Search

This article explores the symbolic construction of the house, linked to the creative process of writing and telling stories, in the novel The house on Mango Street (1983), by Chicana writer Sandra Cisneros. The main challenge for the protagonist, Esperanza Cordero, is to overcome her feelings of isolation and experience a sense of belonging, which is another way of saying that she needs to feel''at home''. For Esperanza, it is important to have a home that she can be identified identify with, as a way of embracing a past that makes her feel proud and at the same time having a vision of a home in her future. It is through writing and storytelling that Esperanza manages to create a house of her own. The recreation of the house is closely linked to a process of empowerment and liberation by the protagonist, which is also manifested in the construction of a new identity. In a way, she is also the new house. Together with this process of emancipation, Esperanza finds in education a way to leave the marginal neighborhood of her childhood. Part of the conceptual framework used includes the theoretical notions of Chicano critics Tey Diana Rebolledo and Gloria Anzaldúa who study the ways in which Chicana writers explore subjectivity and identity in their writing. Resumen El presente artículo explora la construcción simbólica de la casa, vinculada al proceso creativo de escribir y contar historias, en la novela La casa en Mango Street (1983)(1), de la escritora chicana Sandra Cisneros. El mayor desafío de la protagonista, Esperanza Cordero, es superar sus sentimientos de aislamiento y experimentar un sentido de pertenencia, que es otra forma de decir que necesita sentirse''como en casa''. Para Esperanza es importante tener un hogar con el cual poder identificarse, como una forma de abrazar un pasado que la haga sentirse orgullosa y al mismo tiempo tener una visión de un hogar en su futuro. Es a través de la escritura y la narración que Esperanza logra crear una casa propia. La recreación de la casa está íntimamente ligada a un proceso de empoderamiento y liberación por parte de la protagonista, que se ve manifestado también en la construcción de una nueva identidad. De cierta manera, ella es también la nueva casa. Unido a este proceso de emancipación, Esperanza encuentra en la educación una manera para salir del barrio marginal de su infancia. Parte del marco conceptual utilizado incluye las nociones teóricas de críticos Chicanos como Tey Diana Rebolledo y Gloria Anzaldúa quienes estudian las formas en que las escritoras chicanas exploran la subjetividad y la identidad en su escritura.

American feminist theories have long energised Polish scholarly work, and many Polish academics have drawn on the research of renowned American writers such as Judith Butler. Polish translations of numerous American authors may well have increased readership, which would otherwise be confined to English-speaking intellectuals. Wydawnictwo Krytyki Politycznej, a left-leaning publishing house, offers a wide selection of crucial works by American feminists and sells those books at affordable prices, making certain texts by Butler, Carol Gilligan, and Katha Pollitt widely accessible. Most works published in Polish have been authored by white women with some attempts to be more racially inclusive (the works of Gayatri Chakravorty Spivak and bell hooks, for example, can also be found in translation). Chicana writers, on the other hand, are not part of Krytyka Polityczna’s canon. This paper aims to address this oversight, arguing for the benefits of drawing on Chicanas’ research in the analysis of various social, political, and cultural phenomena in Poland. It also takes a close look at several relevant terms/concepts proposed by Gloria Anzaldúa, Ana Castillo, and Chela Sandoval, as well as the ways in which these could be applied in the Polish context.

Latina American college students experience high rates of rape and sexual assault (RSA). However, they are unlikely to report or seek help for any psychological and/or physical RSA injuries. This study investigated whether cultural factors influence views of RSA within a sample of 192 Chicana college students, as Mexican Americans comprise the largest group within the U.S. Latine community. Particularly, this study examined how marianismo and machismo, culturally infused traditional gender roles, impact views of date RSA. Results of this study demonstrated that participants who held greater v. less internalized marianismo beliefs were more likely to attribute blame to the victim of date rape. Also, findings showed that respondents who held higher v. low internalized machismo beliefs were more likely to endorse rape misperceptions and victim blame. No interaction effects were observed for marianismo and machismo in relation to views of RSA. It is hoped that the results of this study underscore the need for more culturally sensitive RSA resources on college campuses for Chicana college students. Furthermore, findings support the need for additional RSA research focused on college females of Mexican heritage.&nbsp

This thesis concentrates on the installation works of multimedia artist Patssi Valdez (born 1951 in East Los Angeles), focusing specifically on the site-specific altar-installations she created between 1990 and 1996. In these large-scale, multimedia works, Valdez employs an artistic technique that follows the tradition of altar-making to construct spaces that extend her meditations on self-fashioning and style beyond the corporeal. Through a myriad of secular, everyday objects as well as sacred Catholic symbols and popular Mexican iconography, Valdez was able to explore alternative avenues of expressing style and cultivating aesthetics. A critical concept in Valdez’s altar-installations is the cosmeticization of space as an artistic practice, or the aesthetic transformation of a physical/material space. Cosmeticization is intrinsically linked to, and emerges from, Valdez’s experience as a professional cosmetologist and from her time as a set and costume designer for Chicano theater and film.

This article examines the evolution of the borderlands as an organizing trope by focusing on how the transcendence beyond cultural nationalist perspectives traces the shift from Chicano/a to Latinx discourses. In order to address this issue, I will analyse two twenty-first-century Latinx texts that delve into the intricate ways in which transnational forces collide with economic, cultural and political processes that persistently revolve around the framework of the nation-state: Alicia Gaspar de Alba´s Desert Blood: The Juarez Murders (2005) and Maya Chinchilla´s The Cha Cha Files: A Chapina Poética (2014). The corpus of works selected will focus on the political readings derived from textual negotiation with a changing political, social and economic reality. This results in constant tensions between globalising processes, worldwide interconnectedness and transnational interactions, on the one hand, and the regulatory power of the state, on the other. Este artículo examina la evolución de las zonas fronterizas como un tropo organizador al enfocarse en cómo la trascendencia más allá de las perspectivas nacionalistas culturales rastrea el cambio de los discursos chicanos / ay latinx. Para abordar este tema, analizaré dos textos latinx del siglo XXI que ahondan en las intrincadas formas en que las fuerzas transnacionales chocan con los procesos económicos, culturales y políticos que giran persistentemente en torno al marco del Estado-nación: Alicia Gaspar de Alba´s Desert Blood: The Juarez Murders (2005) y Maya Chinchilla´s The Cha Cha Files: A Chapina Poética(2014). El corpus de trabajos seleccionados se centrará en las lecturas políticas derivadas de la negociación textual con una realidad política, social y económica cambiante. Esto da lugar a tensiones constantes entre los procesos de globalización, la interconexión mundial y las interacciones transnacionales, por un lado, y el poder regulador del Estado, por el otro ... This research is part of the project financed by MINECO and FEDER, "NEW WESTS: El Oeste americano en la literatura, el cine y la cultura del siglo XXI: un enfoque transnacional y transdisciplinar", with the code PGC2018-094659-B-C21 (MCIU/AEI/FEDER,UE). It is also part of the project I+D+i "Poéticas del activismo: Interseccionalidades Culturales y Literarias en el Mundo Contemporáneo" by the Conselleria de Educación, Investigación of the Generalitat Valenciana.

Submitted by Maria Fernanda Leite (leitem@stj.jus.br) on 2021-03-29T19:39:15Z No. of bitstreams: 2 relacoes_afetivas_advogados_dias.pdf: 16109110 bytes, checksum: e0fcc01aa9d74515c483641de2d74f04 (MD5) license.txt: 1239 bytes, checksum: c9b4c351324448672315a00808efb725 (MD5) Approved for entry into archive by betanial@stj.jus.br (betanial@stj.jus.br) on 2021-03-29T22:06:23Z (GMT) No. of bitstreams: 2 license.txt: 1239 bytes, checksum: c9b4c351324448672315a00808efb725 (MD5) relacoes_afetivas_advogados_dias.pdf: 16109110 bytes, checksum: e0fcc01aa9d74515c483641de2d74f04 (MD5) Made available in DSpace on 2021-03-29T22:06:23Z (GMT). No. of bitstreams: 2 license.txt: 1239 bytes, checksum: c9b4c351324448672315a00808efb725 (MD5) relacoes_afetivas_advogados_dias.pdf: 16109110 bytes, checksum: e0fcc01aa9d74515c483641de2d74f04 (MD5) Previous issue date: 2021

This essay examines Gloria Anzald&uacute, a&rsquo, s critical appropriation of two Mexican philosophers in the writing of Borderlands/La Frontera: Samuel Ramos and Octavio Paz. We argue that although neither of these authors is cited in her seminal work, Anzald&uacute, a had them both in mind through the writing process and that their ideas are present in the text itself. Through a genealogical reading of Borderlands/La Frontera, and aided by archival research, we demonstrate how Anzald&uacute, s philosophical vision of the &ldquo, new mestiza&rdquo, is a critical continuation of the broader tradition known as la filosof&iacute, a de lo mexicano, which flourished during a golden age of Mexican philosophy (1910&ndash, 1960). Our aim is to open new directions in Latinx and Latin American philosophy by presenting Anzald&uacute, s Borderlands/La Frontera as a profound scholarly encounter with two classic works of Mexican philosophy, Ramos&rsquo, Profile of Man and Culture in Mexico and Paz&rsquo, s The Labyrinth of Solitude.

Submitted by jualmei@stj.jus.br (jualmei@stj.jus.br) on 2020-10-09T15:18:17Z No. of bitstreams: 2 desafios_metaeticos_doutrina_barba.pdf: 1528028 bytes, checksum: e9e71524720892c68127379fcf5b84bc (MD5) license.txt: 1239 bytes, checksum: c9b4c351324448672315a00808efb725 (MD5) Approved for entry into archive by betanial@stj.jus.br (betanial@stj.jus.br) on 2020-10-09T18:25:24Z (GMT) No. of bitstreams: 2 license.txt: 1239 bytes, checksum: c9b4c351324448672315a00808efb725 (MD5) desafios_metaeticos_doutrina_barba.pdf: 1528028 bytes, checksum: e9e71524720892c68127379fcf5b84bc (MD5) Made available in DSpace on 2020-10-09T18:25:24Z (GMT). No. of bitstreams: 2 license.txt: 1239 bytes, checksum: c9b4c351324448672315a00808efb725 (MD5) desafios_metaeticos_doutrina_barba.pdf: 1528028 bytes, checksum: e9e71524720892c68127379fcf5b84bc (MD5) Previous issue date: 2020

In my thesis, Stories to Bridge the Borderlands: Anti-Colonial Writing in the Works of Gloria Anzaldúa and Leslie Marmon Silko, I review the complete works of Anzaldúa and Silko. I focus on their seminal pieces including Anzaldúa’s Borderlands/La Frontera: The New Mestiza and Silko’s Ceremony and Storyteller, as well as on their non-fiction works, such as their interview collections Conversations with Leslie Marmon Silko and Anzaldúa’s Interviews/Entrevistas: Gloria E. Anzaldúa. By comparatively analyzing these two authors, I find evidence of what Ashis Nandy has called a shared culture of colonization (Nandy 2; see also Smith 46-7). Both authors have been, and continue to be subjects of extensive analysis, sometimes appearing alongside each other in critical analysis in fields such as Post-Colonial Studies and Women’s Studies. In this thesis I show the nuanced ways in which colonialism has shaped both authors’ works and how they apply their writing as a form of anti-colonial activism. I approach the texts using a theoretical framework influenced by Multiracial Feminism, Indigenous Theory, and Post-Colonial Studies. In each chapter I review the authors’ works comparatively from several different thematic angels. In Chapter One, I explore how the authors’ acts of reclaiming multiracial and multicultural female figures in their writing functions as a method for reclaiming their own identities. The theme of Chapter Two springs from the feminist slogan “the personal is political.” In this chapter, I look at Anzaldúa and Silko’s use of oral storytelling respectively as tools for subverting Western patriarchal colonialism, showing how not only is the personal political, but the political is also highly personal, especially for women of color in Western-dominated post-colonial USA. Chapter Three is about the authors’ hopes and fears for the future, and how they use utopian and dystopian themes in their writing to further a political agenda. With this thesis I aim to contribute to the awareness of the complex ways in which late 20th and early 21st century colonialism may affect multicultural (and in Anzaldúa’s case, queer) women. My hypothesis is that examining the shared culture of colonialism between the authors provides new insights into the nature of modern-day colonialism in the USA. I believe that through their art, Gloria Anzaldúa and Leslie Marmon Silko showcase a politics of resistance, a politics which in turn has inspired readers across the globe to take up their causes. References: Anzaldúa, Gloria. Borderlands/La Frontera: The New Mestiza. 4th ed. San Francisco: Aunt Lute Books, 1999. ———. Interviews/Entrevistas: Gloria E. Anzaldúa. Keating, AnaLouise (ed.). New York and London: Routledge, 2000. Nandy, Ashis. The Intimate Enemy: Loss and Recovery of Self under Colonialism. New Delhi: Oxford University Press, 1983. Silko, Leslie Marmon. Ceremony. New York: Penguin Books, 1977. ———. Arnold, Ellen L. (ed.). Conversations with Leslie Marmon Silko. Jackson: University Press of Mississippi, 2000. ———. Storyteller. New York: Seaver Books, 1981. Smith, Linda Tuhiwai. Decolonizing Methodologies: Research and Indigenous Peoples. 2nd ed. London and New York and Dunedin: Zed Books and Otago University Press, 2012.

Submitted by Maria Fernanda Leite (leitem@stj.jus.br) on 2021-01-08T20:09:36Z No. of bitstreams: 2 role_public_prosecutor_kovac.pdf: 1720018 bytes, checksum: 7ea587ff99b7c62a48f1eddb48b83178 (MD5) license.txt: 1239 bytes, checksum: c9b4c351324448672315a00808efb725 (MD5) Approved for entry into archive by Stephanie Moira (rsmoira@stj.jus.br) on 2021-03-04T00:26:56Z (GMT) No. of bitstreams: 2 license.txt: 1239 bytes, checksum: c9b4c351324448672315a00808efb725 (MD5) role_public_prosecutor_kovac.pdf: 1720018 bytes, checksum: 7ea587ff99b7c62a48f1eddb48b83178 (MD5) Made available in DSpace on 2021-03-04T00:26:56Z (GMT). No. of bitstreams: 2 license.txt: 1239 bytes, checksum: c9b4c351324448672315a00808efb725 (MD5) role_public_prosecutor_kovac.pdf: 1720018 bytes, checksum: 7ea587ff99b7c62a48f1eddb48b83178 (MD5) Previous issue date: 2020 Analisa os papéis multifacetados que os promotores desempenham no sistema de justiça criminal dos Estados Unidos.

Submitted by tgoncalv@stj.jus.br (tgoncalv@stj.jus.br) on 2020-08-21T14:59:03Z No. of bitstreams: 2 markenting_juridico_ferramentas_aguiar.pdf: 767509 bytes, checksum: 7f54ad1f90f0d04ba67f1f53801da670 (MD5) license.txt: 1239 bytes, checksum: c9b4c351324448672315a00808efb725 (MD5) Approved for entry into archive by betanial@stj.jus.br (betanial@stj.jus.br) on 2020-08-21T19:12:17Z (GMT) No. of bitstreams: 2 license.txt: 1239 bytes, checksum: c9b4c351324448672315a00808efb725 (MD5) markenting_juridico_ferramentas_aguiar.pdf: 767509 bytes, checksum: 7f54ad1f90f0d04ba67f1f53801da670 (MD5) Made available in DSpace on 2020-08-21T19:12:17Z (GMT). No. of bitstreams: 2 license.txt: 1239 bytes, checksum: c9b4c351324448672315a00808efb725 (MD5) markenting_juridico_ferramentas_aguiar.pdf: 767509 bytes, checksum: 7f54ad1f90f0d04ba67f1f53801da670 (MD5) Previous issue date: 2020 - Orientado por: Edson Antônio Sousa Pontes Pinto

Submitted by Iury Batista (iurys@stj.jus.br) on 2018-12-06T17:30:40Z No. of bitstreams: 2 escola_judicial_formacao_fonseca.pdf: 648535 bytes, checksum: 144515bb36cff0dc4ad1c5b3b3cd87e5 (MD5) license.txt: 1239 bytes, checksum: c9b4c351324448672315a00808efb725 (MD5) Approved for entry into archive by Patrícia Rabello (rabello@stj.jus.br) on 2018-12-13T17:49:31Z (GMT) No. of bitstreams: 2 escola_judicial_formacao_fonseca.pdf: 648535 bytes, checksum: 144515bb36cff0dc4ad1c5b3b3cd87e5 (MD5) license.txt: 1239 bytes, checksum: c9b4c351324448672315a00808efb725 (MD5) Made available in DSpace on 2018-12-13T17:49:31Z (GMT). No. of bitstreams: 2 escola_judicial_formacao_fonseca.pdf: 648535 bytes, checksum: 144515bb36cff0dc4ad1c5b3b3cd87e5 (MD5) license.txt: 1239 bytes, checksum: c9b4c351324448672315a00808efb725 (MD5) Previous issue date: 2018

Submitted by Iury Batista (iurys@stj.jus.br) on 2018-07-12T20:29:09Z No. of bitstreams: 2 mediadores_conciliadores_judiciais_dias.pdf: 657514 bytes, checksum: df734dee5dc7852ed1456c03a2bbed42 (MD5) license.txt: 1239 bytes, checksum: c9b4c351324448672315a00808efb725 (MD5) Approved for entry into archive by Patrícia Rabello (rabello@stj.jus.br) on 2018-07-23T21:40:57Z (GMT) No. of bitstreams: 2 mediadores_conciliadores_judiciais_dias.pdf: 657514 bytes, checksum: df734dee5dc7852ed1456c03a2bbed42 (MD5) license.txt: 1239 bytes, checksum: c9b4c351324448672315a00808efb725 (MD5) Made available in DSpace on 2018-07-23T21:40:57Z (GMT). No. of bitstreams: 2 mediadores_conciliadores_judiciais_dias.pdf: 657514 bytes, checksum: df734dee5dc7852ed1456c03a2bbed42 (MD5) license.txt: 1239 bytes, checksum: c9b4c351324448672315a00808efb725 (MD5) Previous issue date: 2018

Submitted by Eliana null (leila@stj.jus.br) on 2018-08-01T13:49:10Z No. of bitstreams: 2 tensoes_agentes_judiciais_pereira.pdf: 154501 bytes, checksum: 0fcb8ca00378919bdd9d6190cb20e301 (MD5) license.txt: 1239 bytes, checksum: c9b4c351324448672315a00808efb725 (MD5) Approved for entry into archive by gvieirac@stj.jus.br (gvieirac@stj.jus.br) on 2018-08-01T16:52:34Z (GMT) No. of bitstreams: 2 license.txt: 1239 bytes, checksum: c9b4c351324448672315a00808efb725 (MD5) tensoes_agentes_judiciais_pereira.pdf: 154501 bytes, checksum: 0fcb8ca00378919bdd9d6190cb20e301 (MD5) Made available in DSpace on 2018-08-01T16:52:34Z (GMT). No. of bitstreams: 2 license.txt: 1239 bytes, checksum: c9b4c351324448672315a00808efb725 (MD5) tensoes_agentes_judiciais_pereira.pdf: 154501 bytes, checksum: 0fcb8ca00378919bdd9d6190cb20e301 (MD5) Previous issue date: 2018

The role of religion is largely missing from the historical narrative of the Chicana/o power movements of the late 1960’s and early 1970’s. Whereas historians have documented the political, educational, and social changes that resulted from the Chicana/o movement, very few have examined the role of religion. This thesis highlights the intersection of religion and the Chicana/o movement, specifically as it pertained to the Catholic Church. I examine three faith-based organizations founded during the Chicana/o movement and explore their resistance and challenge to the church’s longstanding institutional racism. I argue that the Catholic Church, like other institutions of power challenged during the late 1960’s, experienced its own Chicana/o movement and the field of Chicana/o studies should recognize this important piece of history.

Submitted by Flavio Almeida (buccos@stj.jus.br) on 2017-03-31T15:40:29Z No. of bitstreams: 2 razao_aplicaveis_arbitragem_barrocas.pdf: 1214430 bytes, checksum: a698dd2fe613857b0eac43d219bf559c (MD5) license.txt: 1239 bytes, checksum: c9b4c351324448672315a00808efb725 (MD5) Approved for entry into archive by Roberta Marins (rmarins@stj.jus.br) on 2017-04-17T21:08:09Z (GMT) No. of bitstreams: 2 razao_aplicaveis_arbitragem_barrocas.pdf: 1214430 bytes, checksum: a698dd2fe613857b0eac43d219bf559c (MD5) license.txt: 1239 bytes, checksum: c9b4c351324448672315a00808efb725 (MD5) Made available in DSpace on 2017-04-17T21:08:09Z (GMT). No. of bitstreams: 2 razao_aplicaveis_arbitragem_barrocas.pdf: 1214430 bytes, checksum: a698dd2fe613857b0eac43d219bf559c (MD5) license.txt: 1239 bytes, checksum: c9b4c351324448672315a00808efb725 (MD5) Previous issue date: 2017

This dissertation explores the early and influential works of Chicana feminist authors Gloria Anzaldúa, Sandra Cisneros, and Cherríe Moraga through the lens of modern genre theory. Despite the tendency of these authors to write in multiple genres and hybrid forms, much of the scholarly response has focused on the new perspectives and experiences present in the texts rather than on their formal innovation. I contend innovative content should be considered inextricable from innovative form. These authors do not merely offer new perspectives but offer new ways of presenting ideas. Socially constructed and culturally embedded, genre operates at the level of meaning-making, purveys dominant ideology, and shapes interpretation. Given the subtle yet influential role of genre, the resistance to traditional genre in Chicana writings must be understood as challenging both literary and social norms. Because no text performs or transgresses genre in the exactly same way, there is no single theory or methodology which applies. Rather, an attentiveness to genre in texts and scholarship exposes the influence of genre in our understanding of texts. This dissertation traces genre history and its frequent borrowing of racial metaphors to illustrate logics of genre purity and reads Anzaldúa’s Borderlands and its refusal to perform traditional genre as resistance essential to Anzaldúa’s theorizing of mestiza consciousness, a framework based on embracing racial miscegenation. Cisneros’s The House on Mango Street provides the opportunity to explore genre indeterminacy and to examine Bildungsroman as a genre case study where the origins and centuries-long debates make the constructedness of genre visible. In Moraga’s Loving in the War Years and the co-edited anthology This Bridge Called My Back, I examine the innovation to the autobiography and anthology genres as well as the genre-related trends in scholarship, considering the consistently significant, if not always obvious, role of genre in shaping interpretation and analysis. The writings of Anzaldúa, Cisneros, and Moraga have changed the literary landscape, but only when genre is part of the analysis can the fullness of their innovation and literary legacy be glimpsed.

Submitted by Patrícia Rabello (rabello@stj.jus.br) on 2017-09-14T22:18:35Z No. of bitstreams: 2 teoria_pura_principios_valadao.pdf: 410479 bytes, checksum: 1c277a9636e816ae938845e8cfef8f68 (MD5) license.txt: 1239 bytes, checksum: c9b4c351324448672315a00808efb725 (MD5) Approved for entry into archive by Roberta Marins (rmarins@stj.jus.br) on 2017-09-15T21:20:42Z (GMT) No. of bitstreams: 2 teoria_pura_principios_valadao.pdf: 410479 bytes, checksum: 1c277a9636e816ae938845e8cfef8f68 (MD5) license.txt: 1239 bytes, checksum: c9b4c351324448672315a00808efb725 (MD5) Made available in DSpace on 2017-09-15T21:20:42Z (GMT). No. of bitstreams: 2 teoria_pura_principios_valadao.pdf: 410479 bytes, checksum: 1c277a9636e816ae938845e8cfef8f68 (MD5) license.txt: 1239 bytes, checksum: c9b4c351324448672315a00808efb725 (MD5) Previous issue date: 2017

Submitted by Letícia Silva (silvalcs@stj.jus.br) on 2017-10-19T17:26:08Z No. of bitstreams: 2 tensoes_agentes_judiciais_pereira.pdf: 1877429 bytes, checksum: 07e04264e6a7b5a6072df42de3d3a37b (MD5) license.txt: 1239 bytes, checksum: c9b4c351324448672315a00808efb725 (MD5) Approved for entry into archive by Patrícia Rabello (rabello@stj.jus.br) on 2017-11-08T20:43:06Z (GMT) No. of bitstreams: 2 tensoes_agentes_judiciais_pereira.pdf: 1877429 bytes, checksum: 07e04264e6a7b5a6072df42de3d3a37b (MD5) license.txt: 1239 bytes, checksum: c9b4c351324448672315a00808efb725 (MD5) Made available in DSpace on 2017-11-08T20:43:06Z (GMT). No. of bitstreams: 2 tensoes_agentes_judiciais_pereira.pdf: 1877429 bytes, checksum: 07e04264e6a7b5a6072df42de3d3a37b (MD5) license.txt: 1239 bytes, checksum: c9b4c351324448672315a00808efb725 (MD5) Previous issue date: 2017

OF THE THESISThis paper aims to examine the current landscape of representations in Hollywood through a Chicana feminist filmmaker’s autobiographical testimonio that discusses her experiences as a film student, filmmaker and educational researcher. This paper then discusses future directions for film and media education through the interdisciplinary lenses of ethnic studies, film studies, cultural studies, and gender studies. To inform this perspective, I have chosen to weave together three components: (a) current data on representations in Hollywood in terms of race, ethnicity, gender and sexuality along with an overview of the history of Chicana/o cinema (b) an autobiographical testimonio through which I share my own experiences as a Chicana feminist filmmaker and student, and (c) a discussion on how to move towards more inclusive representations for Chicanas/os in Hollywood. The goal of this paper is to examine the current state of Hollywood, the prospects Chicana/o filmmakers such as myself face, and how Chicana/o and other filmmakers of Color can persist in making movies that reach wider audiences. I offer my perspective and educational journey as a story that might challenge dominant narratives produced by Hollywood, both behind the scenes and on the silver screen. I present my story as one bridge, alongside the many other bridges built by women of Color in academia and film before me, in order to yield pathways for telling our stories through film. In this paper I will address the role of dominant media as a powerful source of socialization, and further more, why critical race media education of future filmmakers and mediamakers of Color is significant in the larger conversation of media’s social cultural implications.

Submitted by Flavio Almeida (buccos@stj.jus.br) on 2017-03-31T15:55:48Z No. of bitstreams: 2 sete_pecados_capitais_carmona.pdf: 1821859 bytes, checksum: e9386c7c27a7d25ed414df636ca5eaad (MD5) license.txt: 1239 bytes, checksum: c9b4c351324448672315a00808efb725 (MD5) Approved for entry into archive by Roberta Marins (rmarins@stj.jus.br) on 2017-04-17T21:12:22Z (GMT) No. of bitstreams: 2 license.txt: 1239 bytes, checksum: c9b4c351324448672315a00808efb725 (MD5) sete_pecados_capitais_carmona.pdf: 1821859 bytes, checksum: e9386c7c27a7d25ed414df636ca5eaad (MD5) Made available in DSpace on 2017-04-17T21:12:22Z (GMT). No. of bitstreams: 2 license.txt: 1239 bytes, checksum: c9b4c351324448672315a00808efb725 (MD5) sete_pecados_capitais_carmona.pdf: 1821859 bytes, checksum: e9386c7c27a7d25ed414df636ca5eaad (MD5) Previous issue date: 2017

Submitted by Patrícia Rabello (rabello@stj.jus.br) on 2017-09-14T20:26:42Z No. of bitstreams: 2 algumas_reflexoes_mudanca_mello.pdf: 112096 bytes, checksum: 079f5215a6261bb386f22aae97aeda5f (MD5) license.txt: 1239 bytes, checksum: c9b4c351324448672315a00808efb725 (MD5) Approved for entry into archive by Roberta Marins (rmarins@stj.jus.br) on 2017-09-15T20:11:28Z (GMT) No. of bitstreams: 2 algumas_reflexoes_mudanca_mello.pdf: 112096 bytes, checksum: 079f5215a6261bb386f22aae97aeda5f (MD5) license.txt: 1239 bytes, checksum: c9b4c351324448672315a00808efb725 (MD5) Made available in DSpace on 2017-09-15T20:11:28Z (GMT). No. of bitstreams: 2 algumas_reflexoes_mudanca_mello.pdf: 112096 bytes, checksum: 079f5215a6261bb386f22aae97aeda5f (MD5) license.txt: 1239 bytes, checksum: c9b4c351324448672315a00808efb725 (MD5) Previous issue date: 2017

La narrativa de las escritoras chicanas como Sandra Cisneros puede considerarse posmoderna al mismo tiempo que feminista en la medida en que se trata de una “revisión” y desconstrucción de las representaciones culturales de las mujeres chicanas y mexicanas. Es también una literatura crítica que se ubica en una de las fronteras de la cultura occidental, en la frontera entre dos culturas hegemónicas, la estadounidense y la mexicana, cuyos discursos dominantes pone en cuestión. Este ensayo pone el énfasis en las nociones de frontera y de traducción, particularmente en el caso de estas escritoras cuya actitud crítica y feminista es un gesto de resistencia frente a los paradigmas culturales y sociales. Se trata de una literatura que es en sí misma una forma de traducción y de performance.

This dissertation examines the influence of Argentine writer Jorge Luis Borges on the writings of twenty-first century Mexican American author Sandra Cisneros, as well as how reading her work helps us better understand overlooked elements of his writings, including marginality, gender roles, sexuality and the rights to self-definition, agency and self-expression of women and women writers. Though Cisneros is one of the most popular women writers in the United States, the first Chicana writer to be published by a major New York publishing house and an important influence for a new generation of writers, she has been dismissed by many critics as not a serious writer, or primarily a testimonial writer. By linking her writing with Borges, I present her as a United States descendent of the Latin American literary tradition that gained worldwide acclaim during the so-called Latin American literary boom of the 1960s. This dissertation departs from representations of Cisneros as solely a Chicana writer linking her instead to a north-south transnational, transborder literary tradition. As we shall see in this dissertation, for decades Borges has been a literary companion at Cisneros’s side. From Cisneros’s interviews, we know that she had first read Borges beginning in high school in the late 1960s; her most recent publication, a collection of essays entitled A House of My Own (2015) features references to Borges as a major influence on her work. In a 2015 interview, Cisneros said that Borges “me dio permiso para combinar mitos y sue?os y cuentos de hadas en mis cuentos.” T.S. Eliot, speaking on literary relationships across time in “Tradition and the Individual Talent,” asserts, “the past should be altered by the present as much as the present is directed by the past” (Sacred Wood 50). This dissertation will also examine how reading Cisneros—both her fictions and essays in which she directly references her readings of Borges’s work—in turn alters the way we read Borges. Additionally, it considers how themes raised in this early twentieth-century Argentine male writer’s work develop and change in Cisneros’s late twentieth and early twenty-first century Mexican American female imagination. These themes include gender role reversal during the advent of feminism and the emergence of women in the workplace in the twentieth century; popular and marginalized cultures; personal and collective identities; cultural hybridity and bilingualism. This dissertation is comprised of four thematic comparative chapters that contribute to new understandings of both Borges and Cisneros. CHAPTER ONE begins the dissertation with the influence of the poetry and prose in Borges’s Dreamtigers (1964) on Cisneros’s highly acclaimed The House on Mango Street (1984). CHAPTER TWO has an urban studies focus through the literary representations of two Latin American capitals, Buenos Aires in Borges’s “Fundaci?n m?tica de Buenos Aires” (1923) and Mexico City in Cisneros’s Caramelo (2002). CHAPTER THREE is a reconsideration of Borges’s female-centered writings, including his translations of Virginia Woolf’s Orlando (1928) and A Room of One’s Own (1929), through Sandra Cisneros’s writings and feminism. CHAPTER FOUR assesses elements of Buddhist spirituality in Cisneros’s twenty-first century writings gained in part through Borges’s writings on Buddhism near the end of his life. The dissertation will demonstrate that Borges remains Cisneros’s most important literary maestro with his influence felt in her poetry, fiction, and essays from adolescence in the 1960s through her recent A House of My Own (2015).

This dissertation is an interdisciplinary decolonial, queer women of color cultural analysis of Xicana representations of trauma. My examination of theatrical texts relies on a decolonial U.S. Third World queer and feminist methodology. Through this methodological lens, I situate Chicanas as (neo)colonial subjects by focusing on the colonial, imperial, and psychosocial context for Chicana trauma. I detail physical and ontological violence perpetrated upon people in the Indigenous Americas, especially in what has become Mexico and the southwestern United States. I also synthesize mental health statistics that quantify the psychic effects of colonial and imperial changes upon displaced peoples. Xicana plays and performances, I argue, aptly illuminate the embodiment of this locura, a psychosomatic and spiritual dis-ease rooted in colonial and imperial collective and intergenerational trauma. The primary texts for my analysis are Cherríe Moraga’s drama The Hungry Woman: A Mexican Medea, Adelina Anthony’s performance Las Hociconas: Three Locas with Big Mouths and Even Bigger Brains, and Virginia Grise’s play blu. These texts, I posit, illustrate how colonialism, internal colonialism, and imperialism have created subjects. I conceptualize what I term “subjects of trauma” through these three cultural productions that each make visible the social, political, and economic injustices experienced by Chicanas—many of whom live within internal colonies—in the United States. I interrogate the decolonial tactics that queer Xicana feminist playwrights employ to re-create themselves as subjects and subsequently alleviate psychic pain. I maintain that Xicana feminist theater promotes self-healing vis-à-vis self-making, as it theorizes our subject positions and intersubjective self-hood and, through consistent revisions of what have become traditional narratives, reminds us of the possibility of “decolonizing our selves” by remaking our selves.

Submitted by Tâmara Marinho (tamarama@stj.jus.br) on 2016-04-13T17:18:50Z No. of bitstreams: 2 etica_advogacia_criminal_belo.pdf: 118722 bytes, checksum: 6c9d219391e9c23d7d0721469c2851c7 (MD5) license.txt: 1239 bytes, checksum: c9b4c351324448672315a00808efb725 (MD5) Approved for entry into archive by Roberta Marins (rmarins@stj.jus.br) on 2016-04-13T17:55:46Z (GMT) No. of bitstreams: 2 license.txt: 1239 bytes, checksum: c9b4c351324448672315a00808efb725 (MD5) etica_advogacia_criminal_belo.pdf: 118722 bytes, checksum: 6c9d219391e9c23d7d0721469c2851c7 (MD5) Made available in DSpace on 2016-04-13T17:55:46Z (GMT). No. of bitstreams: 2 license.txt: 1239 bytes, checksum: c9b4c351324448672315a00808efb725 (MD5) etica_advogacia_criminal_belo.pdf: 118722 bytes, checksum: 6c9d219391e9c23d7d0721469c2851c7 (MD5) Previous issue date: 2016

Submitted by Rafaella Monterei (rcarine@stj.jus.br) on 2016-09-23T11:19:28Z No. of bitstreams: 2 confianca_sigilo_inviolabilidade_bottini.pdf: 661781 bytes, checksum: 1f94bee247cae631fb4d97d43f4c63dc (MD5) license.txt: 1239 bytes, checksum: c9b4c351324448672315a00808efb725 (MD5) Approved for entry into archive by Roberta Marins (rmarins@stj.jus.br) on 2016-10-14T19:21:11Z (GMT) No. of bitstreams: 2 confianca_sigilo_inviolabilidade_bottini.pdf: 661781 bytes, checksum: 1f94bee247cae631fb4d97d43f4c63dc (MD5) license.txt: 1239 bytes, checksum: c9b4c351324448672315a00808efb725 (MD5) Made available in DSpace on 2016-10-14T19:21:11Z (GMT). No. of bitstreams: 2 confianca_sigilo_inviolabilidade_bottini.pdf: 661781 bytes, checksum: 1f94bee247cae631fb4d97d43f4c63dc (MD5) license.txt: 1239 bytes, checksum: c9b4c351324448672315a00808efb725 (MD5) Previous issue date: 2016

Submitted by Flavio Almeida (buccos@stj.jus.br) on 2017-01-26T19:22:49Z No. of bitstreams: 2 icc_iba_conference_salles.pdf: 1472919 bytes, checksum: 5c411d79b7f1b213156014f75e88f790 (MD5) license.txt: 1239 bytes, checksum: c9b4c351324448672315a00808efb725 (MD5) Approved for entry into archive by Roberta Marins (rmarins@stj.jus.br) on 2017-02-03T16:25:47Z (GMT) No. of bitstreams: 2 icc_iba_conference_salles.pdf: 1472919 bytes, checksum: 5c411d79b7f1b213156014f75e88f790 (MD5) license.txt: 1239 bytes, checksum: c9b4c351324448672315a00808efb725 (MD5) Made available in DSpace on 2017-02-03T16:25:47Z (GMT). No. of bitstreams: 2 icc_iba_conference_salles.pdf: 1472919 bytes, checksum: 5c411d79b7f1b213156014f75e88f790 (MD5) license.txt: 1239 bytes, checksum: c9b4c351324448672315a00808efb725 (MD5) Previous issue date: 2016

During the 1960’s there was an explosion ofhundreds of folklorico groups throughout thesouthwest. Folklorico is a recurring aspectof Chicana/o community events and has cometo be recognized as a principal symbol ofMexican heritage and pride but has beenlargely ignored as a legitimate area of art. Where folklorico was used as a nationalizing tool by the Mexican government in trying to blend identities of different ethnic groups together in mestizaje, folklorico in the UnitedStates took on a different connotation inresistance and pride. The purpose of this study is to explore the role of folklorico, traditionalMexican dance and its lack of attention in Chican@ History, by examining the role of one influential state wide organization founded inthe late 1970’s, Danzantes Unidos.

Author(s): Vega, Christine | Abstract: By employing a Chicana Feminist Epistemology (CFE) and Gloria Anzalduas Coyolxauhqui analysis in theory, I offer a narrative and examination of the ways to challenge patriarchy through birth stories. More importantly, discuss the ways we build on scholarship offered by Chicanas and Indigena identified women who may or may not be mothers of children, but rather as producers of knowledge; academic, spiritual, or self-fulfilling. In addition, I discuss the ways in which women can piece together the fragmented story of Coyolxauhqui, via the multiplicity of complicated, but critical identities, by sharing their stories.

The abstract is included in the article. Copyright Information: All rights reserved unless otherwise indicated. Contact the author or original publisher for any necessary permissions. eScholarship is not the copyright owner for deposited works. Learn more at http://www.escholarship.org/help_copyright.html#reuse

Submitted by Jéssica dos Santos Maciel null (macieljs@stj.jus.br) on 2015-01-30T15:23:22Z No. of bitstreams: 1 etica_formalismo_processuale_chiarloni.pdf: 620642 bytes, checksum: 48bdc2a513e15eed2095779f45dd2f98 (MD5) Made available in DSpace on 2015-01-30T15:23:22Z (GMT). No. of bitstreams: 1 etica_formalismo_processuale_chiarloni.pdf: 620642 bytes, checksum: 48bdc2a513e15eed2095779f45dd2f98 (MD5) Previous issue date: 2015 Conceitua o formalismo "bom" e o formalismo "ruim", além de dissertar sobre a relação entre o formalismo processual e a ética das partes, a ética dos defensores, a ética do juiz e a ética do legislador.

Este artículo analiza los aportes a la teoría queer de la activista e intelectual chicana Gloria Anzaldúa. Se trabaja su trayectoria en el contexto específico de las diferentes crisis de los años ochenta, así como sus vínculos con la teoría queer. A partir del análisis de los diferentes textos que son considerados aportes para el pensamiento queer, se intenta remarcar el lugar de Anzaldúa no simplemente como un antecedente sino como uno de los primeros referente de la teoría queer. Por lo tanto, se busca señalar el lugar insoslayable de la autora como configuradora de esta teoría., This paper analyzes the Gloria Anzaldúa's contributions to the queer theory. The paper discusses his career in the specific context of the various crises of the eighties, and their links with queer theory. From working with different texts that are considered contributions to the queer thought, the article attempts to highlight the place of Anzaldúa not simply as a precedent but as one of the first references of queer theory. Therefore, this paper tries to point the inescapable place of the author as framer of queer theory., Facultad de Humanidades y Ciencias de la Educación

This dissertation examines the political and creative practices of Mujeres de Maiz (MdM/Women of the Corn), an Indigenous mestiz@ led feminist of color visual and performing arts collective based in Los Angeles. Since their inception in 1997, Mujeres de Maiz has used politically and spiritually charged art that aims to challenge social injustices, revise dominant cultural representations and build meaningful communities across differences. The research was drawn from a dual method approach: textual analysis and participant observation ethnography with the MdM collective from 2009 to 2014 to examine how urban Indigenous mestiz@s represent themselves in textual and social spaces. Few studies have paid attention to constructions of Chicano indigeneity, and fewer still to feminist indigeneity, in the twenty-first century that exists outside of Chicano nationalist and "Chican@ indigenist" paradigms. In contrast, this work examines the ways women shape, transform and extend Chican@ indigeneity and express manifestations of a "radical indigenous mestizaje" through their artivism. This research seeks to propel Chican@ Studies towards making room for a transnational feminist, hemispheric and grounded approach to indigeneity by demonstrating that these approaches are already being constructed on the ground. The dissertation is comprised of case studies and models of activist scholarship.

Submitted by Jéssica dos Santos Maciel null (macieljs@stj.jus.br) on 2015-01-30T16:03:24Z No. of bitstreams: 1 interactions_between_national_wang.pdf: 857444 bytes, checksum: 85fc3841133ab50a2bd6ef18b712009c (MD5) Made available in DSpace on 2015-01-30T16:03:24Z (GMT). No. of bitstreams: 1 interactions_between_national_wang.pdf: 857444 bytes, checksum: 85fc3841133ab50a2bd6ef18b712009c (MD5) Previous issue date: 2015 Analisa as interações entre a prática legislativa chinesa e valores supranacionais. Destaca o caráter modernizante da reforma de uma legislação nacional em um contexto globalizado, sublinhando que a incorporação de elementos externos depende de fatores locais, como cultura, sentimento e tradições institucionais. Demonstra que tal modernização conduz a diversas expressões da cultura global.

Chicana literary work is predominantly characterized by poetry. Lyrical poetic phrases are interwoven into Chicanas’ short stories, novels, theoretical, and critical essays. Why poetry? What is distinct about poetry as a literary genre or the process of writing poetry that facilitates Chicanas’ self-expression? Various Chicana writers refer to the process of writing poetry as essential to the (trans)formation of identity and society. Poetry allows Chicanas to transform their own identities and to re-define the contours of the world by creating a new or distinct reality from which to act. Collectively, Chicana writers produce a corpus of literary work that is characterized by the commingling of poetry, theory, and criticism. In this article I illustrate that these three phenomena are inextricably linked and that theoretical and critical essays written by and about Chicanas often grow out of and through their more creative, poetic literary work. My analysis focuses primarily on two Chicana authors, Pat Mora and Ana Castillo, and examines how their poetry exemplifies and contextualizes some of their abstract claims and critical theories, as well as how the blending of poetry, theory, and criticism functions as a powerful tool to create socio-political change both in the academy and beyond.

Since the turn of the twenty first century, the Los Angeles Rockabilly scene has been dominated by Chicana/os and Latina/os; a very unlikely and untraditional community of producers and consumers. Through their claiming of space, style, and music, Chicana/o and Latina/o working class youth of greater Los Angeles have embraced and refashioned the cultural sensibilities of Rockabilly, a form of 1950s rock & roll, into what I term "Raza Rockabilly," or simply "Razabilly." My research project analyzes how Chicana/os and Latina/os have appropriated and re-imagined the Rockabilly scene resulting in a racialization of the social spaces and practices associated with it. I investigate this process by conducting ethnography of the Chicana/o Latina/o Rockabilly scene in the greater Los Angeles area. My methods largely rely upon participant-observation at local sites in Los Angeles and the annual Viva Las Vegas Rockabilly Weekender, as well as life history interviews with current and past members of the scene. I discovered that as Raza youth are denied access to their own communities' histories through culturally insensitive and irrelevant school curriculum, and as historic barrios themselves are being threatened by gentrification, Chicanas/os and Latinas/os have taken it upon themselves to reclaim their history and assert their claims to space and community through the cultural innovations of "Razabilly."In Chapter I, I provide a cultural history of the international Rockabilly scene since its revival in Great Britain. As a hybrid cultural text, the genre of music known as Rockabilly music combined elements of Black rhythm & blues and white country music in the 1950s. By the 1970s Rockabilly enthusiasts in the United Kingdom developed a scene based on a re-imagined vision of 1950s America. Introduced to the United States in the 1980s, and again in the late 1990s, the Rockabilly scene gained a strong foothold in the Los Angeles area, where Chicana/os and Latina/os now dominate. Chapter II explores the sites crucial to the Raza Rockabilly scene in greater Los Angeles. Rudolpho's, a Mexican restaurant, and Razabilly, an internet forum, were instrumental in providing young working class Chicana/o and Latina/o Rockabilly fans of the early 2000s with the space necessary to transform the sights and sounds of rockabilly to meet their own desires. This chapter also explores how the great recession has impacted contemporary sites of leisure, The Rumble Bar and Rhythm and Booze. In Chapter III, I examine Rockabilly style, a conspicuous sigh known for its working class 1950s aesthetics. Unique to Raza Rockabilly is the self-conscious attempt to invoke a sense of historical or cultural memory tied to the atomic era, a memory that is embodied by a participant in the Rockabilly scene and subject to diverse readings by the spectator. As personal and intimate as self-fashioning one's own body can be, it relies largely on employing broader networks and commercial interest that are integral components in the production and consumption of the Rockabilly scene. Through their business Tarantula Clothing Company, David Contreras and Esther Vasquez engage in multiple codes of dress to design, produce, and sell garments reflecting the sensibilities of Raza Rockabilly. Chapter IV examines the Rockabilly musical canon, as performed, expanded, and contracted within the Los Angeles Raza Rockabilly scene allow musicians, deejays, dancers, and enthusiasts in the scene to "show their roots" by embodying these genealogies. As embodied forms of memory, music does not so much anchor one to a historical past, rather it creates a present filled with significance and fulfillment often not met elsewhere, especially not at work. By sharing these moments, the scene itself becomes an intentional community made up of Chicanas/os and Latinas/os from across greater Los Angeles temporarily convened to engage in leisure together. Through music, cultural producers and consumers a like stake claims to a dignity and history often unrecognized and dishonored in the institutional historical record.

This study centers the lived experiences of Chicana K - 12 teachers from Southern California who see themselves with defined ethnic and political identities, and view Students of Color from an assets-based perspective. The dissertation documents how Chicana teachers explain connections between their life experiences and classroom practices. Through a Chicana Feminist sensibility, I collect information with the teachers in qualitative ways: (1) pre-interviews, (2) life-history interviews, (3) classroom observations, and (4) portraiture. This study works under the hypothesis that Chicana teachers employ a broad range of pedagogical approaches influenced by their own lived experiences. The findings are presented as portraits of the individual Chicana teachers, framed by their socio-historical context. This study provides insight into the implementation of culturally relevant practices with Students of Color. Additionally, this work offers considerations on the development of a critical, "home-grown" Teacher of Color pipeline.

Submitted by Gabriel Silveira Marques null (gmarques@stj.jus.br) on 2014-10-07T22:14:49Z No. of bitstreams: 1 principio_cooperacao_projeto_souza.pdf: 1170139 bytes, checksum: 2dc5f662f33ea6df763c06e521e1028b (MD5) Made available in DSpace on 2014-10-07T22:14:49Z (GMT). No. of bitstreams: 1 principio_cooperacao_projeto_souza.pdf: 1170139 bytes, checksum: 2dc5f662f33ea6df763c06e521e1028b (MD5) Previous issue date: 2013

Dissertação de mestrado integrado em Engenharia Civil (área de especialização em Perfil de Hidráulica e Ambiente), A sedimentação é um processo simples e muito utilizado nas estações de tratamento de águas residuais. A sedimentação primária insere-se no tratamento primário de águas residuais, e consiste um processo físico de separação gravítica, que possibilita a remoção de sólidos em suspensão e coloidais da água residual. A presente dissertação apresenta um estudo experimental do fenómeno da sedimentação, onde se estuda em modelo reduzido a eficiência de remoção de um sedimentador, e se visualiza o escoamento no sedimentador. As dimensões do modelo reduzido foram determinadas através de semelhança hidráulica, utilizando como protótipo sedimentadores reais a funcionar em estações de tratamento de águas residuais. Antes da realização dos ensaios laboratoriais, efetuou-se a visualização do escoamento do modelo reduzido em laboratório, utilizando como traçadores azul de metileno e polipropileno em pó. A visualização do escoamento permitiu concluir que o modelo não estava nivelado e que existiam zonas mortas no interior do sedimentador. Estando o sedimentador perfeitamente nivelado e com a chicana colocada (abertura de 1 cm), não se observou a existência de zonas mortas no seu interior. Para simular a água residual, utilizaram-se soluções aquosas de caulino. Efectuaram-se ensaios para caudais iguais a 0.23, 0.35 e 0.50 L/min, concentrações de caulino iguais a 25, 50 e 100 mg/L, e para chicanas a 1, 2 e 3 cm de distância em relação ao fundo do sedimentador e também sem utilização da chicana. A maior eficiência de remoção do sedimentador observou-se para a chicana colocada a 1 cm de distância em relação ao fundo. Para a mesma configuração geométrica, a maior eficiência de remoção foi observada para um caudal igual a 0.23 L/min e uma concentração de caulino de 100 mg/L. Em comparação com os sedimentadores reais, que apresentam eficiências de remoção de cerca de 20 % a 40 % de sólidos suspensos, o modelo reduzido em laboratório apresenta eficiências entre de 17 % a 39 %., Sedimentation is a simple and widely used treatment operation in wastewater treatment plants. Primary sedimentation is one of the possible operations in the primary treatment of wastewater and consists in a physical treatment process that uses gravity to remove suspended and colloidal solids from wastewater. This dissertation describes an experimental study of the sedimentation phenomenon, in which the removal efficiency in a reduced model of a sedimentation tank is studied and the flow is visualized. The dimensions of the reduced model were determined by hydraulic similitude, using as prototype real sedimentation tanks used in wastewater treatment plants. Before the lab experiments, the flow in the reduced model was visualized, using methylene blue and dust of polypropylene as tracers. The observation of the flow allowed to conclude that the model was not leveled and that there were dead areas inside the sedimentary tank. When the sedimentation tank was perfectly leveled and the baffle was placed (1 cm slot), no dead areas in the interior were seen. In order to simulate the waste water, aqueous solutions of kaolin were used. Testing was done with flow rates equal to 0.23, 0.35 and 0.50 L/min; kaolin concentrations equal to 25, 50 and 100 mg/L; with a baffle located at distances from the sedimentation tank’s bottom equal to 1, 2 and 3 cm; and also without using the baffle. The removal of the sedimentation tank with the baffled placed at 1cm from the bottom has proved to be the most efficient. In the same geometrical configuration, the highest efficiency in the removal was observed for a flow rate equal to 0.23 L/min and a kaolin concentration of 100 mg/L. In comparison with real sedimentation tanks that have suspended solids removal efficiency between 20 % and 40 %, the model presented efficiency between 17 % and 39 %.

Este artículo ofrece un análisis de la manera en que autoras latinas se apropian de, y subvierten, elementos de la novela negra en sus obras de ficción policiaca o detectivesca. La cubanoamericana Carolina García-Aguilera y las chicanas Lucha Corpi, Margarita Cota-Cárdenas y Alicia Gaspar de Alba han creado figuras detectivescas femeninas que manipulan y desestabilizan nociones de género, según la conceptualización de la performatividad de género de Judith Butler. Además, a través de su incorporación de referencias culturales específicas e historias de sus comunidades, estas escritoras combaten un doble borrado textual por desafiar tanto la versión dominante de la historia que omite la de comunidades marginadas como las representaciones masculinas de la experiencia chicana o latina.

In this article I analyze how Gloria Anzaldúa’s seventh essay in Borderlands/La Frontera:The New Mestiza, titled “La conciencia de la mestiza: Towards a New Consciousness”, condenses and portrays a development towards the mestiza consciousness presented in the first six essays in the book. This is a well-structured as well as fluid process in which each step guides us in a complex identity-building awareness. This process is an inner journey as well as an evolution in the public scene where the “new mestiza” has to revise and reinvent herself in several ways in order to acquire “the mestiza consciousness”. This essay is also a clear example in which Anzaldúa represents three voices: the “I”, the “we” and the “she.” These voices are one of Anzaldúa’s strategies for diving into what she understands as her collective identity as a Chicana and as a “new mestiza.” As will be shown in this article, the author moves among these voices for various purposes of identity-construction., En el presente artículo analizo cómo en el séptimo ensayo de Borderlands/La Frontera: The New Mestiza, titulado “La conciencia de la mestiza: Towards a New Consciousness”, Gloria Anzaldúa condensa y describe el desarrollo hacia la conciencia de la mestiza, presentado en los seis capítulos anteriores del libro. Este es un proceso bien estructurado y fluido en el que cada paso nos guía hacia una compleja conciencia de construcción de la identidad. Este proceso es un viaje interior así como una evolución en el espacio público donde la nueva mestiza tiene que revisarse y reinventarse de varias formas para así alcanzar “la conciencia de la mestiza”. Este ensayo es también un ejemplo claro en el que Anzaldúa representa tres voces: el “yo”, el “nosotros/as”, y el “ella”. Estas voces son una de las estrategias de Anzaldúa con el fin de bucear en lo que ella entiende como su identidad colectiva como chicana y como mestiza. Como se demostrará en este artículo, la autora se mueve entre estas voces motivada por múltiples propósitos en la senda de la construcción de la identidad., En aquest article analitzo com en el setè assaig de Borderlands/La Frontera: The New Mestiza, titulat “La conciencia de la mestiza: Towards a New Consciousness”, Gloria Anzaldúa condensa i descriu el desenvolupament cap a la consciència de la mestissa, presentat en els sis capítols anteriors del llibre. Aquest és un procés ben estructurat i fluid en què cada pas ens guia cap a una complexa consciència de construcció de la identitat. Aquest procés és un viatge interior i una evolució en l'espai públic on la nova mestissa ha de revisar-se i reinventar-se de vàries formes per poder assolir “la consciència de la mestissa”. Aquest assaig és també un exemple clar on Anzaldúa representa tres veus: el “jo”, el “nosaltres”, i l'“ella”. Aquestes veus són una de les estratègies d'Anzaldúa per bussejar en allò que ella entén com la seva identitat col·lectiva com a xicana i com a mestissa. Com es demostrarà en aquest article, l'autora es mou entre aquestes veus motivada per múltiples propòsits en la senda de la construcció de la identitat.

Submitted by Gabriela Evangelista Botelho null (gbotelho@stj.jus.br) on 2014-10-14T19:39:27Z No. of bitstreams: 1 third_party_litigation_schaner.pdf: 1223014 bytes, checksum: c20249b3c62aa7ee537212d0ebb0029a (MD5) Made available in DSpace on 2014-10-14T19:39:27Z (GMT). No. of bitstreams: 1 third_party_litigation_schaner.pdf: 1223014 bytes, checksum: c20249b3c62aa7ee537212d0ebb0029a (MD5) Previous issue date: 2012

Submitted by Maria Helena Souza (mariahs@stj.jus.br) on 2014-10-13T18:38:51Z No. of bitstreams: 1 principios_relacao_entre_ludwig.pdf: 1192160 bytes, checksum: 4c97861d6db9bbc913f9d71da8f9e86f (MD5) Made available in DSpace on 2014-10-13T18:38:51Z (GMT). No. of bitstreams: 1 principios_relacao_entre_ludwig.pdf: 1192160 bytes, checksum: 4c97861d6db9bbc913f9d71da8f9e86f (MD5) Previous issue date: 2012

La autora tiene el objetivo de analizar las múltiples discriminaciones que sufre la mujer chicana: racial, por el color de la piel y por su etnia, que no le permite identificarse totalmente ni con la cultura anglo-americana ni con la cultura mejicana en virtud de sus orígenes indígenas; de clase, debido al hecho de estar económicamente desfavorecida, por su género como mujer, considerada por los hombres de su «raza» como un ser inferior, y por último por su orientación sexual si no armoniza con el régimen normativo de la heterosexualidad. L’autrice si propone di analizzare le multiple discriminazioni subite dalla donna chicana: razziale, per il colore della pelle e per la sua etnia, che non le permette di identificarsi totalmente né con la cultura anglo-americana, né con quella messicana di stampo ispanico in virtù delle sue origini indigene; di classe, perché economicamente svantaggiata; di genere, in quanto donna considerata dagli uomini della sua «razza» come un essere inferiore, ed infine di orientamento sessuale qualora non conforme al regime normativo dell’eterosessualità. The author analyzes the multiple discriminations faced by the Chicana woman: a racial discrimination, for the color of her skin and for her ethnic group, which does not allow her to totally identify with the Anglo-American culture nor with the Mexican culture of Hispanic origin that is hers by birth; a class discrimination, because she is economically disadvantaged; a gender discrimination, since as a woman she is regarded by men of her own "race" as an inferior being; and finally a sexual orientation discrimination, when her sexual choices do not comply with the heterosexual regime.

Submitted by gsalbuqu@stj.jus.br (gsalbuqu@stj.jus.br) on 2017-04-20T20:47:28Z No. of bitstreams: 2 jogo_duplo_papel_vilela.pdf: 236613 bytes, checksum: 48429f257ed704806852efd9f5b98f21 (MD5) license.txt: 1239 bytes, checksum: c9b4c351324448672315a00808efb725 (MD5) Approved for entry into archive by Renata Ribeiro (rribeiro@stj.jus.br) on 2017-12-05T17:19:15Z (GMT) No. of bitstreams: 2 jogo_duplo_papel_vilela.pdf: 236613 bytes, checksum: 48429f257ed704806852efd9f5b98f21 (MD5) license.txt: 1239 bytes, checksum: c9b4c351324448672315a00808efb725 (MD5) Made available in DSpace on 2017-12-05T17:19:15Z (GMT). No. of bitstreams: 2 jogo_duplo_papel_vilela.pdf: 236613 bytes, checksum: 48429f257ed704806852efd9f5b98f21 (MD5) license.txt: 1239 bytes, checksum: c9b4c351324448672315a00808efb725 (MD5) Previous issue date: 2011