Orientadores: Jorge Luiz Schroeder, Verônica Fabrini Machado de Almeida / Dissertação (mestrado) - Universidadw Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-21T16:09:57Z (GMT). No. of bitstreams: 1 Garcia_BrunodeAssis_M.pdf: 4249705 bytes, checksum: d2949a94aa18d0c76af6e9ddc0b5f52c (MD5) Previous issue date: 2012 / Resumo: Esta pesquisa aborda obras teatrais baseadas em Histórias em Quadrinhos através da ótica Bakhtiniana da análise do discurso. Utilizo teorias de Will Eisner, Paulo Ramos e Mikhail Bakhtin para analisar a produção do discurso de algumas obras de HQs. Baseado nestas mesma teorias, analiso as produções teatrais relacionadas, e a traduções intersemióticas ocorrida durante o processo de criação dos espetáculos baseados em Histórias em Quadrinhos / Abstract: This research approaches theatrical works based upon Comics through Bakhtinian perspective of Speech Analysis. I use theories from Will Eisner, Paulo Ramos and Mikhail Bakhtin to analise the some examples of Comics'discourse production. Based upon these theories, I also run an analysis over related theatrical productions, and the intersemiotic translations ocurred in the creative process to develop Theater plays based upon Comics / Mestrado / Artes da Cena / Mestre em Artes da Cena

Orientador: Mario Alberto de Santana / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-26T18:42:54Z (GMT). No. of bitstreams: 1 Nunes_Aline_M.pdf: 7800220 bytes, checksum: 1060c0c513828e6e0a06e16da0104e2a (MD5) Previous issue date: 2015 / Resumo: Esta investigação quer refletir a respeito da discursividade do ator em cena partindo do conceito de Dialogismo. Consideramos discurso como o resultado da interação dialógica de "vozes" e, para compreender tal interação, pedimos o auxílio dos filósofos do chamado "Círculo de Bakhtin". Além desta diretriz filosófica, há, aqui, também, o desejo de procurar, no pensamento produzido pelo próprio teatro, lastro para o aprofundamento em tal matéria. Segundo a óptica empregada neste estudo, toda palavra enunciada em cena assume três componentes distintas e concomitantes: a componente gestual, entonacional e verbal. Da interação destas componentes é que nasce o sentido do enunciado e o que chamaremos de palavra- corpo. Na visão desta investigação, um enunciado é algo que vai muito além do logos da mensagem; ele se faz presente e manifesta-se por meio do corpo do enunciador, transformando o próprio corpo em enunciado concreto. Aqui as principais vozes que constituem a palavra-corpo são chamadas de voz da "materialidade", voz do "imaginário", voz da "ideologia" e voz da "intuição". Segundo Bakhtin, as vozes de um discurso dialógico podem interagir de forma Heteroglóssica (ou Plurilinguista), e, nesta forma, as potências vocais são diferentes, estabelecem hierarquias; ou Polifônica, em que as mesmas vozes dialogam em equipotência. Para analisar o processo de composição de tais "palavras" escolhi como objeto os discursos empreendidos pelos intérpretes de "Primus", da "Boa Companhia" de Campinas (SP), e "Prometheus ¿ a tragédia do fogo", da paulistana "Cia. Teatro Balagan". Busco, assim, compreender o processo de composição discursiva do ator a partir de suas técnicas corporais, do jogo e da imaginação, de suas influências culturais, éticas e teóricas e, por fim, por meio de sua relação com a intuição, com o instintivo e o saber que não passa pela racionalidade / Abstract: The present investigation aims to reflect upon the discursiveness of the actor on the scene based upon the concept of Dialogue. The term discourse is herein understood as the upshot of the dialogic interaction of voices. In order to comprehend this interaction we call upon the philosophers of the Bakhtinian Circle. Besides the mentioned philosophical guidelines, there is also the desire to search within the knowledge produced inside the realm of theatre itself, for foundations that enable further delving into the matter. Conforming to the standpoint adopted in the present study, every word uttered on the scene assumes three distinct and concomitant components: gestural, intonational and verbal. It is from this interaction that arises the meaning of the enunciation and what we shall call body-word. In the perspective of the present investigation, enunciation is something that goes far beyond the Logos of the message; it is present and unfolds itself through the body of the enunciator, transforming the body itself in a concrete enunciation. The preeminent voices that constitute the Body-word are herein defined as: voice of "materiality"; voice of the "imaginary"; voice of "ideology", voice of "intuition". According to Bakhtin, the voices of a dialogic discourse may interact Heteroglossically (or Plurilinguistically) ¿ whereby the power of the voices is unequal and hierarchies are established ¿ and Polyphonically through which voices are put into dialogue in equipotent manner. In order to analyse the compositional process of the mentioned words I chose as object, the discourses put forth by the interpreters in "Primus" by a theatrical company established in Campinas (SP), and "Prometheus ¿ a tragédia do fogo" by "Cia. Teatro Balagan" a company based in São Paulo. I therefore aim to comprehend the actors¿ process of discursive composition stemming from their corporal techniques, the play of imagination, cultural, ethical and theoretical influences and lastly by virtue of their relationship with intuition, with what is instinctive and what is not rationally known / Mestrado / Teatro, Dança e Performance / Mestra em Artes da Cena

As early as 1954, families of children who had been segregated into separate spaces fought and succeeded in having their concerns heard in the landmark Supreme Court case, Brown v. Board of Education. In 1975, P.L. 94-142, Education for the Handicapped Children Act (EAHCA) was important because it exposed the history of family-school relations, addressing the multiple forms of inequity, particularly the exclusion of children with dis/abilities from U.S. public schools (Valle & Connor, 2011). Although EAHCA legislation was created to provide solutions to the problems of special education, it appeared to have provided an unequal environment in which the families with the most economic resources could advocate for their children and obtain access to better educational opportunities (Ong-Dean, 2009). Goodwin, Cheruvu, and Genishi (2008) described these policies as based on the “culturally deprived paradigm that compares racially, culturally, linguistically, and socioeconomically diverse peoples to a White, middle-class standard” (p. 4). In this manner, these educational legislative policies are problematic as they have defined parent involvement as meaning families of culturally and linguistically different backgrounds are expected to act or interact with school professionals in particular ways. Moreover, these conceptualizations of parent involvement continue to privilege and perpetuate professional viewpoints based on a Eurocentric middle-class standard (Sleeter, 2001). Bakhtinian theories of language are used to understand how families describe their experiences as they encounter the deficit discourse of parent involvement used by school professionals. This is important because professional jargon or “stratified language” presents a danger in that it is replete with value judgments and beliefs (Bakhtin, 1981, p. 293), assuming power that then comes to inform the ways families understand their experiences and their selves in school contexts. This tells us that it is imperative to know how families of children with dis/abilities experience their communication with school professionals as there is a danger that the discourse of parent involvement will continue to perpetuate particular definitions of family participation that disqualify family knowledge by silencing the potential strengths and contributions of minoritized families (Lareau & Munoz, 2012). Moreover, the way minoritized families experience school professionals and how this is connected to how they come to be involved in their child’s education is not clear. This study, conducted just before and during the coronavirus pandemic, drew from Disability Studies (DS), disability critical race studies (DisCrit), and Intersectionality theories. It examined family-school communication being fully inclusive of all the ways families engage in the education of their children with dis/abilities at the crossroads of race, ethnicity, dis/ability, class, language, and culture (Hernández-Saca et al., 2018; Annamma et al., 2013). To rethink traditional notions of what counts as knowledge, pláticas (personal exchanges) revealed critical raced-gendered epistemologies that allowed the experiential knowledge of Latinx mothers of children with dis/abilities to be viewed as a strength (Delgado Bernal, 2002).

This project seeks to make a contribution to contemporary theories of affect by putting the work of theorists Brian Massumi, Sara Ahmed, Jane Bennett, and Donovan Schaefer in conversation with the Russian philosopher Mikhail Bakhtin. At the same time, it relies on these theorists’ conceptualizations of embodied affect to explore the role of the body in Bakhtin’s understanding of selfhood and freedom. In particular, I show how Bakhtin’s incorporation of aesthetics into processes of self-creation and relationality adds to scholarship on interpersonal affective dynamics; sociocultural economies of affect; ethically potent experiences of wonder and generous behaviors; and religious impulses. Further, I demonstrate that the principles of dialogism and polyphony can be conveyed through cinematic means, and argue that Bakhtin’s concept of carnival can inform analyses of sensory impact of cinema, revealing its potential to challenge politics and ideologies on an embodied and affective plane. Finally, I argue that Bakhtinian polyphony is the aesthetic modality proper to cultivation and manifestation of ethics of generosity, whereby sensations of awe, wonder, and curiosity stimulate attentive and open-minded engagement with the world.

Este estudo da expressividade pesquisa a interpretação musical como uma construção dialógica, diálogo entre “duas consciências” próprias do dialogismo bakhtiniano. O expressivo em música como vivência dialógica considera o tempo, o espaço e o sentido de cada intérprete em uma posição cambiável de valor, expressão e vontade do autor pessoa ao autor criador como também autor contemplador da obra de arte. Este tempo/espaço, cronotopo, termo primeiramente usado por Bakhtin no estudo da obra de arte literária é aqui considerado como um cronotopo musical: tempo, espaço e sentido do intérprete em um diálogo com o Grande Tempo, a composição e seu contexto universal; demonstrando como o eu dialógico interage com o eu/eu e o eu/outro em uma atitude responsiva. Na composição Rudepoema está presente uma dialogia musical entre o compositor Villa-Lobos, “O Rabelais Brasileiro” e o pianista Arthur Rubinstein, a quem a obra foi dedicada. Os elementos musicais do Rudepoema foram analisados com títulos simbólicos como cronotopos Brasil, Carnaval, Arthur e da Teresa, com adjetivos sugestivos nos cronotopos da alegria, espontaneidade, virilidade e sensualidade; assim como as questões da colocação do pedal, inserção das fermatas, considerando-se ainda aspectos da recursão no processo da composição e suas implicações semânticas na expressividade da obra. / This study on expressiveness researches musical interpretation as a dialogic construction, as a dialogue between the two types of consciousness presented in Bakhtin’s dialogism. In music, the ‘expressive’ as a dialogical experience considers time, space and the meaning of each performer in a interchangeable position of value, expression and will from the author as a person to the author as a creator as well as the author as on observer of the work of art. This time / space, chronotope, a term first used by Bakhtin in the study of literary art pieces is considered here as a musical chronotope: time, space and meaning of the interpreter in a dialogue with the Great Time, the composition and its universal context; demonstrating how the dialogic “I” interacts with the I / I and I / others in a responsive attitude. In the ‘Rudepoema’ musical composition there is the presence of musical dialogism between the composer Villa-Lobos, "The Brazilian Rabelais" and pianist Arthur Rubinstein, to whom the work was dedicated. The musical elements of the ‘Rudepoema’ were analyzed with symbolic titles as chronotopes Brazil, Carnival, Arthur and Teresa, with suggestive adjectives in the chronotopes of joy, spontaneity, virility and sensuality; as well as issues concerning pedal placement and fermatas insertion, considering also aspects of the recursion in the processes of composition and their semantic implications in the expressiveness of the work of art.

Although nothing in either the theorist’s or the author’s oeuvre indicates one’s direct awareness of the other, Bakhtin and Nabokov both displayed a surprisingly similar concern for the interrelationship between ethics and literary aesthetics. This shared concern was no doubt shaped by Bakhtin and Nabokov’s common Silver Age background, which was rife with political, artistic and theological discourses regarding the nature of artistic creation, the created nature of man, and man’s ability to continue the process of self-creation. Both Bakhtin and Nabokov thus elaborated on the ethical dynamic between self and other within a commonly held, deeply aestheticized view of life that regards perception and representation of the other as the artistic creation of that other. Bakhtin and Nabokov’s conceptual parallel is further extended by the fact that both of their elaborations of this dynamic are specific responses to the work of Fyodor Dostoevsky. The purpose of this dissertation is, then, to explore further the conceptual convergences and antagonisms inherent in the seemingly similar aestheticized ethics of Bakhtin and Nabokov. Particular attention is paid to the author and theorist’s intellectual influences, especially with regards to Nabokov, since only a proper intellectual contextualization of Bakhtin and Nabokov’s allusively language will allow us a meaningful interpretation of their accounts of aesthetics and ethics.

Foi estudada interdisciplinarmente a autoria coletiva, em ambiente informatizado na Web, de professores em formação (graduação e extensão) da língua inglesa como língua estrangeira. O estudo foi vinculado às linhas de pesquisa “Interfaces Digitais em Educação: Arte, Linguagem e Cognição”, do Programa de Pós-Graduação em Informática na Educação, da Universidade Federal do Rio Grande do Sul, e ao grupo de estudos da interação dialógica e as tecnologias, do Laboratório de Estudos em Linguagem, Interação e Cognição, LELIC, com base em teorias da filosofia da linguagem de Mikhail Bakhtin. O EquiText, ferramenta de escrita colaborativa na Web e/ou ambiente virtual de aprendizagem, desenvolvido nesta universidade, proporcionou três experimentos: dois, na Instituição de Ensino Superior 1, IES 1, com estudantes voluntários da Licenciatura em Língua Inglesa; e um terceiro, na IES 2, com professores de inglês em serviço. Além do objetivo geral de verificar as possibilidades de autoria coletiva no EquiText, os objetivos específicos analisaram as relações dialógicas que os participantes da pesquisa estabeleceram: i) com o EquiText, em referência a manifestações procedurais-simbólicas; ii) entre si (com o outro), em referência a manifestações interacionais; e, iii) com o texto, em referência a manifestações na construção textual independente da proficiência na língua inglesa. Os pressupostos teóricos foram os conceitoschave: o enunciado, as relações dialógicas, o texto, conforme Bakhtin; e a presencialidade, conforme Axt. Os textos foram analisados em três planos: das ações nas relações dialógicas procedurais, interacionais e textuais. Os resultados apontam para as possibilidades de constituição de um autêntico espaço-tempo de produção de autoria coletiva, a partir da conjunção feliz de, pelo menos, duas condições: um espaço-tempo tecnológico de escrita colaborativa (o EquiText); um espaço-tempo pedagógico constituído pelos princípios da interação dialógica, simultanemente atualizável, nos três planos das manifestações procedurais, das interações entre os participantes, e das relações com o próprio texto colaborativo em construção. O plano da tese abarcou cinco seções: da apresentação (1); da língua inglesa, a língua inglesa escrita, e a língua inglesa e as tecnologias de informação e comunicação (2); da apresentação do autor principal, teoria de referência e conceitos básicos utilizados (3); da metodologia da pesquisa, procedimentos e análises (4); e das considerações finais (5). / On a web-based computerized environment collective authorship was interdisciplinarily researched on teachers who were studying (graduate or extension) English as a foreign language. This study was linked to research lines “Digital Interfaces in Education, Art, Language and Cognition” of Post Graduate Programme in Computer Science in Education of the Federal University of Rio Grande do Sul, and to dialogical interaction and technologies group of studies at the Language, Interaction and Cognition Studies Laboratory, LELIC, based on Mikhail Bakhtin’s philosophy of language. EquiText, a tool for collaborative writing on the web and/or a virtual learning environment developed in this University, provided three experiments: two at the Institution of Higher Education 1, IES 1, with voluntary students from a Languages course – focus on the English language teaching; and a third one at IES 2 with English teachers. Besides the general objective to examine authorship using EquiText, specific objectives analysed dialogical relationships established by research participants: i) with EquiText, i.e., procedural-symbolic manifestations; ii) between themselves (with the other); and, iii) with the text, in textual construction independent from English language proficiency. The theoretical presuppositions were these key-concepts: statement, dialogical relationships, and text, as in Bakhtin (2000); and presentiality, as in Axt (2006). Texts were analysed in three dialogic action plans: procedural, interactional and textual. Results point out to possibilities of the establishment of a collective authorship space-time production due to a satisfying conjunction of at least two conditions: a collaborative writing technological spacetime (the EquiText); and a pedagogic space-time, reinforced by dialogic interaction principles, simultaneously refreshable by participants in relation to the collaborative text under construction, in three manifestation plans. They are: procedural, or the relations between the “I” and the technology; interactional, or the encounter of the “I” and the other; and textual, the “I” and the written text under collective production. The thesis plan comprises five chapters: the presentation (1); the English language, written, supported by technologies (2); the presentation of main author, key concepts used, and a construct to analyses (3); the methodology, procedures, and analyses (4); and, final considerations (5).

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The thesis explores how readings of two nineteenth century English novels, Little Dorrit and Middlemarch, can be enhanced by using key elements of Mikhail Bakhtin’s ‘prosaics’ as a lens through which to examine them. Additionally, the readings are used to provide a platform from which to explore the Bakhtinian notion that language is inextricably connected to selfhood. The Introduction (1.1.) offers a brief discussion on Bakhtin and, in particular, to his formulation of a ‘prosaics’, offered in opposition to traditional linguistics (or ‘poetics’) which, he feels, is unable adequately to do justice to the social, ethical and ideological complexity of a dialogised heteroglossia, such as is found in the novel. An explanation follows (1.2.) of why the ‘word’ should not be conceived of as static lexical element but rather as an ‘utterance’. Invested with both clear and distinct meanings as well as dialogic overtones, the word forms the basis of all human communication. As the primary means of expressing the ‘self’, it cannot be heard in isolation but is always responsive and dependent upon “another’s reaction, another’s word – the two ‘interpenetrating’ the single utterance, establishing, as a result, its specific locus of meaning” (Danow 22). Likewise, it follows that the ‘self’ cannot exist purely in and for the individual but is irrevocably linked to the ‘other’. Chapter Two begins with a discussion on the way in which ‘centripetal’ and ‘centrifugal’ forces work simultaneously to shape language (2.1.). It looks at the Bakhtinian idea that language cannot ever have been monologic and unmediated, being instead ever-changing and evolving as a result of numerous influences brought to bear on it such as context, ideology and the discourses of others. The nature of heteroglossia is discussed (with particular reference to ‘dialogized heteroglossia’), as is ‘hybridization’ in which, although a statement appears to emanate from one voice, another parodic or ironic voice will also be evident in refracted form. 2.2. and 2.3 engage in a detailed analysis of selected passages from Books I and II respectively of Little Dorrit with a view to exploring ways in which a Bakhtinian reading is able to provide heightened appreciation of the text. With particular regard to the overtly parodic style of Dickens, I aim to show how Bakhtin’s prosaics, which militates against privileging one ‘voice’ over another, enables the voice of a relatively neglected character, such as Fanny Dorrit, to be adequately heard. Although the emphasis in this chapter is on language, I broach the Bakhtinian notion that both the ‘word’ and the ‘self’ are inscribed through the ‘other’. In Chapter Three the focus shifts to Middlemarch and to Bakhtin’s notion that selfhood can only be properly located in its dialogic relations to ‘another’. The chapter is offered in four parts, beginning with a brief discussion on some similarities between Bakhtin’s and Eliot’s philosophical thinking, particularly in regard to the ethical nature of the self (3.1.). The next three parts provide detailed thematic analyses of selected passages from Middlemarch. Particular attention is paid to Rosamond Vincy and Tertius Lydgate, whose relationship is explored in some detail. In order adequately to chart their development in the novel I begin by situating each of these characters in his or her various ‘fields of action’, or, as Bakhtin would have it, ‘character zones’. Character zones take into account not only the characters’ direct discourses but also other aspects of their being, including their backgrounds, ideologies and the various attitudes held by both the narrator and other characters towards them (3.2.). The next section (3.3.) explores, in dialogical terms, the rise and fall of Rosamond’s and Lydgate’s difficult alliance and it is suggested that their relationship represents the antithesis of the Bakhtinian notion of ‘finding the self in and through the other’. In the final section (3.4.), Rosamond’s and Lydgate’s possibilities for ‘real becoming’ are canvassed when each enters into dialogic relation with Dorothea Brooke. The Conclusion (4) offers a brief discussion of some of the ways in which the novel, as a genre, is open-ended. As such, it affords ongoing discussion in which completeness and conclusiveness is replaced with unfinalizability because “the final word has not yet been spoken” in the ongoing search for meaning (EaN 30). / Thesis (Ph.D.)-University of KwaZulu-Natal, Pietermaritzburg, 2013.

O propósito principal desta pesquisa é mostrar, pelo viés da perspectiva bakhtiniana de enunciado, o uso de estruturas frasais fragmentadas em textos publicitários escritos como uma transgressão deliberada de regras de pontuação – pautadas eminentemente pela sintaxe –, constituindo-se em estratégia enunciativa cujos efeitos de sentido visam a atrair mais a atenção do interlocutor (consumidor), buscando sua adesão. Procuramos mostrar que os termos “frase” e “enunciado” são recorrentes em diversos estudos linguísticos, o que demonstra a importância que têm esses termos na metalinguagem desses estudos, embora eles sejam empregados para indicar uma diversidade de concepções. Tratamos do enunciado em uma perspectiva mais específica, a suscitada pelos pressupostos teóricos advindos de reflexões de e sobre Bakhtin. Reiterando o papel essencial que o autor atribui à entonação na construção do enunciado e considerando que, na escrita, ela está intimamente ligada à pontuação, esta é mostrada como manifestação eminentemente enunciativa, concentrando-nos no ponto, dito final. Tomando a noção bakhtiniana de gêneros como tipos relativamente estáveis de enunciados, trazemos questões decorrentes de pesquisas feitas essencialmente por estudiosos da área da publicidade, as quais procuram ilustrar aspectos relativos a textos publicitários, visando a situarmo-nos quanto a esse gênero textual, ao qual pertencem os recortes enunciativos que são objeto de análise. Apresentamos as análises que empreendemos, considerando recortes enunciativos em que aparecem estruturas frasais fragmentadas e em que o sinal empregado é o ponto, dito final. Consideramos que o que importa em tais situações não é a fronteira gramatical, da frase, mas a do enunciado, resultante da alternância entre os interlocutores. Levamos em conta a entonação como expressão de atitude do locutor para com o objeto da enunciação. Em todos os textos que analisamos, percebe-se claramente o acabamento específico do enunciado: os enunciadores escreveram tudo o que queriam dizer em cada situação, de modo a alcançarem uma atitude responsiva ativa de seus interlocutores. / The main purpose of this research is to show, from Bakhtin's perspective of the utterance, that the use of fragmented sentence structures in advertising texts can work out as a sort of deliberate transgression against punctuation rules – as these are eminently set by syntax –, thus constituting an utterance-making strategy whose effects in terms of meaning will aim at increasing the consumer's attention in order to win him or her over to what is being offered. Terms such as “sentence” and “utterance” are showed to have been used in various linguistic studies, which demonstrates the metalinguistic importance that those terms have for these studies, although they have quite often indicated a diversity of conceptions. Here, we have attempted to pinpoint the utterance in a much more specific perspective, such as this concept is found in works of and about Mikhail Bakhtin. By reiterating the essential role that Bakhtin ascribes to the intonation in the construction of the utterance, and by considering that, in written form, intonation can intimately be linked to punctuation, we have showed that punctuation (and mostly the “full stop”, on which we have focused) can be said to be an eminent uttering manifestation. From Bakhtin's understanding of genres as types of relatively stable utterances, we have brought into consideration some issues which essentially come from researches done on publicity and which try to illustrate aspects of texts used in advertising. Our attempt has thus been to have a clear vision of that textual genre, since the examples under our analysis here should all belong to it. Utterances are then analysed in which fragmented sentential structures are rounded off by a full stop. We believe now to be in such a position to demonstrate that what is most relevant in terms of communication is not so much the grammatical frontier, i.e. the sentence, but rather the utterance boundaries, which will come into play as a result of the alternation of turns between interlocutors. Intonation has also been taken into account, as it expresses the speaker's attitude towards the object of the utterance. In all the texts we have analysed, the specific finalisation of the utterance is clearly identifiable: in each and every situation, the enunciators have written all they wanted to say in order to obtain a responsive attitude from those who their utterances were intended to reach.