Orientador: Rosana do Carmo Novaes-Pinto / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem / Made available in DSpace on 2018-08-17T22:06:34Z (GMT). No. of bitstreams: 1 Deffanti_BrenoLuis_M.pdf: 5948491 bytes, checksum: 1970389c4af78a73c4a55e951ed2fe85 (MD5) Previous issue date: 2011 / Resumo: Este trabalho, orientado pelos princípios teóricos e metolodológicos da Neurolinguística Discursiva (COUDRY, 1986/1988) que parte de uma concepção abrangente (FRANCHI, 1977) e dialógica de linguagem (BAKHTIN, 1929/2003), analisa a produção escrita de um sujeito em processo de inclusão, inserido em atividades regulares de uma escola particular orientada pela Pedagogia Freinet. O corpus deste trabalho é constituído por 14 textos, entre originais e reescritas. A atividade em foco tem como objetivo a produção de um livro de antologias do 7º ano (antiga 6ª série) em conformidade com as técnicas de Freinet para a Escola Moderna, a saber: o Texto Livre e a Imprensa Escolar. A análise da materialidade dos dados-achados (COUDRY, 1996) - que recobre as escritas do sujeito e as correções que nelas faz sua professora - mostra o deslocamento do sujeito da posição de leitor/copista para a de leitor/escritor. Isto sugere que a cópia, para ele, foi uma estratégia para se aproximar de estruturas textuais que teve uma função importante na cadeia de textos que produziu. Mostra, ainda, que à medida que o sujeito começa a se ver pelos olhos do(s) outro(s) - por exemplo, ao permitir que um colega leia seu texto no sarau da escola e ao responder pela escrita aos comentários da professora - começa a se perceber como sujeito da linguagem, num movimento ético (FREIRE, 1996) mediado pela professora / Abstract: This research, guided by the methodological orientation and theoretical principals of the Discoursive-Enunciative Neurolinguistics (COUDRY: 1986/1988) which comes from a wide conception of language (FRANCHI, 1977) and from an enunciative and dialogical conception of language (BAKHTIN 1929/2003), aims to analyze the written production of an special needs education student inserted in a regular class activity in a concepted Freinet pedagogy private school .The corpus of this research is constituted by 14 texts among originals and rewritings. The pointed class activity is the production of an anthology book by elementary school students (6th year) according to the pedagogical proceedments of the Freinet Techniques for the Modern School, as the Printing Press and the Free Writing. The analysis of the materiality of the so called "dado-achado" (COUDRY, 1996) -which covers the subject's writing and the teacher's correction - shows the subjects movement from reader / copier to reader / author. This suggests that the copy for him it was a strategy for approaching textual structures that had an important role in the chain of texts produced by him. It shows yet that as much as the subject begins to see himself through the eyes of the other(s) - e.g., allowing a colleague to read his text in his place at the school soiree and to respond to the teacher's comments written by the teacher - begins to perceive himself as subject of the language, an ethical movement (FREIRE, 1996) mediated by the teacher / Mestrado / Linguistica / Mestre em Linguística

Orientador: Elide Rugai Bastos / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas / Made available in DSpace on 2018-08-04T00:52:31Z (GMT). No. of bitstreams: 1 Faustino_JeanCarlo_M.pdf: 15529548 bytes, checksum: c865363afd158560499b8b280f7d2727 (MD5) Previous issue date: 2004 / Resumo: Este trabalho tem o propósito de realizar uma análise sociológica do romance "O Idiota" de Dostoiévski, escrito em 1868. Após uma revisão bibliográfica, a análise é apresentada em três diferentes momentos. No primeiro momento, é realizada uma verificação de como as estruturas sociais da época encontram-se presentes no romance. No segundo momento, é analisada a idéia central do romance e a separação entre essencial e acessório através da integração das partes ao todo. No terceiro e último momento, o resultado dessas duas partes da análise são resgatadas para se construir uma síntese que é contraposta ao pensamento de outros autores da época em que o romance foi elaborado / Abstract: This work intends to carry out a sociological analysis of Dostoevsky novel "The ldiot", written in 1868. After a bibliographical revision, the analysis is presented at three different stages. At the first moment, it is conducted a verification of how the current social structures are present at the nove!. Later, the novel's central idea and a separation between the essential and secondary are analysed through the integration of the parts of the whole. Finally, the result of these two parts is recovered in order to build a synthesis that confronted with to the thought of other authors of the time when the novel was written / Mestrado / Mestre em Ciências Sociais

This thesis considers past autobiographical theory and questions whether it addresses the autobiography of the female writer. Autobiographies of Harriet Jacobs, Margaret Sanger, and Maxine Hong Kingston are examined to reveal their polyvocality, use of the autobiographical "I", and rhetorical strategies maintained in order to create a close relationship with the reader. Particular attention is paid to Mikhail Bakhtin's theory of dialogism and Sidonie Smith's autobiographical "I."

This study examines carnival and ritual in Breyten Breytenbach's dramatic oeuvre and focuses on his Afrikaans drama texts Boklied (1998) and Die toneelstuk (2001). Seeing that these dramas had their debut performances at the Afrikaans national arts festival, the Afrikaans festival phenomenon, as well as Breytenbach's texts will be discussed as framed Events, within a carnival environment, as defined and described by Russian philosopher Bakhtin. The study evolves around three critical questions: 1. How does Bakhtin define the term "carnival" and could Afrikaans national arts festvals be seen as platforms for carnavalesque expression? 2. How does Professor Temple Hauptfleisch define an Event and why can the Afrikaans national arts festivals, as well as the drama texts under discussion, be seen as such Events? 3. How does Breyten Breytenbach's texts link up with Bakhtin's carnival theory and the ritual nature of the Dionysos festivals? / Afrikaans & Theory of Literature / M.A. (Afrikaans)

This study examines carnival and ritual in Breyten Breytenbach's dramatic oeuvre and focuses on his Afrikaans drama texts Boklied (1998) and Die toneelstuk (2001). Seeing that these dramas had their debut performances at the Afrikaans national arts festival, the Afrikaans festival phenomenon, as well as Breytenbach's texts will be discussed as framed Events, within a carnival environment, as defined and described by Russian philosopher Bakhtin. The study evolves around three critical questions: 1. How does Bakhtin define the term "carnival" and could Afrikaans national arts festvals be seen as platforms for carnavalesque expression? 2. How does Professor Temple Hauptfleisch define an Event and why can the Afrikaans national arts festivals, as well as the drama texts under discussion, be seen as such Events? 3. How does Breyten Breytenbach's texts link up with Bakhtin's carnival theory and the ritual nature of the Dionysos festivals? / Afrikaans and Theory of Literature / M.A. (Afrikaans)

In the present study, the three principal theories of Russian theorist Mikhail Bakhtin--the carnavalesque, grotesque, and dialogical--are applied to the musical-theatre genre of the Spanish zarzuela. The focus of the study centers on the works of composer Pablo Sorozábal and the various librettists who collaborated with him, among them the renowned literary author Pío Baroja. Within this study, zarzuela is first analyzed on its own in terms of the academic debate surrounding the genre and its importance in terms of both literary and musical criticism. After establishing the particular capacity of the zarzuela to make important cultural contributions, the central theoretical framework of the thesis is established via Bakhtinian theory, and several links are drawn between this theory and the genre of the zarzuela, which is shown to be a body of work often capable of conveying subversive messages, both cultural and sociopolitical. With this critical lens, then, the specific sociopolitical context of Spain between 1931-1942 is analyzed and described in order to illustrate the various extratextual and intertextual elements at play in Sorozábal's zarzuelas. The three works ultimately studied are Katiuska (1931), Adiós a la bohemia (1933), and Black, el payaso (1942). By way of highlighting the Bakhtinian characteristics at play in these three zarzuelas, the composer's intention to challenge and criticize Spain's sociopolitical reality, including Francoist dictatorship, is revealed, illustrating the capacity of the zarzuela to challenge and transgress existing norms--an aspect that many critics have failed to recognize in the genre up to the present day.

Indiana University-Purdue University Indianapolis (IUPUI) / The collection of pages spread before you now, this story-thesis, is a collection of stories about my journey from cult member to the place in life I am now, stories about those stories, and stories about the people who lived or read them, talked about them, and were changed by the tellings. Most importantly, the goal of this story-thesis is to illustrate how the process of story-making and -telling changes how we interpret our identities and our lifeworlds. I argue that the stories that we share change our identities, and I also argue that how we perceive our identity and the identities of others affects the stories that we share.

This dissertation deploys theories of spatiotemporal experience and organization, most prominently Mikhail Bakhtin’s “chronotope,” to set contemporary literature, film, and music into dialogue with theories of post-Wende social and political experiences and possibility that speak, with Francis Fukuyama, as the contemporary as the “End of History.” Where these interlocutors of Fukuyama generally affirm or intensify his view of the contemporary as a time where historical progress slows to a halt, historical memory recedes from view, and the conditions of subjecthood are rephrased from participation in a struggle for progress to mindless consumption and technocratic tinkering, I engage contemporary artwork to flesh out and ultimately peer beyond the boundaries of the real and the possible these social theories articulate. Through a series of close readings of German films, music albums, and novels published between 1995 and 2021, I examine how German authors, filmmakers, and musicians pursue depictions of the malaises of the End of History while also resolutely pointing to the fissures in liberal capitalist hegemony where history—its past and its future—again becomes visible. Mikhail Bakhtin’s notion of the chronotope, a text’s unified expression of space and time, is central to my method of analysis. In tracing the chronotopic contours of contemporary works of music, film, and literature, I argue, we—as readers, viewers, and listeners—are engaged to think and act alongside the forms and figures that populate the worlds their authors create. In doing so, we ultimately uncover forceful accusations, resolute alternatives, and even hopeful antidotes to the deficiencies of our present that help us both to soberly contemplate the implications the pessimistic formulations of contemporary theory have on our lives, communities, and futures but also to formulate possibilities for them that lie beyond their analytical purview.In a series of close readings of my literary, filmic, and musical primary texts, I engage theorists of the post-Cold War, post-Wende contemporary who write about the political order and social conditions emerging out of the triumph of neoliberalism and market capitalism over socialist, communist, and fascist alternatives. The dissertation begins by establishing a wide view of the contemporary, tracing in its first chapter chronotopic resonances of Hartmut Rosa’s “social acceleration” thesis—which locates the aimlessness and alienation of contemporary society within the accelerationist logic of market capitalist modes of production—across the full temporal arc of the contemporary. Pairing Christian Kracht’s Faserland (1995) with Fatma Aydemir's Ellbogen (2017), I argue that the futilities and frustrations of the modern subject, as foretold in Fukuyama’s “End of History” essay and fleshed out in Rosa’s writings on social acceleration, find resonance not only in the wealthy, educated, white protagonist of Faserland’s 1990s, but also in the impoverished, undereducated, Turkish-Kurdish protagonist of Ellbogen some twenty years later. What connects these two accounts across decades and differences in identities, I demonstrate, is not merely a shared sense of alienation and despair, but a shared, underlying chronotopic characterization of the contemporary. These commonalities appear, I demonstrate, when we connect Rosa’s “social acceleration” thesis to diegetic chronotopes of perpetual motion that depict modern subjects’ inability to avail themselves of the ostensibly liberatory potential of liberal capitalism’s accelerated lifeworld. Chapter 2 then considers Byung-Chul Han’s theory of auto-exploitation and the dilemma of the music novel at a time where the rebellion of punk against social integration has been thoroughly incorporated into capitalism. Reading Marc Degens’ Fuckin Sushi (2015), I examine the novel’s concept of “Abrentnern” as a model for personal and communal fulfillment for those who turn to art as a means self-determination in the age of auto-exploitation. Unlike Kracht and Aydemir, however, Degens sees the closing off of historical possibilities for the good life enjoyed by his punk forbears—here, self-determination through transgressive artistic praxis—not as the contemporary subject’s damnation to cyclical patterns of despair but as a challenge to conceive of the good life anew. Working humorously through its hapless protagonist Niels’ repeated attempts to escape the seemingly inevitable for-profit co-option of his sincere artistic efforts, the novel serves to unveil the persistence of blind spots in this regime of totalizing exploitation. What results is an account of the double-edged logic of capitalist productivity’s ostensible totalization of labor-time. Capitalism, Niels unwittingly discovers, is a logic of production so overwhelming that it continuously drives subjects towards the discovery of new alterities that, for a brief time at least, allow subjects once again to slip between the cracks. The third chapter explores a similar phenomenon of halting resistance to the conditions of the capitalist present through the lens of futurity. Here, I push back against Mark Fisher’s theory of the dominance of “Capitalist Realism” in the contemporary aesthetic imagination, identifying and developing the notion of “subtle futurity”—the modest, yet resolute rephrasing of future possibility beyond the “way things are” of the present—in Leif Randt’s Schimmernder Dunst über CobyCounty (2011) In this light, I argue, Randt’s gestures towards a different future, however halting, mark a significant effort to imagine a benevolent form of future possibility within the context of an era often suspected to have been exhausted of its utopian sentiment. The final two chapters turn to past-minded works that more forcefully repudiate notions of the present as static or closed off from the movement of history. Chapter Four considers W.G. Sebald’s 1995 novel, Die Ringe des Saturn, and The Caretaker’s 2012 album, Patience (After Sebald), developing an account of the chronotopic means by which these works revisit materials of the past within the present. Chronotopic motifs of paraphrase—techniques of sampling in The Caretaker and narrative polyphony in Sebald—come together within macro-level chronotopic frameworks of peripatetic movement—looping repetition in The Caretaker and the retracing of bygone journeys in Sebald—to testify to the unanswered questions and unfinished work of history over and against notions of the present as a time where the past has been relegated to mere museum content or nostalgia for bygone ways of living. Where Chapter Four speaks primarily to the formal mechanisms by which the present rediscovers the past, Chapter Five examines two specific chronotopic innovations for thematically engaging constellations of past-present inter-temporality. Both Sharon Dodua Otoo’s 2021 novel, Adas Raum, and Christian Petzold’s 2018 film, Transit, develop chronotopes wherein past and present are intermingled in increasingly inseparable ways. Adas Raum, I demonstrate, is organized spatiotemporally as a nexus of coiled loops—pasts and presents intertwine, heaven and earth are tangled together, and the fates of human beings and even non-human objects follow spatial and temporal trajectories that weave in and out of conventional linear understandings of space and time. In similar fashion, past and present become inseparable in Petzold’s film, an adaptation of the Anna Seghers’ 1944 novel of the same name, through thematic and formal approaches of blurring that blend the plight of refugees of Seghers’ era with those of Petzold’s present day. History, then, appears remarkably robust in these texts, unfolding accounts of how human beings living through their present might take guidance from the generations that preceded them in the struggle for a better world.

Made available in DSpace on 2016-06-02T20:23:11Z (GMT). No. of bitstreams: 1 3419.pdf: 1908813 bytes, checksum: 00e2359e53f73b176da4dec0219ba4aa (MD5) Previous issue date: 2010-09-10 / The film Pink Floyd The Wall, adaptation to the cinema of the Pink Floyd´s concept album, tells the Pink´s story, a musician, that was born in England during the World War II final years, he had his father died in a battle and this fact start a process of depression and melancholy that culminate in his total apathy towards life. This research has its focus on the literary content of the songs from the original album, the aim is study the film formal structure, its differences, similarities and complementarities comparing to the album narrative, observing the translation and artistic recreation process from the album to the movie and also confirming the dialogical relations between the different problems, contextualization, languages and representations explored in this art piece. / O filme Pink Floyd The Wall, adaptação para o cinema do álbum conceitual da banda Pink Floyd, narra a história, desde a infância até sua completa alienação, do protagonista Pink, um músico nascido na Inglaterra nos anos finais da Segunda Guerra Mundial, cuja morte do pai durante a guerra lhe desencadeia um processo de depressão e melancolia que culmina em sua total apatia diante da vida. A presente pesquisa, tendo como foco o teor literário das canções do álbum original, tem por objetivo o estudo da estrutura formal do tecido fílmico, suas diferenças, semelhanças e complementaridades com a narrativa musical contida no álbum, observando e constatando os processos de tradução e recriação de uma obra para outra, além das relações dialógicas entre as diferentes problemáticas, contextualizações, linguagens e representações exploradas na obra.