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												  Platform Feminism: Feminist Protest Space and the Politics of Spatial OrganizationPlatform Feminism: Feminist Protest Space and the Politics of Spatial Organization by Rianka Singh A thesis submitted in conformity with the requirements for the degree of Doctor of Philosophy Faculty of Information University of Toronto © Copyright by Rianka Singh 2020 Platform Feminism: Feminist Protest Space and the Politics of Spatial Organization Rianka Singh Doctor of Philosophy Faculty of Information University of Toronto 2020 Abstract Platform Feminism: Feminist Protest Space and the Politics of Spatial Organization examines the relationship between platforms and feminist politics. This dissertation proposes a new feminist media theory of the platform that positions the platform as a media object that elevates and amplifies some voices over others and renders marginal resistance tactics illegible. This dissertation develops the term “Platform Feminism” to describe an emerging view of digital platforms as always-already politically useful media for feminist empowerment. I argue that Platform Feminism has come to structure and dominate popular imaginaries of what a feminist politics is. In the same vein, the contemporary focus on digital platforms within media studies negates attention to the strategies of care, safety and survival that feminists who resist on the margins employ in the digital age. If we take seriously the imperative to survive rather than an overbearing commitment to speak up, then the platform’s role in feminism is revealed as limited in scope and potential. Through a mixed methodological approach via interviews with feminist activists, critical discourse analysis of platform protest materials, critical discourse analysis of news coverage and popular cultural responses to transnational feminist protests and participant observation within sites of feminist protest in Toronto, this dissertation argues that the platform is a media object that is over-determined in its political utility for Feminist politics and action.
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												  Translating Brazil: from Transnational Periodicals to Hemispheric Fictions, 1808-2010Translating Brazil: From Transnational Periodicals to Hemispheric Fictions, 1808-2010 By Krista Marie Brune A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Hispanic Languages and Literatures in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Natalia Brizuela, Co-chair Professor Candace Slater, Co-chair Professor Scott Saul Spring 2016 Abstract Translating Brazil: From Transnational Periodicals to Hemispheric Fictions, 1808-2010 by Krista Marie Brune Doctor of Philosophy in Hispanic Languages and Literatures University of California, Berkeley Professor Natalia Brizuela, Co-chair Professor Candace Slater, Co-chair This dissertation analyzes how travel and translation informed the construction of Brazil as modern in the 19th century, and how similar processes of transnational translation continue to shape the cultural visibility of the nation abroad in the contemporary moment. By reading journals, literary works, and cultural criticism, this study inserts Brazilian literature and culture into recent debates about translatability, world literature, and cosmopolitanism, while also underscoring the often-overlooked presence of Brazilians in the United States. The first half of the dissertation contends that Portuguese-language periodicals Correio Braziliense (London, 1808-1822), Revista Nitheroy (Paris, 1836), and O Novo Mundo (New York, 1870-1879) translated European and North American ideas of technology and education to a readership primarily in Brazil. The transnational circulation of these periodicals contributed to the self- fashioning of intellectuals who came to define the nation. To suggest parallels between Brazil and the United States in the late 19th century, the analysis of O Novo Mundo focuses on discourses of nation, modernity, and technological progress emerging in the hemispheric travels of scientists, intellectuals, and the Brazilian empire Dom Pedro II, and in the national displays at the 1876 Centennial Exhibition in Philadelphia.
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												  Music Censorship and Brazilian Popular Music (MPB) Throughout Brazil’S Civil-Military Dictatorship (1964-1985)THAIS NICODEMO Music Censorship and Brazilian Popular Music (MPB) throughout Brazil’s Civil-Military Dictatorship (1964-1985) Introduction: Popular music as an eminent threat This article presents a panoramic view on the relationship between popular music and censorship during civil-military regime in Brazil (1964-1985). The research is based on the analysis of several documents produced during the period held at the Arquivo Nacional (National Archive), in Brasília. Among the documents in the archive are orig- inal versions of lyrics, censors’ reports and letters addressing censorship, written by record label personnel and artists, advocating the approval of prohibited songs. Although there have been extensive and important studies on censorship in this period, the specific subject of music censorship has still been little explored in the academic field in Brazil and has been gaining more attention since the opening of the music censorship archives to public consultation in the early 1990s. In 2012, the Comissão Nacional da Verdade (National Truth Commission) was created, aiming to investigate human right violations by the state, especially during the civil-military dictatorship in Brazil, giving particular attention to several documents produced dur- ing the regime, including censorship documents. This fact represents the possibil- ity of a revision of Brazil’s history and stimulates civil society to debate about the dictator ship period, which still leaves strong traces in the recent and fragile trajectory of democracy in the country. When I consulted the material at the Arquivo Nacional, in 2013, the documents were in a poor state of conservation, without detailed cata- loguing of content.
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												  A History of Age-Rating Television in BrazilInternational Journal of Communication 13(2019), 1167–1185 1932–8036/20190005 The Children Are Watching: A History of Age-Rating Television in Brazil LIAM GREALY1 CATHERINE DRISCOLL The University of Sydney, Australia ANDREA LIMBERTO The National Service for Commercial Education and University of São Paulo, Brazil Histories of Brazilian media regulation typically emphasize a major transformation with the passing of the federal constitution in 1988, contrasting censorship during the military period of 1964‒1985 with age rating, or “indicative classification,” thereafter. Contemporary conflicts among child advocates, television broadcasters, and the state as monitor of the industry’s self-regulation are grounded in a much longer history of age rating in popular media. Drawing on an examination of files from Brazil’s Ministry of Justice and interviews with current examiners, this article provides a history of age ratings for television in Brazil and of the processes by which classification decisions are made. We argue that the desire to limit young people’s access to television through age ratings has had significant ramifications in Brazil, evident in the formation of legal regimes, reform of institutional practices, and even the revision of time zones. Keywords: media classification, age rating, youth, minority, time zones, legal reform, Brazilian television, telenovelas The passing of Brazil’s federal constitution in 1988 was a central achievement in the nation’s transition from a prolonged era of military government to renewed democracy. Regarding media regulation, the constitution is usually understood as a shift from state-led censorship characterized by inconsistency, opaque decision making, and restrictions on political criticism to protected freedom of expression with media subjected to a system of differentiated age-based classifications.
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												  De /Constructing InternationalismDE /CONSTRUCTING INTERNATIONALISM FEMINIST PRACTICES IN CONVERSATION DE /CONSTRUCTING INTERNATIONALISM FEMINIST PRACTICES IN CONVERSATION A FEMINIST INTERNATIONAL IN A MOMENT OF RADICAL OPENNESS As I write these lines, we are still in the midst of the global Corona pandemic whose consequences for our personal lives, our societies and international relations are still completely unresolved. On the one hand, the crisis and, in parti- cular, the governmental measures responding to it are aggravating pre-existing inequalities and oppression. Exposure to danger and access to support is determined by class, race and gender, as well as one’s position in the global economy. On the other hand, feminists continue to organize worldwide to make these problems visible and to increase the atten- tion currently paid to caring work and sustaining life and to use this for progressive initiatives. The contributions collected in this volume have emerged from a debate on feminist expectations of internationalism at the Feminist Futures Festival in September 2019 in Essen, Germany. That debate took place in a context in which feminist movements in different countries of the world were becoming increasingly loud and numerous and were also internationally connected to one other. Is this debate still relevant in the current situation? The answer is clearly yes. The contributions show that even in the past, of so-called normality, feminist struggles never took place without resis- tance and opposition, and yet movements and networks have developed that are no longer easily destroyed. That is why they continue to work even during this global pandemic. In these times, when the nation state is reappearing as it has not done for a long time and yet does not help many people, numerous feminist movements are exchanging experiences about local practices and are thus also giving impulses, inspiration and strength to more and more feminists.
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												  RMC Conference 2013RMC conference 2013 Proposals received as pr maj 6, 2013 Click to open: Maria W. Koomen: Questions of the permissibility and regulability of music in Iran (WORKING TITLE) ................................................................................................................................................................ 1 Mehryar Golestani: Persian Hip-Hop and the emergence of an online Iranian Diaspora through Social Media. ..................................................................................................................................................... 2 Alexander Carpenter: „Die Young‟: On Self-Censorship, Pop Music and Social Violence ..................... 3 Thomas Solomon: “His Bird Doesn’t Stand Up”: Gendered Dimensions of Music Censorship in Turkey ................................................................................................................................................................ 4 Anna Oldfield: Memories Don’t Burn: Soviet Censorship and the Turkic Bard ...................................... 5 Mihai-Alexandru Ilioaia: Too Lowbrow to be Broadcasted: “Manele” and the Dictatorship of Good Taste ........................................................................................................................................................ 6 Adelcio Camilo Machado: Censorship(s) in Brazilian popular music of the 1970’s ................................ 7 Monika Hennemann: Sainted Censorship? The Great War, the Met, and American Anti-Wagnerism . 8 Cosimo Colazzo: Censorship
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												  Chilean and Transnational Performances of DisobedienceBulletin of Latin American Research, 2021 DOI:10.1111/blar.13215 Chilean and Transnational Performances of Disobedience: LasTesis and the Phenomenon of Un violador en tu camino DEBORAH MARTIN UCL, London, UK DEBORAH SHAW University of Portsmouth, Portsmouth, UK This article analyses the performance Un violador en tu camino created by Chilean feminist theatre collective LasTesis, shared by millions and re-staged across the globe. It explores the relationship between the orig- inal piece and theorist Rita Segato’s insights on rape culture, and how it counters aspects of this culture. It examines how the transnational spread of Un violador counters tendencies of MeToo, and examines four cases of the performance’s re-staging in Latin America and beyond, showing how they make manifest the pervasiveness of rape culture as well as how groups have adapted them to speak to local issues. Keywords: activism, feminism, MeToo, protest, rape, Rita Laura Segato. On 20 November 2019, Chilean feminist theatre collective LasTesis staged a powerful street performance, Un violador en tu camino, in Valparaíso, calling out rape culture and indicting the state and wider society for women’s oppression. The performance went on to be shared and re-staged in Spanish-speaking countries including Argentina, Ecuador, Mexico, Paraguay, Spain, Nicaragua, Colombia, Peru, and Santo Domingo, and it has been reinterpreted in over 200 locations around the world (Cuffe, 2019). The original piece incorporates a powerful and catchy chant, references to Chilean national songs and accusations of rape against the instruments of the state, including the president. A dance routine recalls the humiliating poses women are required to adopt when detained by Chilean state forces, as well as utilising blindfolds and tight, stereotypically feminine clothing in a re-significatory way (Tesis, 2019).
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												  Social Protest Folklore and Student Critical ConsciousnessJournal of International Women's Studies Volume 22 Issue 1 Article 29 February 2021 Social Protest Folklore and Student Critical Consciousness Elise M. Brenner Bridgewater State University Follow this and additional works at: https://vc.bridgew.edu/jiws Part of the Women's Studies Commons Recommended Citation Brenner, Elise M. (2021). Social Protest Folklore and Student Critical Consciousness. Journal of International Women's Studies, 22(1), 504-522. Available at: https://vc.bridgew.edu/jiws/vol22/iss1/29 This item is available as part of Virtual Commons, the open-access institutional repository of Bridgewater State University, Bridgewater, Massachusetts. This journal and its contents may be used for research, teaching and private study purposes. Any substantial or systematic reproduction, re-distribution, re-selling, loan or sub-licensing, systematic supply or distribution in any form to anyone is expressly forbidden. ©2021 Journal of International Women’s Studies. Social Protest Folklore and Student Critical Consciousness By Elise M. Brenner1 Abstract Bridgewater State University undergraduate Introduction to Folklore students, overwhelmingly young and white, with little to no experience with folklore, found a voice to honor and highlight liberatory and social justice-oriented protest folklore in and around the world and in their own experiences. Students in the fall 2020 Introduction to Folklore classes were confronted in life-altering ways with a global pandemic that endangered them and their loved ones and shone a light on hideous health inequities. The relentless killings of black people stripped away any illusions that systemic racism and white supremacy were not daily, ever- present forces. At the same time, Bridgewater State University was making purposeful and intentional efforts to being a social justice university.
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												  Workers Fight Bosses for Their Lives by Sue Davis and Martha Grevatt Months at AmazonDesde dentro de la pandemia 12 Workers and oppressed peoples of the world unite! workers.org Vol. 62, No. 14 April 2, 2020 $1 Wave of resistance Workers fight bosses for their lives By Sue Davis and Martha Grevatt months at Amazon. Warehouse workers at the DCH1 warehouse in All over the country, in the wake of the Chicago began demanding paid time coronavirus pandemic, workers are fight- off (PTO) in January after reading in the ing for and winning safer working condi- employee handbook that everyone work- tions, the right to stay home and income ing 20 hours or more a week was entitled protection. They are both unionized and to it. The company tried to claim only full- nonunionized and work in a range of time workers could collect PTO. Most of occupations. the workers at DCH1 are Black and Latinx. Below is a small sample of the scores When they met with the company, “They of worker actions taking place around talked to us like stupid workers who can’t the country. (Read the full report online read.” (Amazonians United) The work- at workers.org/2020/03/47342/. More ers’ group, DCH1 Amazonians United, coverage next week.) distributed leaflets and wore buttons As we are writing, workers at Amazon- that read “Amazonians United for PTO.” CREDIT: DCH1 AMAZONIANS UNITED owned Whole Foods are waging a Strike talk was part of the conversation. Amazonians United from Chicago warehouse meet with other Amazon workers from nationwide sickout March 31 over unsafe The campaign for PTO picked up around the world before social distancing restrictions.
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												  2020 AbstractsAbstracts for the Annual SECAC Conference Host Institution: Virginia Commonwealth University Convened Virtually November 30th - December 11th, 2020 Conference Chair: Carly Phinizy, Virginia Commonwealth University Hallie Abelman, University of Iowa The Home Lives of Animal Objects Ducks give pause to the DeafBlind poet John Lee Clark, who encounters them in rubber, stone, and wood while scanning aisles of gift shops and flea markets. Always perplexed by their flat bottoms, Clark notes how this perplexing design decision maintains visual (over tactile) privilege. The portal opened by this reflection exemplifies the precise intersection of animals, material culture, and disability driving Abelman’s performance-lecture at SECAC2020. Abelman treats each animal object she encounters as a prop and every mundane interaction with it as a performance, so Abelman demonstrates how the performativity of these obJects can elicit necessary humor, irony, and satire often missing from mainstream environmentalist narratives. Be they tchotchkes, souvenirs, commodities, or toys, each of these obJects has a culturally specific relationship to the species it portrays, a unique material makeup, and a history of being touched by human hands. Attending to the social construction of these realities aids an essential reconciliation between commodified animals and real animal livelihoods. Overall, the audience gains a better sense of how animal obJects can not only misrepresent a species but also contribute to that very species’s demise, be instrumentalized for the perpetuation of racist ideologies, and mobilize ableist fears. Rachel Allen, University of Delaware Nocturnes without Sky (World): FreDeric Remington Pushes Indigenous Cosmologies Out of the Frame This paper examines Frederic Remington’s (American, 1861–1909) The Gossips (1909) and the impact of his final paintings on Indigenous people and our cosmologies.
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												  Embodying Citizenship in Brazilian Women's Film, Video, AndEmbodying Citizenship in Brazilian Women’s Film, Video, and Literature, 1971 to 1988 by Leslie Louise Marsh A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (Romance Languages and Literatures: Spanish) in The University of Michigan 2008 Doctoral Committee: Associate Professor Catherine L. Benamou, Co-Chair Assistant Professor Lawrence M. La Fountain-Stokes, Co-Chair Associate Professor Sueann Caulfield Associate Professor Maria E. Cotera Assistant Professor Paulina Laura Alberto A catfish laughs. It thinks of other catfishes In other ponds. ⎯ Koi Nagata © Leslie Louise Marsh 2008 To my parents Linda and Larry Marsh, with love. To all those who helped and supported me in Brazil and To Catherine Benamou, whose patience is only one of her many virtues, my eternal gratitude. ii Table of Contents Dedication ii Abstract iv Chapter 1 Introduction 1 2 The Body and Citizenship in Clarice Lispector’s A 21 Via Crucis do Corpo (1974) and Sonia Coutinho’s Nascimento de uma Mulher (1971) 3 Comparative Perspectives on Brazilian Women’s 90 Filmmaking and the State during the 1970s and 1980s 4 Contesting the Boundaries of Belonging in the Early 156 Films of Ana Carolina Teixeira Soares and Tizuka Yamasaki 5 Reformulating Civitas in Brazil, 1980 to 1989 225 6 Technologies of Citizenship: Brazilian Women’s 254 Independent and Alternative Film and Video, 1983 to 1988 7 Conclusion 342 Sources Consulted 348 iii Abstract Embodying Citizenship in Brazilian Women’s Film, Video, and Literature, 1971 to 1988 by Leslie Louise Marsh Co-Chairs: Catherine L. Benamou and Lawrence M.
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												  Feminist Worldmaking and Musical Practice in Chile ByResonance and Resistance: Feminist Worldmaking and Musical Practice in Chile by Christina Marie Azahar Folgar A dissertation in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Music in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Jocelyne Guilbault, Chair Professor T. Carlis Roberts Professor Charles L. Briggs Professor Daniel Party Spring 2021 Resonance and Resistance: Feminist Worldmaking and Musical Practice in Chile © 2021 by Christina Marie Azahar Folgar Abstract Resonance and Resistance: Feminist Worldmaking and Musical Practice in Chile by Christina Marie Azahar Folgar Doctor of Philosophy in Music University of California, Berkeley Professor Jocelyne Guilbault, Chair This dissertation engages the concept of resonance in order to explore how Chilean feminist activists, musicians, industry leaders, and audiences have used popular musical practices to create space for themselves and their communities. Centrally, this study asks, how are feminist organizers in Chile engaging music to mobilize artists, audiences, and industries to end patterns of patriarchal oppression? To what extent do feminist musical practices allow participants to navigate, re-sound, and re-envision the physical, social, industrial, and virtual spaces of which they are a part? By examining a diversity of feminist musical practices from the mid-twentieth century to the present, I explain how musical and interpersonal resonances shape feminist coalition-building while also reconfiguring the gender politics of social and geophysical space. Each chapter in this dissertation makes audible distinct feminist understandings of Chilean music history, spatial politics, and the patriarchal systems that shape these. In Chapters Two and Three, I examine the role of cantautoras (women singer-songwriters) across generations of political movements, specifically addressing the feminist legacies, activism, and travels of folklorist Violeta Parra (b.