nÃo hà / Abordada como um fenÃmeno textual-discursivo e como uma proposta teÃrica que salienta aspectos dinÃmicos do processo de construÃÃo dos referentes, a referenciaÃÃo tem despertado, cada vez mais, o olhar de estudiosos por sua relevÃncia para a produÃÃo e compreensÃo de sentidos. Dentre os princÃpios que ancoram a construÃÃo dos referentes, encontram-se a negociaÃÃo dos interlocutores e a natureza sociocognitiva da referÃncia, vista agora na perspectiva da instabilidade do real. Cavalcante, CustÃdio Filho e Brito (2014) apontam a introduÃÃo referencial, a anÃfora e a dÃixis como as trÃs categorias maiores de processos referenciais. De acordo com essa perspectiva, o presente trabalho tem como objetivo analisar os processos referenciais dÃiticos, evidenciando seu carÃter recategorizador em gÃneros predominantemente narrativos e, assim, responder à questÃo: como ocorre o uso das expressÃes dÃiticas e das funÃÃes discursivas do processo evolutivo referencial dÃitico na constituiÃÃo de gÃneros com predominÃncia de sequÃncias narrativas? Tomo como ponto de partida os enfoques sobre a reinterpretaÃÃo dÃitica (LYONS, 1977); a realizaÃÃo de um tipo de intersubjetividade que se dà entre o falante, o discurso e o contexto de criaÃÃo (CAVALCANTE, 2000); a noÃÃo de que um antecedente sofre profundas mudanÃas do inÃcio ao fim do discurso (CHAROLLES; SCHNEDECKER, 1993.a) e a evoluÃÃo dos referentes, conforme defendida por ApothÃloz e Reichler-BÃguelin (1995), Cavalcante (2011), Koch (2004b). A partir, principalmente, desses estudos, elaboro a hipÃtese de que, na constituiÃÃo de gÃneros com predominÃncia de sequÃncias narrativas, o uso das expressÃes dÃiticas e as funÃÃes sociodiscursivas do processo evolutivo referencial dÃitico respondem pela formaÃÃo de uma cadeia dÃitica. AlÃm de uma ampla pesquisa bibliogrÃfica, montei um corpus de 30 textos, pertencentes a diversos gÃneros, e optei por analisar um exemplÃrio formado por 5 cadeias de cada uma das categorias de anÃlise do presente trabalho: pessoal, temporal e espacial. Parto da ideia de que as funÃÃes desempenhadas pelas expressÃes dÃiticas ampliam a compreensÃo da dÃixis no panorama da LinguÃstica Textual e, por esse motivo, priorizei apresentar uma lista das principais funÃÃes observadas, mas nÃo me detive na elaboraÃÃo de um quadro geral que abrigasse tais funÃÃes, a exemplo dos estudos de Cavalcante (2000) e Ciulla (2008). Os resultados da pesquisa me permitiram, em primeiro lugar, comprovar que, na formaÃÃo das cadeias, as expressÃes dÃiticas sofrem modificaÃÃes, conforme propÃe a Teoria da MudanÃa DÃitica; e ainda, que tais modificaÃÃes se constituem recategorizaÃÃes das expressÃes dÃiticas. / Usually interpreted as a textual-discursive phenomenon and used as theoretical basis that focus on dynamic aspects about the construction of references, referentiantion has attracted the scholarsâ attention for this relevance to production and understanding of meaning. Among the main principles to construct referents, it is the negotiation between speakers as well as the socio-cognitive nature of referents, this last one being considered in the perspective about the instability of reality. Cavalcante, CustÃdio Filho and Brito (2014) claim that initial reference, anaphora and deixis are three major categories for referential processes. According to this view, this study aims to analyze deictic referential processes, focusing on its recategorization role in narrative genres in order to answer the question: how does it apply the use of deictic expressions and discursive functions of deictic referential developing process to the constitution of genres with a predominance of narrative sequences? Initially I selected some concepts namely: 1) the deictic reinterpretation (LYONS, 1977); 2) the inter-subjectivity relation among speaker, discourse and context (CAVALCANTE, 2000), 3) the previous referent can change at any time while the discursive interaction occurs (CHAROLLES; SCHNEDECKER, 1993a) and 4) the evolution of referent, as advocated by ApothÃloz and Reichler-BÃguelin (1995), Cavalcante (2011), Koch (2004b). Based on these studies, I developed the hypothesis that the use of deictic expressions and socio-discursive functions of the deictic referential developing process is responsible to form a deictic chain in the constitution of genres with a predominance of narrative sequences. Plus an extensive research, 30 texts of different genres were selected, the analysis were conducted considering personal, temporal and spatial categories, 5 chains of each category. Since the role of deictic expressions expand the understanding of deictic processes in Textual Linguistics field, I present a list of the main features observed without develop a general framework as proposed by Cavalcante (2000) and Ciulla (2008). The results show that, in the formation of chains, deictic expressions had been changed, as the Deictic Shift Theory proposes, and these changes are, in fact, deictic expressions re-categorized.

Submitted by Geandra Rodrigues (geandrar@gmail.com) on 2018-08-14T18:17:23Z No. of bitstreams: 1 leilacruzmagalhaes.pdf: 2002008 bytes, checksum: 7dd82973f69f5e8d4347e40a1771baf3 (MD5) / Approved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2018-08-28T13:41:12Z (GMT) No. of bitstreams: 1 leilacruzmagalhaes.pdf: 2002008 bytes, checksum: 7dd82973f69f5e8d4347e40a1771baf3 (MD5) / Made available in DSpace on 2018-08-28T13:41:12Z (GMT). No. of bitstreams: 1 leilacruzmagalhaes.pdf: 2002008 bytes, checksum: 7dd82973f69f5e8d4347e40a1771baf3 (MD5) Previous issue date: 2018-06-08 / CAPES - Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / O presente estudo tem o objetivo de analisar e discutir a emergência da fictividade em suas diversas facetas, e a sua relevância para o contexto da sala de aula. Como quadro teórico, adotamos as premissas da Linguística Cognitiva (TALMY, 2000; LANGACKER, 1987, 1999, 2008; FAUCONNIER, 1997; FAUCONNIER; TURNER, 2002), e mais especificamente, a proposta de Pascual (2002, 2014, 2016) sobre a Interação Fictiva em suas diversas formas. Adotamos também como parte do aporte teórico as investigações sobre Intersubjetividade (TRAUGOT & DASHER, 2005) e Subjetividade (TRAUGOT & DASHER, 2005, LANGACKER, 1990) aliados à análise das Dêixis genéricas (MARMARIDOU,2000). Acerca da abordagem metodológica, analisamos um corpus oral transcrito de uma aula de atendimento de um curso de Medicina, e optamos pela mescla dos paradigmas corpus-based e corpus-driven, ou seja, partimos de algumas hipóteses iniciais, porém permitimos que as ocorrências do corpus ditassem os questionamentos do trabalho. Dessa maneira, nos foi possível explorar ao máximo as mais distintas instâncias do fenômeno presentes no corpus que, por sua vez, se tornou o protagonista deste trabalho. A análise subsequente de caráter qualitativo revelou a presença de quatro padrões fictivos principais: o discurso direto fictivo, a pergunta fictiva, o padrão pergunta-resposta e a dêixis fictiva(ou genérica). Cada um desses padrões era constante em eventos de cunho explanativo, visto que toda vez que a docente se propunha a explicar algo mais detalhadamente ela utilizava um tipo de expressão fictiva, revelando assim, que o fenômeno teria um papel importante na construção do discurso pedagógico. Dentre os achados mais emblemáticos estão as dêixis fictivas/genéricas que se revelaram abundantes no contexto analisado. Percebemos que a utilização destas exprimiam a intersubjetividade vigente na fala da professsora que, lançava mão do recurso com o intuito de chamar a atenção dos alunos para o que iria ser dito. As principais dêixis fictivas foram os pronomes pessoais “eu”, “nós” e a locução pronominal “ a gente”. Cada uma delas era empregada com o intuito de provocar o engajamento dos alunos. Por exemplo, notamos que o pronome pessoal “eu”, que era menos inclusivo, parecia ser mais intersubjetivo e estava mais presente nas explicações do que a locução pronominal “ a gente”, que aparecia principalmente diante das retomadas feitas pela professora. Percebemos também que esses fenômenos fictivos eram instrumentos relevantes para o desenvolvimento da aula, tendo em vista que as expressões fictivas eram introduzidas durante as explicações sobre o atendimento, e também pela atitude responsiva de alguns alunos. / The present study aims to analyze and discuss the emergence of fictivity in its various facets, and its relevance to the context of the classroom. As a theoretical framework, we adopted the premises of Cognitive Linguistics (TALMY, 2000, LANGACKER, 1987, 1999, 2008, FAUCONNIER, 1997; FAUCONNIER, TURNER, 2002), and more specifically Pascual's (2002, 2014, 2016) the Fictive Interaction in its various forms. We also used as part of the theoretical contribution the investigations on Intersubjectivity (TRAUGOT & DASHER, 2005) and Subjectivity (TRAUGOT & DASHER, 2005, LANGACKER, 1990) together with the analysis of generic Deixis (MARMARIDOU, 2000). On the methodological approach, we analyzed a transcribed oral corpus from a medical care class, and chose the merge of the corpus-based and corpusdriven paradigms, that is, we start from some initial hypotheses, but we allow the occurrences of the corpus dictated the questions of the work. In this way, we were able to explore as much as possible the most distinct instances of the phenomenon present in the corpus that, in turn, became the protagonist of this work. The subsequent qualitative analysis revealed the presence of four main fictional patterns: direct fictive speech, the fictive question, the question-answer pattern, and the fictive (or generic) deixis. Each of these patterns was constant in explanatory events, since whenever the teacher proposed to explain something more in detail, she used a kind of fictive expression, thus revealing that the phenomenon would play an important role in the construction of the pedagogical discourse. Among the most emblematic findings are the fictive / generic deixis that proved to be abundant in the analyzed context. We noticed that the use of these expressed the intersubjectivity in the speech of the teacher, who used the resource in order to draw the students' attention to what was going to be said. The main fictive deitics were the personal pronouns "I", "we" and the pronominal phrase "we". Each of them was used with the intention of provoking student‟s engagement, but with different degrees of intersubjectivity. For example, we noticed that the personal pronoun "I", that was less inclusive, it was the most intersubjective and more present in the explanations than the pronominal phrase "we", which appeared mainly in the face of the retakes made by the teacher. We also noticed that these fictive phenomena were relevant instruments for the development of the class, given that the fictive expressions were introduced during the explanations about the attendance, and also by the responsive attitude of some students.

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Montréal. / Le film Punch-Drunk Love, réalisé en 2002 par Paul Thomas Anderson, présente une approche formelle hors du commun et expose, de manière flagrante, le travail énonciatif du film. L’énonciation filmique qui est sienne pousse le spectateur à se distancer de l’oeuvre et l’incite à se questionner sur la signification des codes mis en place. Ce dernier est également stimulé à remettre en question ses propres attentes ainsi qu’à s’interroger sur son plaisir spectatoriel. Nous proposons, dans le cadre de ce mémoire, de faire l’analyse de l’énonciation filmique du film à travers l’approche abstraite de Christian Metz. Grâce à sa théorie, qui affiche la préséance du film sur l’auteur en matière de signification des codes, nous mettrons en évidence l’idée que les constructions énonciatives fortes reprennent à leur compte l’histoire racontée par le film. L’énonciation réfléchit et redouble le film. Avec une telle approche, le film expose son rapport fusionnel entre le fond et la forme. L’énonciation, vue sous cet oeil, devient l’alter ego du film. / In Punch-Drunk Love (2002), Paul Thomas Anderson applies a unique creative process that reveals the very inner workings of enunciation in the film. His filmic approach functions to distance the spectator from the film and, to various degrees, challenges the spectator to question the codes that create an aesthetic of illusion. Drawing on Christian Metz’s abstract approach to enunciation, this thesis proposes to analyse the filmic enunciation of Anderson’s film. By means of this theoretical approach, we become aware that the enunciation of the film stimulates the spectator into realizing that the implied meaning of the enunciation is one that can be understood within its own self. The “who” and the “what” are no longer questions that are answered from the “outside”. The “who” is the film and the “what” resides in it. What we are observing is the self–reflexive nature of enunciation.

Gegenstand dieser Arbeit sind diejenigen Bewegungsverben im Altgriechischen, die zum Ausdruck einer allgemeinen Fortbewegung angewendet werden. Diese Verben können innerhalb verschiedener Kontexte durch come und go glossiert werden und weisen in vielen Sprachen raumbezogene deiktische Anwendungen auf. Die Analyse erstreckt sich auf zwei Hauptcorpora verschiedener Zeitalter, die Komödie des Aristophanes (5. Jh. vor Chr.) und das Neue Testament (1. Jh. nach Chr.). Um diachrone Veränderungen besser zu illustrieren, sind darüber hinaus quantitative und ggf. qualitative Daten bzw. Beispiele aus anderen früheren und späteren Autoren dargestellt und berücksichtigt worden. Die Arbeit geht von der vorhandenen Typologie über deiktische Bewegungsverben in gesprochenen Sprachen aus und identifiziert diejenigen Kriterien und Kontexte, die auch für die Analyse einer toten Sprache zutreffen. Im Unterschied zu der vorhandenen Typologie und der in der Forschung verbreiteten Herangehensweise bzgl. dieser Verbgruppe, die sich auf die räumliche Domäne der Deixis beschränkt, wird in die vorliegende Arbeit auch die Analyse der zeitlichen Dimension der vom Verb ausgedrückten Fortbewegung integriert. Ausgehend von der hier durchgeführten Analyse ist festzustellen, dass die diachronen Veränderungen in den Anwendungskriterien der Bewegungsverben im Altgriechischen auf das Verhältnis zwischen denjenigen Sprachmitteln zurückzuführen sind, die in diesem Verbsystem um den Ausdruck bzw. Präzisierung der zeitlichen Dimension der Handlung konkurrieren, d.h. Aspekt und Aktionsart. Die Arbeit zeigt, dass die Integration der Domänen Raum und Zeit und die Annahme einer diachronen Perspektive die bisherige Typologie sinnbringend ergänzen und in der Forschung zu anderen Sprachen ebenfalls rezipiert werden sollten. / In this work are regarded those motion verbs in Ancient Greek that are used to express a general motion. Those verbs can be glossified by 'come' and 'go', and within certain contexts, deictic uses of these verbs are evident in many languages. The analysis includes two main corpora of different epochs, the comedy of Aristophanes (5th century B.C.) and the New Testament (1st century A.C.). For a better illustration of diachronic changes, quantitative and partially also qualitative data about further, earlier or later authors are described and regarded. Basing on the existing typology for deictic motion verbs in spoken languages, this study identifies those criteria and contexts that can be applied onto a dead language as well. As a difference to the existing typology and to the prevalent approach on these verbs – which is limited to the spatial dimension of deixis –, in this study also the temporal dimension of the verbally expressed motion is integrated. Based on the analysis presented here, it is to be noted that the diachronic changes in the criteria for the application of motion verbs in Ancient Greek can be traced back to the relation of the verbal categories that concur for the expression or precising of the plot's temporal dimension. i.e. the aspect and the Aktionsart. The results of this work give evidence, that the integration of the domains 'space' and 'time' gives reason for the use of these verbs in ancient Greek within a diachronic perspective, and show that this methodological approach is worth to be applied to the analysis of other languages.

[pt] Na descrição do português do Brasil, as expressões adverbiais locativas de origem e de meta, exigidas pela valência de verbos de movimento tetravalentes, apresentam peculiaridades quanto à realização nos enunciados. Neste trabalho, a análise realizada é de caráter qualitativo, com base nas propostas da gramática de valências. Examina a possibilidade de realização de cada argumento citado e as motivações, os efeitos gerados na sua relação com os verbos de que dependem. Os locativos que indicam meta e que complementam o quarto espaço dos verbos de movimento/direção possuem freqüência maior de realização, quando os verbos inferem transferência de lugar. Este trabalho considera o valor das preposições que acompanham os complementos e os advérbios que indicam o espaço dêitico. / [en] In the description of the Brazilian Portuguese, the valency of verbs of movement opens four spaces which are fullfilled by adverbial expressions considered locatives of origen and goal. These expressions present peculiarities regarding the realization in utterances. Based on the proposals of the valency grammar, an analysis of qualitative aspect was provided aiming to examine the possibility of realization of each argument mentioned and the motivations and results generated in their relationship with the verbs on which they depend. The locatives that indicate goal and complement the fourth space of the verbs of movement / direction occur more often when these verbs infer location transferance. This dissertation considers the value of prepositions that accompany the complements and the adverbs that indicate the deitic space.

Le film Punch-Drunk Love, réalisé en 2002 par Paul Thomas Anderson, présente une approche formelle hors du commun et expose, de manière flagrante, le travail énonciatif du film. L’énonciation filmique qui est sienne pousse le spectateur à se distancer de l’oeuvre et l’incite à se questionner sur la signification des codes mis en place. Ce dernier est également stimulé à remettre en question ses propres attentes ainsi qu’à s’interroger sur son plaisir spectatoriel. Nous proposons, dans le cadre de ce mémoire, de faire l’analyse de l’énonciation filmique du film à travers l’approche abstraite de Christian Metz. Grâce à sa théorie, qui affiche la préséance du film sur l’auteur en matière de signification des codes, nous mettrons en évidence l’idée que les constructions énonciatives fortes reprennent à leur compte l’histoire racontée par le film. L’énonciation réfléchit et redouble le film. Avec une telle approche, le film expose son rapport fusionnel entre le fond et la forme. L’énonciation, vue sous cet oeil, devient l’alter ego du film. / In Punch-Drunk Love (2002), Paul Thomas Anderson applies a unique creative process that reveals the very inner workings of enunciation in the film. His filmic approach functions to distance the spectator from the film and, to various degrees, challenges the spectator to question the codes that create an aesthetic of illusion. Drawing on Christian Metz’s abstract approach to enunciation, this thesis proposes to analyse the filmic enunciation of Anderson’s film. By means of this theoretical approach, we become aware that the enunciation of the film stimulates the spectator into realizing that the implied meaning of the enunciation is one that can be understood within its own self. The “who” and the “what” are no longer questions that are answered from the “outside”. The “who” is the film and the “what” resides in it. What we are observing is the self–reflexive nature of enunciation. / Pour
 respecter
 les
 droits
 d’auteur,
 la
 version
 électronique
 de
 ce
 mémoire
 
 a
 été 
dépouillée 
de 
ses 
documents 
visuels 
et
 audio‐visuels.
 La
 version
 intégrale
 du 
mémoire
 
a 
été 
déposée 
au
 Service
 de 
la 
gestion 
des 
documents 
et 
des 
archives
 de
 l'Université
 de 
Montréal.