels of Women���s Participation in Leadership.

Lugares de memoria y lugares de amnesia : La familia como colectivo amn��sico en Os libros arden mal de Manuel Rivas

A lo largo de los ��ltimos a��os, la expresi��n "memoria hist��rica" resulta omnipresente en el discurso pol��tico, social y cultural europeo. Cuando, en el caso de Espa��a, se menciona la "memoria hist��rica" los acontecimientos a que se refiere en la mayor��a de los casos son la Guerra Civil (1936-1939) y el Franquismo (1939-1975), acontecimientos cuya memoria nunca pierde su actualidad y necesidad. A partir del a��o 2000 se inici�� la apertura p��blica al pasado oculto y reprimido que lleva consigo la liberaci��n de los recuerdos que hab��an permanecido marginados e ignorados hasta ahora. La obra del autor gallego Manuel Rivas forma parte de este proceso de recuperaci��n de la memoria hist��rica y pone su enfoque, precisamente, en ese pasado inc��modo que tantos a��os ha permanecido oculto para contribuir a la reivindicaci��n de la memoria de las v��ctimas de la represi��n franquista. En Os libros arden mal (2006), Manuel Rivas ofrece un panorama complejo y diverso del pasado traum��tico. A trav��s de la confrontaci��n de diferentes comunidades de memoria -en muchos casos antagonistas- elabora la historia vivida por los ciudadanos coru��eses. Con referencia a los conceptos correspondientes a la memoria colectiva desarrollada en las Ciencias Sociales y Culturales, este art��culo tiene la intenci��n de estudiar la memoria de la Guerra Civil y el Franquismo a partir del an��lisis de una de las familias retratadas en la novela.

Need To Be Adored

Faced with a diagnosis of multiple sclerosis, I began with the objective of discovering methods for creating art that were still accessible to me. Along the way, I encountered others who had travelled this road before me. Their experiences led me to examine, not only my art, but also my political orientations, my love obligations and my transitioning self. In my varied art pieces, I conjure something from diverse sources and different worldviews, including contemporary feminist performance art and disability cultural theory. My thesis is a project. I make things: puppets, videos and performances, which included the exhibition, Need to be Adored (2014), staged in the digital media lab of the Isabel Bader Centre for the Performing Arts in Kingston, Ontario, Canada. The exhibition introduced thirteen of my puppets and a thirty-two-minute looped video. Following the exhibition, I put the puppets away and spent two years reading. Finally, taking my inspiration from Carolyn Ellis���s The Autoethnographic I (Ellis 2004), I turned my processes into words. I wrote out my experiences. I created an alternative text of my identity from an able-bodied cis-identified woman into a disabled trans-feminist artist academic. The writing required an uncomfortably intimate examination of my life. Nothing less than complete honesty would allow me to understand my new location. The resulting text is a lyrical and sometimes whimsical flow of consciousness that invites the reader to imagine what it might be like to engage in such a candid review of everything one holds close to one���s heart. Contained within are all my identities. In this text I let some out. This is a story of unsettling. I am working on my art practices, creating a cast of characters from cloth. Puppets. El becomes the exulted main character of a fictional accounting. She uncovers her queer roots and begins to see that she is at the centre of a very strange geography. Her desire to make film is revealed as she re-remembers her childhood through a disability lens.

Everyday Enchantments and Secular Magic in Montr��al

In this thesis I argue that dominant ways of imagining modernity constitute a modern imaginary that carries with it particular expectations concerning modern places, spaces, emotions, and affects as well as expectations concerning the place of religion and enchantment in the modern world. I argue that this modern imaginary and the expectations it entails works to conceal and trivialize supra-rational beliefs and behaviours in scholarship but also in the lives of individuals. I focus on one particular subset of the supra-rational beliefs and behaviours that modern imaginary conceals and trivializes, namely beliefs and behaviours associated with lucky and protective objects. I also focus on the ways the modern imaginary conceals the presence and prevalence of these objects and the beliefs and behaviours they entail in one particular context, namely Montr��al, Qu��bec. I argue that these supra-rational beliefs and behaviours constitute a subjunctive mode for understanding and experiencing daily life and describe how the modern imaginary works to discredit this subjunctive register. Finally, I argue that scholars must begin to recognize and examine this subjunctive mode and the playful engagement with half-belief it involves.

#DressCodePM & Re-Framing The Niqab: News Sources, Hashtag Activism, and Media Representation

This thesis originates from my interest in exploring how minorities are using social media to talk back to mainstream media. This study examines whether hashtags that trend on Twitter may impact how news stories related to minorities are covered in Canadian media. The Canadian Prime Minister Stephen Harper stated the niqab was ���rooted in a culture that is anti-women��� on 10 March 2015. The next day #DressCodePM trended in response to the PM���s niqab remarks. Using network gatekeeping theory, this study examines the types of sources quoted in the media stories published on 10 and 11 March 2015. The study���s goal is to explore whether using tweet quotes leads to the representation of a more diverse range of news sources. The study compares the types of sources quoted in stories that covered Harper���s comments without mentioning #DressCodePM versus stories that mention #DressCodePM. This study also uses Tuen A. van Dijk���s methodology of asking ���who is speaking, how often and how prominently?��� in order to examine whose voices have been privileged and whose voices have been marginalized in covering the niqab in Canadian media from the 1970s and until the days following the PM���s remarks. Network gatekeeping theory is applied in this study to assess whether the gated gained more power after #DressCodePM trended. The case study���s findings indicates that Caucasian male politicians were predominantly used as news sources in covering stories related to the niqab for the past 38 years in the Globe and Mail. The sourcing pattern of favouring politicians continued in Canadian print and online media on 10 March 2015 following Harper���s niqab comments. However, ordinary Canadian women, including Muslim women, were used more often than politicians as news sources in the stories about #DressCodePM that were published on 11 March 2015. The gated media users were able to gain power and attract Canadian Media���s attention by widely spreading #DressCodePM. This study draws attention to the lack of diversity of sources used in Canadian political news stories, yet this study also shows it is possible for the gated media users to amplify their voices through hashtag activism.

Knot/Knotting Practice in Craft and Space

Knot/knotting Practice in Craft and Space is a three part research-creation project that used a study of knotting techniques to locate craft in an expanded field of spatial practice. The first part consisted of practical, studio based exercises in which I worked with various natural and synthetic fibres to learn common knotting techniques. The second part was an art historical study that combined craft and architecture history with critical theory related to the social production of space. The third part was an exhibition of drawing and knotted objects titled Opening Closures. This document unifies the lines inquiry that define my project. The first chapter presents the art historical justification for knotting to be understood as a spatial practice. Nineteenth-century German architect and theorist Gottfried Semper���s idea that architectural form is derived from four basic material practices allies craft and architecture in my project and is the point of departure from which I make my argument. In the second chapter, to consider the methodological concerns of research-creation as a form of knowledge production and dissemination, I adopt the format of an instruction manual to conduct an analysis of knot types and to provide instructions for the production of several common knots. In the third chapter, I address the formal and conceptual underpinnings of each artwork presented in my exhibition. I conclude with a proposal for an expanded field of spatial practice by adapting art critic and theorist Rosalind Krauss���s well-known framework for assessing sculpture in 1960s.

Understanding Online Abuse: An Analysis of Abuse Against Women Content Creators

This research is an examination into the ways online abuse functions in certain online spaces. By analyzing text-based online abuse against women who are content creators, this research maps how aspects of violence against women offline extends online. This research examines three different explorations into how online abuse against women functions. Chapter two considers what online abuse against women looks like on Twitter as a case study. This chapter contends that online abuse can be understood as an unintentional use of Twitter���s design. Chapter three focuses specifically on the textual descriptions of sexual violence women who are journalists receive online. Chapter four analyzes Gamergate, an online movement that specifically looks to organize online abuse towards women. Chapter five concludes by meditating on the need to look at a bigger picture that includes cultural shifts that dismantle the normalization of violence against women both on and offline.

(Re)Imagining Relationality: Brad Isaacs and The Map of the Empire

The exhibition, The Map of the Empire (30 March ��� 6 May, 2016), featured photography, video, and installation works by Toronto-based artist, Brad Isaacs (Mohawk | mixed heritage). The majority of the artworks within the exhibition were produced from the Canadian Museum of Nature���s research and collections facility (Gatineau, Qu��bec). The Canadian Museum of Nature (CMN), is the national natural history museum of (what is now called) Canada, with its galleries located in Ottawa, Ontario. The exhibition was the first to open at the Centre for Indigenous Research Creation at Queen���s University under the supervision of Dr. Dylan Robinson. Through the installment of The Map of the Empire, Isaacs effectively claimed space on campus grounds ��� within the geopolitical space of Katarokwi | Kingston ��� and pushed back against settler colonial imaginings of natural history. The Map of the Empire explored the capacity of Brad���s artistic practice in challenging the general belief under which natural history museums operate: that the experience of collecting/witnessing/interacting with a deceased and curated more-than-human animal will increase conservation awareness and facilitate human care towards nature. The exhibition also featured original poetry by Cecily Nicholson, author of Triage (2011) and From the Poplars (2014), as a response to Brad���s artwork. I locate the work of The Map of the Empire within the broader context of curatorship as a political practice engaging with conceptual and actualized forms of slow violence, both inside of and beyond the museum space. By unmapping the structures of slow, showcased and archived violence within the natural history museum, we can begin to radically transform and reimagine our connections with more-than-humans and encourage these relations to be reciprocal rather than hyper-curated or preserved.

Unsettling Histories: Representation and Indigenous Creative Art Praxis in Official Indian Residential School Redress

This dissertation offers an investigation of the role of visual strategies, art, and representation in reconciling Indian Residential School history in Canada. This research builds upon theories of biopolitics, settler colonialism, and race to examine the project of redress and reconciliation as nation and identity building strategies engaged in the ongoing structural invasion of settler colonialism. It considers the key policy moments and expressions of the federal government���from RCAP to the IRSSA and subsequent apology���as well as the visual discourse of reconciliation as it works through archival photography, institutional branding, and commissioned works. These articulations are read alongside the creative and critical work of Indigenous artists and knowledge producers working within and outside of hegemonic structures on the topics of Indian Residential School history and redress. In particular the works of Jeff Thomas, Adrian Stimson, Krista Belle Stewart, Christi Belcourt, Luke Marston, Peter Morin, and Carey Newman are discussed in this dissertation. These works must be understood in relationship to the normative discourse of reconciliation as a legitimizing mechanism of settler colonial hegemony. Beyond the binary of cooptation and autonomous resistance, these works demonstrate the complexity of representing Indigeneity: as an ongoing site of settler colonial encounter and simultaneously the forum for the willful refusal of contingency or containment.

Not Belonging to one���s Self: Affect on Facebook���s Site Governance page

This article makes a contribution to a growing number of works that discuss affect and social media. I use Freudian affect theory to analyse user posts on the public Site Governance Facebook page. Freud���s work may help us to explore the affectivity within the user narratives and I suggest that they are expressions of alienation, dispossession and powerlessness that relate to the users��� relations with Facebook as well as to their internal and wider social relations. The article thus introduces a new angle on studies of negative user experiences that draws on psychoanalysis and critical theory.

Im��genes recalcitrantes: el caso de la proclamaci��n de Juan Carlos I como rey de Espa��a (22 de noviembre de 1975)

En el flujo informativo, algunas im��genes, que calificamos aqu�� de ���recalcitrantes��� se resisten a perecer y sobreviven a su contexto de producci��n. El presente estudio analiza c��mo una de ellas, la secuencia televisiva de la proclamaci��n de Juan Carlos como sucesor de Francisco Franco a la jefatura del estado, el 22 de noviembre de 1975, ha sobrevivido, metamorfose��ndose hasta hoy en d��a, de pantallas en pantallas, a trav��s de una muestra representativa de algunas de sus reelaboraciones m��s significativas.