La acción pública en el espacio urbano : debates y reflexiones en torno a la noción de política urbana

En este artículo se propone reflexionar sobre un conjunto de herramientas conceptuales que permitan analizar los modos en los cuales se configura la acción pública en el espacio urbano. Para ello se revisan una serie de contribuciones de la teoría política que consideran al aparato burocrático, en tanto objetivación de las instituciones estatales, como garante de las relaciones de producción hegemónicas. Y, al mismo tiempo, se supone que el ámbito intraestatal posee una dinámica específica, constituyéndose como un espacio de disputa política entre diversos actores. Teniendo en cuenta este escenario, el análisis de las políticas públicas implica una lectura dinámica acerca de la articulación de las relaciones sociales en el ámbito estatal, que exige indagar las estrategias y los intereses de los actores que se organizan en torno a redes o entramados según las cuestiones socialmente problematizadas que logran permear la agenda pública. Desde esta perspectiva se propone elaborar una definición de política urbana y delimitar una serie de interrogantes básicos para su abordaje. Para tal fin, se consideran ciertas particularidades que asume la política urbana como una política pública de fuerte impronta territorial. Además, se reconocen distintas formas de intervención estatal en el espacio urbano y ciertos nudos problemáticos que hacen a la definición de la cuestión urbana en la actualidad, escenario de la sanción de un nuevo marco normativo en la provincia de Buenos Aires.

Arquitectura modal o ensamblaje de repertorios, procesos y disposiciones

En muchas ocasiones se ha establecido una crítica sobre la excesiva disposicionalidad estética del arquitecto: el abuso subjetivista, un innatismo desligado del entorno socioambiental o su desafección hacia las necesidades y los requerimientos pertinentes del usuario final, buscando, principalmente, la objetivación cultural como expresión personal e individualista. Criticas que responden a un malestar persistente, que subyace a la práctica arquitectónica. En otras ocasiones se han ideado y propuesto tentativas o aproximaciones para la corrección y regulación de dicho “exceso”. En busca de la “pretendida objetividad”, éstas han recurrido a un pasado prístino, a una tradición inconsciente, colectiva e impersonal, a la ausencia de autoría, a lo artesanal y a lo vernáculo. También hacia un futuro tecnocrático: al mesianismo basado en la máquina, la ciencia, los métodos y el progreso tecnológico. La búsqueda de un lenguaje compartido, de un diseño sistemático y de una adecuación funcional han establecido nuevos excesos –repertoriales-, relegando la creatividad y la concepción estética a un plano casi inexistente, subordinándolo a variables de diseño externas a la autoría y la expresión subjetiva del diseñador. Esta tensión se ha saldado en una pugna de binomios categoriales que reducen la realidad a un dualismo aporético y contrapuesto, difícilmente superable. El propósito articulatorio de dichas posturas, en modelos ontológicos integrales, permite la incorporación de dichas categorías bajo estructuras y ensamblajes que despliegan los modos de relación, mediación y producción arquitectónicas. Estos ensamblajes combinan los distintos agentes –disposicionalidades- y sus repertorios en cada una de las fases del proceso arquitectónico, construyendo modos de acción y relación en base a los acoplamientos diferenciales, que devienen en técnicas y dinámicas de producción arquitectónica. Cada modo integrará diversas variables en base a los modelos propuestos -estratos, períodos y polos- y a la elección intencional –“situada”- de cada práctica: la Autonomía Modal Arquitectónica. El producto final de cada modo –o ensamblaje- será inconmensurable, estableciendo sistemas y métodos diversos para la práctica estética, sin que por ello esté garantizado el valor o éxito del resultado. ABSTRACT On many occasions an aesthetic criticism of the excessive disposition of the architect´s subjectivist abuse, innate posture detached from socioenvironmental issues or disaffection regarding the needs and requirements of who -or what- will finally use it has been brought up mainly in pursuit of a cultural objectification as a personal expression and an individualistic one. It is a criticism which goes hand in hand with a persistent uneasiness which is interwoven in the architectural practice. On other occasions we have seen ideas, attempts and approaches developed and proposed in order to correct, improve or adjust that so-called “excess”. In the search for this " expected objectivity" theorists have resorted to delving into a pristine past, an unconscious tradition both collective and personal, to the absence of authorship, regarding craft and vernacular. The pursuit of a common language, a systematic design and a functional adequacy has established new excesses -repertoires-, leaving behind creativity and aesthetic conception at an almost nonexistent level and subordinating it to variables outside the authoring design and subjective expression of the designer. This tension has resulted in a conflict between categorical binomial, which reduces reality to an aporetic and opposed dualism which is not easily overcome. The purpose of such articulatory positions in comprehensive ontological modals allows for the incorporation of those categories under structures and assemblies which display and unfold different models of relationship, mediation and production of architecture. These assemblies combine different agents - disposition - and their repertoires in each of the phases of the architectural process, building actions and relational modes based on the differential couplings, which become techniques and dynamics in architectural production. Each mode will integrate several variables within the proposed ontological models - strata, periods and poles - based on an intentional choice –“situated knowledge”- of each practice: Architectural Modal Autonomy. The final product of each mode -or assembly- will be immeasurable, establishing different systems and methods for aesthetic practice without the value or success of the outcome ever being guaranteed.

Sexualité et corporéité féminines dans le cinéma de réalisatrices contemporaines : une lecture féministe

Ce mémoire de maîtrise étudie le traitement cinématographique de la sexualité et de la corporéité féminines dans le travail de réalisatrices contemporaines. Il prend appui sur les films Anatomie de l’enfer (Catherine Breillat, 2004), Sleeping Beauty (Julia Leigh, 2011), Nuit #1 (Anne Émond, 2011), et Klip (Maja Milos, 2012). Notre hypothèse est que ces réalisatrices adoptent une posture féministe, affirmée ou non, par leur révision des stéréotypes de genre relatifs au corps et à la sexualité féminine. Dans un premier temps, nous nous intéressons à la dynamique érotique entretenue, à travers l’Histoire, entre la femme comme objet de désir et l’homme comme sujet désirant, au cinéma comme ailleurs. Puis, nous analysons la déconstruction des stéréotypes de genre féminins de pudeur et de passivité au sein du corpus choisi. Nous démontrons ainsi qu’en révisant ces stéréotypes, les réalisatrices déjouent volontairement le spectateur dans son expérience érotique. Enfin, nous examinons les stratégies d’auto-réification du corps féminin récurrentes chez les cinéastes étudiées. Nous estimons que les cinéastes s’inscrivent de la sorte dans une tendance à la subversion observable dans les pratiques artistiques féministes contemporaines.

Sexualité et corporéité féminines dans le cinéma de réalisatrices contemporaines : une lecture féministe

Ce mémoire de maîtrise étudie le traitement cinématographique de la sexualité et de la corporéité féminines dans le travail de réalisatrices contemporaines. Il prend appui sur les films Anatomie de l’enfer (Catherine Breillat, 2004), Sleeping Beauty (Julia Leigh, 2011), Nuit #1 (Anne Émond, 2011), et Klip (Maja Milos, 2012). Notre hypothèse est que ces réalisatrices adoptent une posture féministe, affirmée ou non, par leur révision des stéréotypes de genre relatifs au corps et à la sexualité féminine. Dans un premier temps, nous nous intéressons à la dynamique érotique entretenue, à travers l’Histoire, entre la femme comme objet de désir et l’homme comme sujet désirant, au cinéma comme ailleurs. Puis, nous analysons la déconstruction des stéréotypes de genre féminins de pudeur et de passivité au sein du corpus choisi. Nous démontrons ainsi qu’en révisant ces stéréotypes, les réalisatrices déjouent volontairement le spectateur dans son expérience érotique. Enfin, nous examinons les stratégies d’auto-réification du corps féminin récurrentes chez les cinéastes étudiées. Nous estimons que les cinéastes s’inscrivent de la sorte dans une tendance à la subversion observable dans les pratiques artistiques féministes contemporaines.

The Gaze and the Circumvention of Power in Richard Strauss’ Salome

Richard Strauss’ opera “Salome” is a musical discourse of the uneven power dynamics between male and female with the idea of the gaze as its central narrative. Under the patriarchal premise of the male gaze, the men emerge as the gazers, while the women are relegated to the role of submissive objectification. This paper examines the way Salome manipulates this patriarchal notion of the gaze for her own gain, voluntarily offering herself as the object of the male gaze. I further postulated that Salome strategically oscillates between the stereotypical image of femme fatale and femme fragile, intentionally succumbing to the masculine-constructed demonization and idealization of female power. Consequently, this paper traces how Strauss’ music realizes those gender portrayals and Salome’s resistance against the male order, reflecting the use of musical analyses as a tool in understanding gender roles and power in operas.

The (ab)use of politics and eroticism in the culture of the Spanish Transition to democracy (1975–1982)

This dissertation analyzes the (ab)use of politics and eroticism within the framework of the Transition to democracy in Spain, its social and cultural impact—on literature, film, music, and popular media—, and its consequences. After a period of nearly four decades, when the country was subjected to a totalitarian regime, Spanish society underwent a process of democratic restoration. As a result, the two topics considered taboo during almost forty years of repression—i.e., politics and sexuality/eroticism—, gushed out fiercely. Every aspect of culture was influenced by and intrinsically linked to them. However, while we have been offered a more or less global approach to the Transition—the Transition as a whole—, and some studies have focused on diverse areas, no research to date has covered in depth the significance of those issues during that historical moment. Considering the facts stated above, it was imperative to conduct a more detailed analysis of the influence of both eroticism and politics on the cultural production of the Transition from different perspectives. Although the academic intelligentsia has often rejected them as expressions of mass culture, we must consider Pierre Bourdieu’s theories—in line with the tradition of classical sociology, that includes science, law, and religion, together with artistic activities—, Michel Foucault’s ideas on sexuality, and New Historicism, examining texts and their contexts. This work concludes that the (ab)use of both subjects during the Spanish Transition was a reaction to a repressive condition. It led to extremes, to societal transgression and, in most cases, to the objectification of women because of the impositions of a patriarchal society. It was, however, part of a learning and, in a sense, cathartic process that led, eventually, to the reestablishment of the status quo, to a more equitable and multicultural society where men, women, and any political or sexual tendencies are respected—at least, in theory.

Beauty Pageants, FIU, and "Worlds Ahead": An Open Letter to FIU President Mark Rosenberg

In response to FIU's decision to rent space to Donald Trump's Miss Universe Beauty pageant, it is argued that FIU has a responsibility toward its female and male students to work for a less sexist world. As the leadership of the university does not seem to be aware of the dangers of exaggerated beauty standards and female objectification, the letter draws on feminist insights to add non-sexist substance to FIU's vision of being "worlds ahead".

Essa ciranda não é minha só, é de todas nós: um estudo sobre feminismo, autonomia e consciência coletiva

The notion of autonomy arises in feminism as theory and action for horizontal and building self-appointed women in the project of social transformation. As part of the feminist movement - political subject of women - the autonomy is established dynamically, back and forth from the socio-historical context that sign and thus the correlation of forces that is with the women's group . Thus, for this work it was necessary to feminism take on your current process, which set the transitional period of "onguização" of feminist organizations (1980 to 2000), which discusses the relative loss of autonomy before the alliance as State and dependence on development agencies, for the current period, which incorporates discourses and practices through autonomous groups and their militants. Therefore, this study is based on research of autonomous feminism of young women, characterized as another radical and political integration proposed for that period. The aim then was to analyze the organizational capacity of autonomous feminist collective in Natal/RN, from the knowledge of the structure and dynamics of a group and understanding the consubstantiality gender, 'race'/ethnicity, class for the process organization. And with the participation of the Coletivo Autônomo Feminista Leila Diniz. This was in organizational transition, ending his career as ONGs and leaving for autonomous militancy. In order to achieve the so-objectification proposal, literature review was performed of the categories, feminism, autonomy, patriarchy, feminist activist conscientiously and collective; documentary research relating to the Group; participant observations within their meetings; and a themed workshop with some militants Autonomous Collective, which was produced pictures and speeches. The materialization of these instruments provided research analysis on the elements that constitute the young feminists and contemporary autonomous organizations, in view of the multiple experiences and the diversity of women who configures the subject [the subject] while feminist collective total. As well as taking a feminist militancy conscience expressed by the group studied the necessary re-appropriation of each other in combating patriarchal femininity, the hierarchical naturalizations marking the sex of women and the recognition as sex class for feminist autonomous organization for women's liberation.

A objetivação da linguagem no (con)texto do vestibular : mo(vi)mentos na história e no político

In this study, we join up in the theoretical assumptions of the French Discourse Analysis in order to analyze effects of the demand of objectification of language in the context of vestibular essays. More specifically, we analyze the operation of said objectification via discourses constructed by the traditional vestibular exam due to the requirement to have, in the students’ essays, paraphrases of statements from the motivating texts (TM) of the test in question. From our perspective, the objectification mechanism of language, the paraphrase, in the vestibular, its logic of clarity and non-contradiction of ideas, is made by (in)determination of senses in the order of its speech and, also, in its practice: the correction of the vestibular essay. Therefore, in spite of what is assumed as guarantee to language in the moment of the vestibular essay, we suggest there are regularization-recognition conflicts of same senses— the constitutive senses of TM — in the evaluative speech of two vestibular-essay correctors(CA and CB). These correctors, with their history of reading (grammar and Linguistic Textual), stress the concept of paraphrase taken by the vestibular instance for the correction of students’ essays. Such stress creates a dispute of speeches: the speech of knowledge (university policy) versus the speech of produce (neoliberal policy); the latter as reading policy that favors literal meanings, consensus. Because of all this, we question: what are the effects of senses produced in (and about) vestibular essays by the demand of determining of the saying there instituted? To answer this question, we build analysis from clippings of documents that regulate the vestibular exam (institutional texts) in our country and, also, analysis of two vestibular essays in which at times appear, at times not, according to the judgment of CA and CB of essays, paraphrases of TM statements of the essay. The analysis, in theory, punctuates effects of sense of the objectification process of the saying in vestibular, and primarily the rarefaction of legal-position subject-of-knowing by the current institution of the subject-of-making. Moreover, our work comprises affiliations of sense that relates to the subject-speech relationship in evaluative exercise of vestibular essays, on the question of authorship.

Processos de imitação-criação como constituidores da práxis pedagógica: uma intervenção didático-formativa com o formador de professores

The research deals with the constitution of the pedagogical praxis of a teacher trainer, understood as objectification of theoretical and practical unity in the teaching field. It was achieved by means of a didactic-training intervention. The research problem: as a teacher trainer in a continuous training process is a pedagogical praxis, outlined to the overall objective: investigate the establishment of the pedagogical praxis of teacher trainer in a continuous formation process. The specific objectives were: 1) outline principles and foundations theoretical-methodological course of intervention research on appropriate teaching assumptions of historical-cultural theory; 2) systematic principles of constitution of the pedagogical praxis of a teacher trainer and 3) synthesize foundations of continued training of teacher trainers in view of the historical-cultural theory, to collaborate with design of institutional policies for continuing training of university teachers. The research was developed at the Federal University of Triângulo Mineiro University - UFTM, with teachers who work in their degree courses. It was developed in three stages: diagnosis, didactic-formative intervention and analysis of data. In the diagnostic step attended five teacher educators of degrees in: history, geography, physics, chemistry and letters. At this stage were used identification questionnaires, interviews, classroom observation and document analysis. In the next stage, with participation of a trainer, it was held educational-training intervention understood as the collective research-training process that is involved intervening in teaching with the development of interdependent and simultaneous actions trainings, planning and implementation of educational activities and study, classroom observation and evaluation from the perspective of dialectical unity in order to contribute to the integral development of teachers and students. The intervention were also held interviews and document analysis. The last stage of the research was the analysis of the data. In the diagnosis of education, among other analyzes, three references were found of the trainer's training-action: memorized references, empirical and praxis. It was the analysis of the references of the trainer's training-action that guided referrals ways of teaching-training intervention. As a result, it was concluded that the teacher educator is their pedagogical praxis in the dialectical units theoretical and practical appropriation of concepts and imitation-creation. Were the two principles analyzed in the research. It was also systematized some essential elements of the formation of the teacher educator: the needs of trainers are decisive in the choice of concepts that will be appropriate; the organization of the training process should take place hand in hand with planning and development classes; the theory need to be experienced in training so that appropriation/objectification of education come true, and also, participants must be strengthened as a collective studies, since we have not learned by linearity but connections. It is hoped that the research will create opportunities to deepen the debate on the continuing education of teacher educators and contribute to scientific production in the area.

Eventual benefits : kristevan readings of female subjectivity in Henry James’s Late Novels

“Eventual Benefits: Kristevan Readings of Female Subjectivity in Henry James’s Late Novels” examine la construction de la subjectivité féminine dans les romans de la phase majeure de Henry James, notamment What Maisie Knew, The Awkward Age, The Portrait of a Lady, The Wings of the Dove et The Golden Bowl. Les personnages féminins de James se trouvent souvent dans des circonstances sociales ou familiales qui défavorisent l’autonomie psychique, et ces subordinations sont surtout nuisibles pour les jeunes personnages de l’auteur. Quant aux femmes américaines expatriées de ces romans, elles éprouvent l’objectification sociale et pécuniaire des européens : en conséquence, elles déploient des tactiques contraires afin d’inverser leurs diminutions et instaurer leurs individualités. Ma recherche des protocoles qui subventionnent l’affranchissement de ces femmes procède dans le cadre des théories avancées par Julia Kristeva. En utilisant les postulats kristeviens d’abjection et de mélancolie, d’intertextualité, de maternité et de grossesse, du pardon et d’étrangeté, cette thèse explore les stratégies disparates et résistantes des femmes chez James et elle parvient à une conception de la subjectivité féminine comme un processus continuellement ajourné.

Eventual benefits : kristevan readings of female subjectivity in Henry James’s Late Novels

“Eventual Benefits: Kristevan Readings of Female Subjectivity in Henry James’s Late Novels” examine la construction de la subjectivité féminine dans les romans de la phase majeure de Henry James, notamment What Maisie Knew, The Awkward Age, The Portrait of a Lady, The Wings of the Dove et The Golden Bowl. Les personnages féminins de James se trouvent souvent dans des circonstances sociales ou familiales qui défavorisent l’autonomie psychique, et ces subordinations sont surtout nuisibles pour les jeunes personnages de l’auteur. Quant aux femmes américaines expatriées de ces romans, elles éprouvent l’objectification sociale et pécuniaire des européens : en conséquence, elles déploient des tactiques contraires afin d’inverser leurs diminutions et instaurer leurs individualités. Ma recherche des protocoles qui subventionnent l’affranchissement de ces femmes procède dans le cadre des théories avancées par Julia Kristeva. En utilisant les postulats kristeviens d’abjection et de mélancolie, d’intertextualité, de maternité et de grossesse, du pardon et d’étrangeté, cette thèse explore les stratégies disparates et résistantes des femmes chez James et elle parvient à une conception de la subjectivité féminine comme un processus continuellement ajourné.

An Examination of Current Approaches to Integrative Indigenous and Western Knowledge System Implementation in Water Research and Management: A Case Study Encompassing the Colonized Geographies of Canada, Australia, New Zealand, and the United States

The commodification of natural resources and the pursuit of continuous growth has resulted in environmental degradation, depletion, and disparity in access to these life-sustaining resources, including water. Utility-based objectification and exploitation of water in some societies has brought us to the brink of crisis through an apathetic disregard for present and future generations. The ongoing depletion and degradation of the world’s water sources, coupled with a reliance on Western knowledge and the continued omission of Indigenous knowledge to manage our relationship with water has unduly burdened many, but particularly so for Indigenous communities. The goal of my thesis research is to call attention to and advance the value and validity of using both Indigenous and Western knowledge systems (also known as Two-Eyed Seeing) in water research and management to better care for water. To achieve this goal, I used a combined systematic and realist review method to identify and synthesize the peer-reviewed, integrative water literature, followed by semi-structured interviews with first authors of the exemplars from the included literature to identify the challenges and insights that researchers have experienced in conducting integrative water research. Findings suggest that these authors recognize that many previous attempts to integrate Indigenous knowledges have been tokenistic rather than meaningful, and that new methods for knowledge implementation are needed. Community-based participatory research methods, and the associated tenets of balancing power, fostering trust, and community ownership over the research process, emerged as a pathway towards the meaningful implementation of Indigenous and Western knowledge systems. Data also indicate that engagement and collaborative governance structures developed from a position of mutual respect are integral to the realization of a given project. The recommendations generated from these findings offer support for future Indigenous-led research and partnerships through the identification and examination of approaches that facilitate the meaningful implementation of Indigenous and Western knowledge systems in water research and management. Asking Western science questions and seeking Indigenous science solutions does not appear to be working; instead, the co-design of research projects and asking questions directed at the problem rather than the solution better lends itself to the strengths of Indigenous science.

The Collusion of Feminist and Postmodernist Impulses in E.L. Doctorow’s "Ragtime"

Many critics of Doctorow have classified him as a postmodernist writer, acknowledging that a wide number of thematic and stylistic features of his early fiction emanate from the postmodern context in which he took his first steps as a writer. Yet, these novels have an eminently social and ethical scope that may be best perceived in their intellectual engagement and support of feminist concerns. This is certainly the case of Doctorow’s fourth and most successful novel, Ragtime. The purpose of this paper will be two-fold. I will explore Ragtime’s indebtedness to postmodern aesthetics and themes, but also its feminist elements. Thus, on the one hand, I will focus on issues of uncertainty, indeterminacy of meaning, plurality and decentering of subjectivity; on the other hand, I will examine the novel’s attitude towards gender oppression, violence and objectification, its denunciation of hegemonic gender configurations and its voicing of certain feminist demands. This analysis will lead to an examination of the problematic collusion of the mostly white, male, patriarchal aesthetics of postmodernism and feminist politics in the novel. I will attempt to establish how these two traditionally conflicting modes coexist and interact in Ragtime.

A representação social do microempreendedor individual na publicidade do Sebrae

Dissertação (mestrado)—Universidade de Brasília, Faculdade de Comunicação, Programa de Pós-Graduação em Comunicação, 2015.