Navegando por Orientadores "LAGE, Leandro Rodrigues"

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O cárcere e o relato de si: abjeção e normas regulatórias na experiência de mulheres sobreviventes ao centro de reeducação feminino
(Universidade Federal do Pará, 2014-10-02) FONSECA, Nathália de Sousa; LAGE, Leandro Rodrigues; http://lattes.cnpq.br/2396184188116499; https://orcid.org/0000-0002-6814-9640
In this work, we investigate how relationships are woven between regulatory norms, intersectional systems of inequalities, and abjection as verbalized by our interlocutors in their self-reports. By investigating the experience of women who have been incarcerated, selfreports are the materialization of ethical violence – which can be subjective – in the lives of the research interlocutors. This form of violence is affected by regulatory norms, intersectionality and abjection - which are configured as moral grammars that are mobilized to organize intelligibility before and within prison. Through this problem, we seek to understand the fabric of the relationship between regulatory norms, intersectional systems of inequalities and abjection through self-reports of women who have been inmates at the Women's Reeducation Center (Belém-PA). To this end, we propose to investigate whether or in what way the movement of self-reporting by the women concerned is marked by a denial of humanity, the imposition of gendered norms and practices that traverse social markers of differences (gender, race, class and sexuality), or even their questioning. Methodologically, the central concepts that animate the work are used as analytical categories, and they have proven fruitful in the analysis. Among the results, we have the imposition of the scene of interpellation that deals with the moment of arrest as the first self-report of the interlocutors, the “woman not to be” in the understanding of how the regulatory norms of gender configure that women are incarcerated women, the intersection that unfolds in the “patent” of wealth and the privileges that intertwine with it; operating in intersectional systems and in abjection we have the reality of women who were incarcerated due to their homeless condition, to these, abjection challenges them in such a way that they are denied the status of subject, framed as dirty, and even in intersectional systems of inequalities they reflect the other side of the “patent”, devoid of respect among incarcerated women.
Acesso aberto (Open Access)
O cinema de luta dos Mêbengôkre-Kayapó: as múltiplas dimensões de resistência nos filmes e práticas de produção do Coletivo Beture
(Universidade Federal do Pará, 2024-08-30) GOMES, Angela Nelly dos Santos; LAGE, Leandro Rodrigues; http://lattes.cnpq.br/2396184188116499; https://orcid.org/0000-0002-6814-9640
This research reflects on the cinema produced by Mebêngôkre-Kayapó indigenous filmmakers, focusing on the films and production practices of the Beture Collective, which brings together filmmakers from this ethnic group in the state of Pará, Brazil. The aim is to understand how the cinema of the Beture Mebêngôkre-Kayapó Collective expresses dimensions or meanings of resistance through its works and filmmaking practices, in relation to the socio-political or cultural struggles of the ethnic group. In order to understand how cinema is appropriated and transformed into an ally in these struggles, and in what dimensions this occurs or is expressed, we analyzed the works of the Beture Collective that are representative of their production; we observed and analyzed the group's production practices in an attempt to understand how they relate to the resistance processes of the Mebêngôkre people; what the motivations and objectives of filmmaking are and how the Beture Collective appropriates techniques, technologies and cinematographic or audiovisual language and adapts them to their objectives according to their worldview. This is a qualitative study developed through film analysis and field research with open-ended interviews and observational participation. The theoretical framework is interdisciplinary in that it combines film and image studies with Latin American criticism from the perspective of decolonial studies, as well as concepts related to indigenous studies from anthropology, sociology and geography, which converge with the subject of the research, in order to understand the meanings of resistance that are expressed, constitute or cross Mebêngôkre cinema. The research highlights the complexity of Mebêngôkre cinema and the Beture Collective, which is born and develops in a way that is intertwined with the sociopolitical and cultural issues of the ethnic group and indigenous peoples as a whole. We conclude that the cinema of the Beture Collective is a cinema of struggle, a multifaceted practice of resistance, since it is born and develops intrinsically to the struggles for rights in various senses, for the preservation and demarcation of territories, for affirmation as a producer of their images, narratives and memories, and presentation of their ways of seeing and being in the world. A cinema that is also mediation in the complex ethnic and intercultural interrelationship with indigenous and non-indigenous society.
Acesso aberto (Open Access)
Tensões interseccionais e giro decolonial no fazer poético da escritora paraense Roberta Tavares
(Universidade Federal do Pará, 2025-02-22) VIDAL, Claudia Valeria França; LAGE, Leandro Rodrigues; http://lattes.cnpq.br/2396184188116499; https://orcid.org/0000-0002-6814-9640
The present thesis defends that Brazilian literature written by women is a space saturated with intersectional forces due to being transversed by social differences inherited from the violent European colonial process on the Americas. This is because as social agents interact, they engage in relations in which they seek to reach their interests exerting pressure on each other, that is, generating forces of power that take different forms in each society that can superpose enhancing one the other (Foucault, 1995). Although power is not a substance that may be retained and power relations also generate resistance movements, historical processes of domination breed forms of oppression that are more stable because they are historically prolonged and naturalized in a society, but in certain spaces the intensity they act intersectionally make them more evident (Collins 2022). Thus, the main goal of this research is to investigate the reverberation of gender, racialization and social class intersectional tensions in Roberta Tavares’s poetic practice considering her specificity as a woman and black person and quilombola living and producing literature in the state of Pará in the XXI century. To this purpose, we discuss colonial origins of gender, racialization and class oppression present in Brazilian social space constitution affecting above all racialized women such as the writer. Furthermore, we outline a diachronic panorama of the field of literature of female authorship from Pará with the aim of understanding the current context conditions that contribute to embrace or hinder the emergence of her production. Moreover, we think about Tavares’s works considering her mentioned specificity. The justification for this research in the scope of Communication studies is the perspective of literary text as an enunciative unity that integrates a communication process in dialogue with others as proposed by Gadamer (1999), Ricoeur (2010) and Bakhtin (2010). The decision to focus the investigation on Roberta Tavares’s works is due to her representativity in the scope established from an unprecedent survey conducted in the present research between 2021 and 2022 which catalogued 136 active female writers from Pará from the researcher’s pre-existing collection. The investigation was guided by a combination of the with affections (Moriceau, 2020) and intersectional research approaches and accomplished combining documental and bibliographical methodologies. Five axes of analysis were adopted, the first one concerning the materiality of the writer’s three individual books and the other focusing the poems of the artisanal book “Mulheres de Fogo”. Besides the mentioned studies, the theoretical framework was mainly composed of authors who discuss Brazilian literary historiography and gender, such as Gotlib (1998), Duarte (2004 and 2018) and Dalcastagnè (2018), coloniality and decoloniality in Latin America, such as Quijano (2005), Mignolo (2017), Maldonado-Torres (2019) and Carneiro (2023), and feminisms of decolonial orientation, such as Gonzalez (2018), Lugones (2014) e Ribeiro (2019). We conclude that Tavares poetic writing aligns to ‘escrevivências’ (Evaristo, 2020) and is disruptive in relation to the hegemonic tradition and that Para’s current context is more propitious to its emergence in comparison to previous historical periods.