The subject of this thesis is the communicative practice of strategic storytelling. The aim of the study is to analyse how storytelling is used and handled by organizations to reach comprehensive organizational goals. Within the all-embracing cultural context of modern Western society, here discussed through the concept of the new economy, strategic storytelling is explored in four areas: organizational discourses of strategic storytelling, narrativity as a resource to create and express values connected to the organization, storytelling as a practice of recontextualization and storytelling as an interactive tool. The data consists mainly of strategic stories but also of interviews, observations and documents collected from four Swedish organizations: two companies, a municipality and a congregation of the Church of Sweden. Applying a narratological, social semiotic and dialogical perspective the study investigates how narrativity is used by organizations as a resource to create identification and relations with and among stakeholders. The analyses in the study indicate that meaning is created in different layers. The structural resources of stories are used in various combinations to make organizations appear in specific ways in different situations. Furthermore, the picture of the organization is shaped not only by the stories themselves but also by the very fact that the organization is using storytelling. The potential of recontextualization that is characteristic of narratives is shown to be essential in offering possibilities of identification and a sense of community through storytelling. Furthermore, the fact that a story is told by an individual is shown to play a crucial role in creating a personalized picture of the organization. In strategic storytelling the interpersonal function seems to dominate over the ideational. This is a major finding of the analysis. More specifically, ideation is used as a tool to create interpersonal relations. The study also indicates that strategic storytelling comes with different possibilities and complications depending on what kind of organization is using it. Moreover, it is proposed that narrative as a form of communication fits perfectly within the broader cultural context of the new economy, characterized by commercialization, informalization, individualization and management practices founded on the strategic use of values.

Narratives are the product of a basic human tendency to make sense of real or imagined experiences. The research question posed in the dissertation is: how is narrativity encoded in East African English? Can the narrativity model in the dissertation distinguish between registers that prototypically focus on narration versus registers that do not primarily focus on narration? The narrativity model consists of four main groups of features, namely Agency, Causation, Contextualisation and Evaluation. These groups are representative of the fundamental structure of narratives: things happen to people at a specific time and place. Agency concerns the people who either instigate or are affected by the events. The things that happen can be denoted by Causation when they are the result of cause and effect in the world. Contextualisation refers to the grounding of events in time and space. Lastly, Evaluation concerns the reactions and attitudes people have towards the events. Eighteen linguistic features such as third person pronouns (part of the Agency group) and past tense verbs (part of the Contextualisation group) were analysed as micro-level indicators of narrativity. The corpus-based investigation analysed the linguistic features used to encode narrativity across 22 spoken and written registers of the East African component of the International Corpus of English (ICE-EA) using WordSmith Tools 4.0. The raw scores for each feature were standardised across all registers to enable comparisons between features, as well as between registers. The results indicate that narrativity is a gradient phenomenon that occurs across a variety of East African English spoken and written registers. After the initial analyses were done, the narrativity model was revised to include only 11 core narrativity features. These features are past tense verbs, third person pronouns, proper nouns for persons, activity verbs, time and place adverbials, perfect aspect, emotional stance verb feel, first person pronouns, evaluative adjectives and non-finite causative clauses. ICE-EA registers that focus on narration as a MEANS to make sense of experiences (the objective or END) are Fiction, Social letters, Oral narratives, Face-to-face conversation and Legal cross-examination. In other words, the core narrativity features are the MEANS and the END is to make sense of experiences and facilitate understanding using narration. Twelve registers have an intermediate focus on narrativity. Narration is a secondary or simultaneous objective in these registers alongside primary objectives such as scientific exposition, persuasiveness, information presentation or interpersonal interaction. There are five registers with low scores for the core narrativity features: Student writing, Business letters, Popular writing, Academic writing and Instructional writing. These registers do not primarily focus on narration and have other primary and even secondary objectives such as scientific exposition and persuasiveness. The narrativity model sheds light on the way narrativity is encoded using linguistic features and gives insight into East African English register variation / Thesis (M.A. (English))--North-West University, Vaal Triangle Campus, 2011

Narratives are the product of a basic human tendency to make sense of real or imagined experiences. The research question posed in the dissertation is: how is narrativity encoded in East African English? Can the narrativity model in the dissertation distinguish between registers that prototypically focus on narration versus registers that do not primarily focus on narration? The narrativity model consists of four main groups of features, namely Agency, Causation, Contextualisation and Evaluation. These groups are representative of the fundamental structure of narratives: things happen to people at a specific time and place. Agency concerns the people who either instigate or are affected by the events. The things that happen can be denoted by Causation when they are the result of cause and effect in the world. Contextualisation refers to the grounding of events in time and space. Lastly, Evaluation concerns the reactions and attitudes people have towards the events. Eighteen linguistic features such as third person pronouns (part of the Agency group) and past tense verbs (part of the Contextualisation group) were analysed as micro-level indicators of narrativity. The corpus-based investigation analysed the linguistic features used to encode narrativity across 22 spoken and written registers of the East African component of the International Corpus of English (ICE-EA) using WordSmith Tools 4.0. The raw scores for each feature were standardised across all registers to enable comparisons between features, as well as between registers. The results indicate that narrativity is a gradient phenomenon that occurs across a variety of East African English spoken and written registers. After the initial analyses were done, the narrativity model was revised to include only 11 core narrativity features. These features are past tense verbs, third person pronouns, proper nouns for persons, activity verbs, time and place adverbials, perfect aspect, emotional stance verb feel, first person pronouns, evaluative adjectives and non-finite causative clauses. ICE-EA registers that focus on narration as a MEANS to make sense of experiences (the objective or END) are Fiction, Social letters, Oral narratives, Face-to-face conversation and Legal cross-examination. In other words, the core narrativity features are the MEANS and the END is to make sense of experiences and facilitate understanding using narration. Twelve registers have an intermediate focus on narrativity. Narration is a secondary or simultaneous objective in these registers alongside primary objectives such as scientific exposition, persuasiveness, information presentation or interpersonal interaction. There are five registers with low scores for the core narrativity features: Student writing, Business letters, Popular writing, Academic writing and Instructional writing. These registers do not primarily focus on narration and have other primary and even secondary objectives such as scientific exposition and persuasiveness. The narrativity model sheds light on the way narrativity is encoded using linguistic features and gives insight into East African English register variation / Thesis (M.A. (English))--North-West University, Vaal Triangle Campus, 2011

Disertacijoje nagrinėjama vaizdo naratyvumo problema. Analizės objektas – žymaus lietuvių dailininko Šarūno Saukos tapyba. Š. Saukos paveikslai atrodo esą siužetiški, pasakojantys istorijas, nors šios numanomos istorijos dažniausiai neturi žodinių provaizdžių, galinčių tapti interpretacijos šaltiniu. Todėl paveikslai tampa atviri pačių suvokėjų kuriamiems pasakojimams: vaizduojamos situacijos, dažnai primenančios nesuprantamus ir nerimą keliančius ritualus, provokuoja juos aiškinti pasitelkiant įsivaizduojamas istorijas. Tačiau ar kuria pasakojimus patys paveikslai? Ar galima rasti naratyvumo ženklus pačiame tekste, pačioje paveikslo struktūroje, neprimetant jam savo pasakojimo? Kokia naratyvumo samprata gali papildyti vizualių tekstų suvokimą, užuot spraudusi juos į siaurus sąvokos rėmus? Kokiu būdu Š. Saukos paveikslai geba pasakoti istorijas? Atsakymo į šiuos klausimus disertacijoje ieškoma pasitelkiant prancūzų semiotiką ir naratologiją. Formuluojamos teorinės ir metodologinės statiško vaizdo naratyvumo analizės gairės, naratyvumą siejant ne tik su gebėjimu pavaizduoti laikinę seką, bet ir su numanomomis transformacijomis, naratyvinės gramatikos dėsniais bei pasakojimo akto dalyvių (pasakotojo ir jo adresato) komunikacija. Analizuojant Š. Saukos darbus, ryškinami pasakojimo kūrimo mechanizmai, atskleidžiamos skirtingos žiūrovo dalyvavimo paveiksle formos, pasakotojo pasirodymo strategijos, horizontalus ir vertikalus tapybos naratyvumo matmenys. / The dissertation explores the problem of visual narrativity. The object of the analysis are the works of the famous Lithuanian painter Šarūnas Sauka. Š. Sauka‘s paintings clearly seem to tell stories, although they are rarely based on any verbal stories that could serve as a source for interpretation. Instead, they are open to a wide range of individual interpretations: the viewers are provoked to narrativize the paintings by inventing stories that could explain the depicted scenes, which would otherwise remain mysterious and incomprehensible. But do the paintings themselves tell stories? Is it possible to trace narrativity in the very structure of the paintings? What concept of narrativity may be efficiently employed to analyze and understand visual texts? By what means Š. Sauka’s paintings are able to tell stories? The dissertation examines these questions by employing the French semiotics and narratology. The theoretic and methodological guidelines for the analysis of visual narrativity are formulated, linking it not only to the depiction of temporal sequences, but also to the implied transformations, to the laws of narrative grammar, and to the communication of the participants of the narrating act (the narrator and his addressee). In Š. Sauka’s paintings, the narrative strategies are elaborated by revealing the horizontal and the vertical dimensions of pictorial narrativity, as well as by examining the viewer’s and the narrator’s roles in the paintings.

This dissertation examines how postmodernist narratives of memory in Graham Swift's Waterland, Salman Rushdie's Midnight's Children, and Amitav Ghosh's The Shadow Lines retrieve the stories of those who have been lost or forgotten in official history and refigure the temporal and spatial imaginary in intertwining personal stories of crisis with public history through acts of remembering. Questioning the modernist ideology of progress based on the idea of linear sequence of time, the novels not only retrace the heterogeneous and discontinuous layers of stories overlooked or repressed in official accounts of modern history, but also re-examine the contradictory and contested process by which subjects are situated or positioned, and its effects on the production of knowledge. These postmodern historical novels examine history as a discourse and explore its limits. The narrators of the novels are engaged with an autobiographical act of rewriting their lives, but their efforts to reconstitute themselves in unity and continuity are undermined by the disjunctive narrative form of the novels. The layered narrative of memory through which the novels reconstruct modern history is allegorical in the double sense that it exposes the act of signification by decentering the symbol of the transcendental signifier while telling an allegorical story of personal and familial history that mirrors national history in a fragmented way. In Waterland, Tom Crick retells his personal and familial stories intertwined with local and national history as alternative history lessons and challenges the Idea of Progress by revisiting sites of traumatic memory. Midnight's Children constructs counter-stories of Post-Independence India as multiple alternatives to one official version of history and addresses the limits of history in terms of "a border zone of temporality." In The Shadow Lines, the narrator retells his family history as a story of borders through his struggle with gaps in official history and creates a national imaginary with mirror images and events. The postmodernist narrative of memory in these novels turns the time of the now into a time for the "past as to come," a time to detect the unrealized and unfulfilled possibilities of the past, through retellings of the past.

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / The present study aims to analyze the possibility of employing a narrative approach – especially the literary – in the treatment of applied ethical issues compared to the approaches of Normative Ethics as Utilitarian Theory. In the first chapter, we will focus primarily on some metaethical considerations about morality. In the second, in the other hand, we intend to present certain characteristics of the Utilitarian doctrine. It is worth remembering that we call traditional all approaches of Normative Ethics. This includes the Kantian ethical theory, Virtue Ethics, besides the already mentioned Utilitarianism. In sequence, in the third chapter, we will introduce the Ethics of Authenticity notion as a starting point through which we will begin to conceive the viability of a narrative approach in Ethics. Furthermore, the forth chapter of this assessment will include remarks of own authorship on what consists a differentiated approach in Applied Ethics. Without delay, in the fifth, we will promote an exemplification of how Applied Ethics issues can be problematized starting from a narrative approach. Finally, in the sixth chapter, we will show some objections to the premise that narrative cohesion in the life of an individual is necessary and essential for it to make some sense from a moral standpoint. In short, we will seek to indicate in this dissertation how the criticism thrown by Carl Elliott, Raimond Gaita, Charles Taylor (and others) to traditional notions of ethics – the Utilitarian notion of Peter Singer, for example – are capable of causing significant changes and improvements in areas of knowledge crucial to the most diverse interests. In a nutshell, Gaita advocates a concept of morality at the same time more humane and less distant from the daily reality shared by all of us. According to Elliott, in turn, the Bioethics manuals, health professionals and researchers working in the area of Applied Ethics can be widely benefited from the change proposed by him. In addition, we will argue, similarly, that literature allows us to reflect more deeply on a considerable number of issues relevant to Philosophy. / O presente trabalho tem por objetivo analisar a possibilidade de emprego de uma abordagem narrativa – em especial a literária – no tratamento de questões de ética aplicada frente às abordagens da ética normativa, como a teoria utilitarista. No primeiro capítulo, focaremos primariamente em algumas considerações metaéticas acerca da moralidade. No segundo, por sua vez, pretendemos apresentar certas características da doutrina utilitarista. Vale a pena lembrar que chamaremos de tradicionais todas as abordagens da ética normativa. Isso incluí a teoria deontológica kantiana, a ética das virtudes, além do já mencionado utilitarismo. Em sequência, no terceiro capítulo, introduziremos a noção de ética da autenticidade como ponto de partida através do qual começaremos a conceber a viabilidade de uma abordagem narrativa em ética. Outrossim, o quarto capítulo da presente apreciação contará com observações de autoria própria a respeito do que consiste uma abordagem diferenciada em ética aplicada. Sem demora, no quinto, promoveremos uma exemplificação de como questões de ética aplicada podem ser problematizadas a partir de uma abordagem narrativa. Finalmente, no sexto capítulo, evidenciaremos algumas objeções à premissa de que é necessário e imprescindível haver coesão narrativa na vida de um indivíduo para que essa faça algum sentido, a partir de um ponto de vista moral. Em resumo, nesta dissertação buscaremos indicar como as críticas lançadas por Carl Elliott, Raimond Gaita, Charles Taylor (e outros) à noções tradicionais da ética – a utilitarista de Peter Singer, por exemplo – são capazes de provocar mudanças e melhorias significativas em áreas do saber cruciais aos interesses mais diversos. Em poucas palavras, Gaita defende uma concepção da moralidade ao mesmo tempo mais humanizada e menos distante da realidade cotidiana compartilhada por todos nós. De acordo com Elliott, por seu turno, os manuais de bioética, os profissionais da saúde e os pesquisadores que trabalham com a área de ética aplicada podem ser amplamente beneficiados com a mudança por ele proposta. Ademais, sustentaremos, similarmente, que a literatura nos permite refletir com maior profundidade sobre uma série de questões pertinentes à filosofia.

Made available in DSpace on 2016-12-08T17:06:47Z (GMT). No. of bitstreams: 1 122576.pdf: 7183646 bytes, checksum: 8d73683be3d6a8ba484d21da6abccba0 (MD5) Previous issue date: 2015-03-25 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / The purpose of this study is to analyze the musical structure of the symphonic poem Uirapuru (1917), by Heitor Villa-Lobos, and to understand how meanings are put into action by the piece through topics and narrativity. The initial hypothesis is that in Uirapuru topics are key elements of the narrative aspects of the work. The methodology is supported by the structural analysis of the musical piece, which involves harmonic, melodic, rhythmic, textural and orchestration aspects, with further interpretations of meaning based on topics and narrativity theories, and sustained by a bibliographic research of historical context. The interaction between topics in different structural levels and ad hoc elements, reveals that Villa-Lobos used an organization strategy of musical meanings, here understood as narrative, which relates to the plot of the piece´s programme and can be characterized under the concept of "external narrative program". In this work, the Brazilian Indian is represented by characteristic elements of the exotic, present in the language of modern concert music of the period and mainly in the repertoire with Debussyst heritage, with which Villa-Lobos had an open dialogue in his first compositional phase. / O objetivo deste trabalho é analisar a estrutura musical do poema sinfônico Uirapuru (1917), de Heitor Villa-Lobos, e compreender como os significados são colocados em ação pela peça através de tópicas e da narratividade. A hipótese inicial é que em Uirapuru, as tópicas são elementos determinantes dos aspectos narrativos da obra. A metodologia utilizada está apoiada na análise musical estrutural da peça, que envolve aspectos harmônicos, melódicos, rítmicos, texturais e de orquestração, com posteriores interpretações de significado fundamentadas pelas teorias das tópicas e da narratividade, e sustentadas por uma pesquisa bibliográfica de contexto histórico. A interação entre tópicas em diferentes níveis estruturais e elementos ad hoc, revela que Villa-Lobos utilizou uma estratégia de organização dos significados musicais, aqui compreendida como a narratividade, a qual se relaciona com o roteiro do argumento da peça e pode ser caracterizada sob o conceito de programa narrativo exterior . O índio brasileiro nesta obra é representado por elementos característicos do exótico presentes na linguagem da música de concerto moderna do período e, principalmente, no repertório com herança debussysta com o qual Villa-Lobos travava franco diálogo na sua primeira fase composicional.

Orientador: Sônia Helena de Oliveira Raymundo Piteri / Banca: Maria Heloísa Martins Dias / Banca: Marisa Corrêa Silva / Resumo: Este trabalho objetiva estudar alguns conceitos desenvolvidos por Maria Gabriela Llansol ao longo de seus textos, como a "cena fulgor" e o "dom poético", que provocam o deslocamento da narratividade para a textualidade. Foram selecionados seis contos de sua primeira obra, Os pregos na erva (1962), observando-se dois núcleos estruturais da "cena fulgor": a imagem poética e o diálogo. Consciente de que a imagem é um traço constitutivo do universo lírico, responsável pela transformação das palavras, num movimento de expansão que liberta os signos de seus significados usuais, a narrativa de Llansol recorre a esse traço como uma maneira de iluminar a mínima cena que conta, pois a ação é reduzida, o espaço é precário e a comunicação entre as personagens é falha. Essas características são típicas do teatro contemporâneo de Samuel Beckett e provocam, em alguns casos, o efeito de distanciamento sugerido por Brecht. Por essa razão, o conceito de diálogo será utilizado em dois sentidos: como interação verbal que estrutura o drama, e, de forma mais ampla, como um sistema de correlação que permite observar a intersecção entre os gêneros épico, lírico e dramático. Para isso, fundamenta-se em Bakhtin (2000) e Rosenfeld (2005), na discussão dos gêneros; em Octavio Paz (1982) e Friedrich (1978), na concepção de imagem; em Beckett (1952) e Brecht (2005), com suas teorias sobre o teatro moderno (2005) e em críticos que analisam a obra da escritora portuguesa. Por fim, conclui-se que a narrativa de Llansol é uma rede destecida enquanto enredo, mas que se tece enquanto texto que extrapola as barreiras dos gêneros literários, fazendo coexistir numa relação harmônica, e ao mesmo tempo conflitante, prosa, poesia e drama. Como "pregos na erva", as palavras não se fixam, flutuam, se desprendem, se deslocam, num movimento ininterrupto que tece o corpo da escrita. / Abstract: This work aims to study a few concepts developed by Maria Gabriela Llansol along some of her texts, like "cena fulgor" and "dom poético", that cause the replacement from narrativity to textuality. Six short stories from her first work, Os pregos na erva (1962), were selected, considering two structural cores of "cena fulgor": poetic imagery and dialogue. Being aware that imagery is a constitutive trace of the lyrical universe, responsible for transformation of words, in a motion of expiation that frees the signs from their usual meanings, Llansol's narrative follows this trace as a way of lighten up the smallest scene that it refers to, because action is reduced, setting is precarious and communication between people is flawed. These characteristics are typical of Samuel Beckett's contemporary theater and provoke, in certain cases, the distancing effect suggested by Brecht. For this reason, the concept of dialogue will be taken in two senses: as verbal interaction that structures the drama and, in a more broaden way, as a system of correlations that allows us to observe the intersection between epic, lyric and dramatic genres. Aiming that, the theories that fundament this research regard Bakhtin (2000) and Rosenfeld (2005), discussing genres; Octavio Paz (1982) and Friedrich (1978), for the conception of imagery; Beckett (1952) e Brecht (2005), about modern theater (2005); and critics that have analyzed the Portuguese author's work. At last, we come to the conclusion that Llansol's narrative is an unweaved web regarding the plot, but that weaves itself as a text that goes beyond literary genres' borders, in such a way that narrative, poetry and drama coexist in a harmonic, but yet confronting relationship. As "pregos na erva" (nails in a herb) words are not fixed, they float, they are released, they move in an non-interrupt way that weaves the body of the text. / Mestre

Esta tese apresenta estudos interpretativos sobre as obras musicais compostas pelo autor durante seu doutoramento: Introverso (piano), Ao Pó (clarinete em si , trombone, violoncelo, piano), Breviário das Narrativas Absurdas (vibrafone, piano), Coisas Pelo Ar (piano), O Desvão (2 clarinetes em si, clarone, piano), Epopeia Fantástica (oboé, trombone, percussão, violino, contrabaixo). A partir de uma perspectiva teórica hermenêutica, é realizada uma adaptação do conceito de narrativa musical a essas obras, alicerçando-a em extensa revisão bibliográfica sobre o assunto e estabelecendo procedimentos metodológicos para a elaboração de interpretações narrativas desse repertório. O objetivo geral do trabalho é conceber e fundamentar teoricamente interpretações que possam ser consideradas como transformadoras conceituais da música e continuadoras do processo composicional do autor. Esses procedimentos são complementados com definições reflexivas sobre o processo composicional, enfatizando o viés criativo e performático da disciplina ‘análise musical’. Assim, o produto desta tese pode ser dividido em três categorias: reflexão crítica sobre obras musicais compostas durante o curso de doutorado (apresentadas aqui em partitura e gravação audiovisual); interpretação analítica e narrativa dessas obras; fundamentação teórica e metodológica dessa interpretação. As três categorias são consideradas como complementares e imprescindíveis para o cumprimento dos objetivos desta tese, a qual o autor oferece como contribuição a debates pertinentes e correntes nas áreas de composição e teoria da música. / This thesis presents interpretive studies on musical works composed by the author during his doctoral studies. From a hermeneutical perspective, the concept of musical narrative was adapted to the analytical necessities found in these works. This adaptation includes extensive bibliographic review on the issue of musical narrative; it establishes methodological procedures for the elaboration of analytical/narrative interpretations for this repertoire. The overall objective of this thesis is to conceive and substantiate theoretically these interpretations, considering them as conceptual and transformative actions on the music, and therefore a continuation of the author’s compositional process. For this purpose, the abovementioned procedures were complemented with reflexive definitions regarding this compositional process, emphasizing the creative and performing bias of musical analysis. Thus, the product of this thesis may be divided into three categories: publication and critical reflection on the musical compositions created during this doctorate (presented here as scores and audiovisual recordings); analytical and narrative interpretations of these works; implementation of theoretical and methodological foundations for these interpretations. These three categories are seen as complementary and indispensable for the purposes of this thesis, which is meant by its author as a consistent contribution for the current debates on musical composition and musical theory. The following compositions are included in this thesis: Introverso (piano), Ao Pó (B clarinet, trombone, violoncello, piano), Breviário das Narrativas Absurdas (vibraphone, piano), Coisas Pelo Ar (piano), O Desvão (2 B clarinets, bass clarinet, piano), Epopeia Fantástica (oboe, trombone, percussion, violin, double bass).

nÃo hà / Neste trabalho, pretendemos examinar um conjunto de cinco inscriÃÃes urbanas feitas em distintos campi do Centro de Humanidades da UFC por inscritores diversos. Nosso escopo à investigar a emergÃncia de uma identidade que atravesse os textos selecionados, de modo que se possa apontar tanto uma arqui-identidade desses enunciadores apoiada nessa prÃtica semiÃtica, que à a prÃtica de produÃÃo das inscriÃÃes urbanas, como uma identidade da prÃpria prÃtica. Para tanto, optou-se por abordar essa investigaÃÃo segundo os preceitos da semiÃtica discursiva, em razÃo de ela trabalhar com a concepÃÃo de que a identidade do sujeito à construÃda no prÃprio ato em que este enuncia, isto Ã, sua imagem à construÃda por seu prÃprio discurso. AlÃm dos autores caros à constituiÃÃo primeira da semiÃtica de orientaÃÃo francesa, fundamentamo-nos tambÃm em Fontanille (2005) e Correa (2016) para conduzir nossa pesquisa. Das ideias do primeiro, depreendemos a tese de que os processos semiÃticos podem ser reconhecidos em nosso mundo natural e/ou cultural como estruturas actanciais, isto Ã, pode-se lanÃar sobre eles um olhar analÃtico conforme o conceito greimasiano de narratividade lato sensu (LEITE, 2017). O segundo abre a possibilidade para que tratemos de diversas manifestaÃÃes de arte urbana, presentes nos campi, pelo nome de inscriÃÃes urbanas, tenham elas a materialidade e o suporte que tiverem. Verificamos, portanto, se hÃ, dentro dessa narratividade, uma coerÃncia semiÃtica que possa ser apontada como comum a todos os enunciadores e à prÃtica das inscriÃÃes urbanas no campus. Concebemos, assim, as inscriÃÃes urbanas como objetos semiÃticos surgidos dentro de uma prÃtica semiÃtica especÃfica, que, por seu turno, à constituinte nÃo apenas de um simulacro, mas de uma forma de vida. No tocante a nosso corpus, essa forma de vida à pautada pela transgressÃo. / This study aims to analyze, according to Greimasian semiotics, the construction of discursive identities on five examples of street art which were made in different campuses of Humanities courses by different producers. Our goal is to investigate the emergence of an identity that is common to all the texts, so that we can say there is an archi-identity of these enunciators based on this semiotic practice, which is the practice of street art production. Moreover, we think this identity can also be understood as an identity of the practice itself. To achieve this goal this work was made according to discoursive semiotics, as already said, because this theory understands that the identity of a subject is built in the enunciation act, which means that the image is a result of the discourse. In addition to the classical authors of this semiotic theory, our work is based on Fontanille (2005) and Correa (2016). The first one gives us the conception that semiotic processes can be recognized in our natural and/or cultural world as actantial structures, so that we can analyze them according to the Greimasian concept of lato sensu narrativity (LEITE, 2017). The second one enables us to name the several street art manifestations at the campuses as urban inscriptions, independent of the materiality and the support they have. We investigate if there is, inside of this narrativity, a semiotic coherence that can be understood as common to all the enunciators and to the practice of urban inscriptions at the campuses. We conceive therefore the urban inscriptions as semiotic objects which emerge inside of a specific semiotic practice. This practice constitutes a simulacrum and a form of life. In relation to our corpus, this form of life is characterized as transgressive.