Orientador: Nina Virgínia de Carvalho Leite / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem / Made available in DSpace on 2018-08-17T11:32:20Z (GMT). No. of bitstreams: 1 Gasparini_EdmundoNarracci_D.pdf: 973578 bytes, checksum: 7c2b27315d4f44d8b368c370276130d3 (MD5) Previous issue date: 2011 / Resumo: Esta tese tem o objetivo de discutir a forma pela qual a língua é abordada no âmbito da Análise do Discurso forjada por Michel Pêcheux. Se a língua representa sempre uma condição de base do discurso, ela não ocupa esse lugar da mesma forma ao longo do percurso teórico de Pêcheux. O trabalho aqui desenvolvido possibilitou identificar duas abordagens distintas de língua. Num primeiro momento, a língua é considerada uma sistematicidade regida por leis fonológicas, morfológicas e sintáticas - isto é, por leis abordáveis no campo da Linguística -, e a ela atribui-se uma autonomia relativa, na medida em que, para além desse funcionamento autônomo, há um funcionamento não linguístico, que aponta para as determinações do discurso. Num momento posterior do percurso de Pêcheux, a língua é abordada a partir de um recurso explícito a um elemento proveniente da teoria psicanalítica, qual seja, lalangue, ponto em que existe língua e existe inconsciente. O recurso a lalangue situa-se no contexto de mudanças significativas no âmbito da Análise de Discurso, tanto no que se refere à teoria quanto à prática de análise. Embora o recurso explícito a lalangue se articule a deslocamentos significativos na Análise do Discurso, ele não deixa de colocar impasses, uma vez que não considera um elemento fundamental e que se relaciona ao "estranho anterior" configurado pela língua enquanto instância de corte. Levar às últimas consequências aquilo que lalangue coloca em cena demanda, portanto, uma reconsideração da questão do discurso, e aponta para a teoria dos discursos articulada por Jacques Lacan a partir de 1969. Abordar o recurso a lalangue feito por Michel Pêcheux permitiu também avaliar a questão do atravessamento da Análise do Discurso pela Psicanálise. A esse respeito, o trabalho aqui desenvolvido permitiu constatar que, para além do nível de um recurso explícito a elementos da teoria psicanalítica, há um nível de atravessamento mais fundamental / Abstract: This thesis has the objective of discussing the way la langue is approached in Michel Pêcheux's Discourse Analysis. On the one hand, la langue is always a necessary condition for discourse. On the other, it occupies this position differently along Pecheux's theoretical démarche. By means of the study of texts written by Pêcheux, the thesis developed here made it possible to identify two different approaches to la langue. On a first moment, it is considered a system which is phonologically, morphologically and syntactically ruled, that is, a system whose functioning is to be studied within Linguistics. At this moment, a relative autonomy is atributed to la langue, once its functioning is not only linguistically ruled, but also ruled by discourse. At a later moment in Pêcheux's démarche, the approach to la langue is characterized by an explicit resource to lalangue, an element developed within psychoanalytic theory which refers to the point in which there is langue and there is the unconscious. The resource to lalangue is accompanied by a number of meaningful changes both in the theory and in the practice of Discourse Analysis. Although the explicit resource to lalangue is connected to meaningful changes in Discourse Analysis, it also brings impasses. Despite the explicit resource, an important aspect in lalangue is not taken into consideration, an aspect which is closely connected to the "strange anterior" constituted by la langue as a severing element. Taking account of this element leads to a reconsideration of the dimension of discourse, and to the consideration of Jacques Lacan's theory of discourse, developed from 1969 on. The study of Michel Pêcheux's resource to lalangue provided the opportunity to evaluate the role which Psychoanalysis plays in Discourse Analysis. The study undertaken here shows that, beyond the level of an explicit resource to psychoanalytic theory, the effects brought about by Psychoanalysis may be considered in a more fundamental level / Doutorado / Linguistica / Doutor em Linguística

Orientador: Sirio Possenti / Dssertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem / Made available in DSpace on 2018-07-21T02:53:04Z (GMT). No. of bitstreams: 1 Silveira_FernandaMussalimGuimaraesLemos_M.pdf: 4113774 bytes, checksum: 9440e1db637ecff1e9044c1a8b4548f0 (MD5) Previous issue date: 1996 / Resumo: O que me proponho, neste trabalho, é reconsiderar, a partir de uma leitura reflexiva do discurso da propaganda destinada a incitar o consumo, os conceitos que fundamentam a teoria do discurso proposta por Pêcheux. No capítulo 11, faço um levantamento do estereótipo feminino veiculado pela publicidade, estereótipo que tem sido uma constante no interior da estratégia argumentativa desse discurso. Esse estereótipo, no entanto, não é sempre exatamente o mesmo, ele permite variações que se restringem a, pelo menos, três topoi (Ducrot, 1989): Ti: "A mulher que cuidar bem da casa e da família e se mantiver bonita, será valorizada, amada e, portanto, estará realizada" T2: "É imprescindível que a mulher seja bonita e sedutora, já que ela deve se configurar em objeto de desejo do outro" T3: "O fato de a mulher ,ser uma profissional (leia -se também inteligente e independente) não implica a possibilidade de ela deixar de ser bonita e sedutora, frágil (se "masculinizar") e responsável pelos cuidados da casa e da família" O sujeito publicitário, ao se valer desses topoi como uma forte estratégia argumentativa, apresenta-se como um sujeito "instrumentado" (analogia ao conceito de sujeito instrumentado de Fichant (1973) ), e essa "instrumentalização" do sujeito publicitário abre espaço para repensar a questão do assujeitamento, a partir de algumas reconsiderações feitas dos conceitos que fundamentam a teoria de Pêcheux (1969,1983; Pêcheux e Fuchs, 1975) : os conceitos de sujeito, discurso, condições de produção, ideologia, história, autoria e originalidade. A questão do assujeitamento será discutida, neste capítulo, considerando-se apenas o "lugar" ocupado pelo sujeito publicitário. No capítulo 111, o enfoque dado ao discurso publicitário se refere à questão da heterogeneidade discursiva, que também abre perspectiva para repensar a teoria do discurso proposta por Pêcheux: o espaço que a heterogeneidade abre no discurso é um espaço demarcado pelas contingências da parafrasagem, tal qual a conceberam Pêcheux e Fuchs (1975:168), como sendo "uma defasagem entre uma e outra formação discursiva", ou esse espaço aberto pela heterogeneidade configura-se numa certa "margem de autonomia" para os sujeitos envolvidos na interação discursiva? Retoma-se novamente aqui a questão do assujeitamento pleno ou não dos sujeitos do discurso, .questão que será considerada aqui, a partir do "lugar" ocupado pelo sujeito consumidor / Abstract: My purpose in this paper is to reconsider, based on a reflexive reading of the publicity discourse destined to incite consume, the concepts that ground the discourse theory proposed by Pêcheux. In Chapter 11, I make a raise of the woman's stereotype spread by pubicity, stereotype that is unchangeable inserted in the argumentative strategies of this discourse. This stereotype, however, is not always the same. It allows some variations that limit themselves by, at least, three topo i (Ducrot, 1989): T1: "The woman that takes good care of her house and her family and keeps herself beaultiful, will have value, be loved, and therefore be successful" T2: "It is crucial for the woman to be beautiful and to be a seducer, as she have to configurate herself in an object of desire to the other" T3: "The fact of the wQman being a professional (read also clever and independent) does not implicate the possibility of her stop being beautiful and a seducer, frail (making herself as a man) and responsible for the house and family cares" The publicity subject, being aware of these three topoi as a valuable argumentative strategy, shows himself as an "instrumented" subject (analogy to Fichant's concept of instrumented subject (1973) ), and this "instrumentalization" of the publicity subject allows us to rethink the "subjectment" matter, based on some reconsiderations of the concepts that ground Pêcheux's theory (1969; Pêcheux and Fuchs, 1975): the concepts of subject, discourse, production conditions of the discourse, ideology, consciousness, history, authorship and originality. The "subjectment" matter will be discussed, in this Chapter, considering only the "place" taken by the publicity subject. In Chapter 111, the teatment given to the publicity discourse refers to the discoursive heterogeneity, that also allows us to rethink the discourse theory proposed by Pêcheux : the gap opened in the discourse by the heterogeneity is a gap delimited by the paraphrase, as it was conceived by Pêcheux and Fuchs (1975:168), as being "a displacement between one and the other discoursive formation", or does this space opened by the discoursive heterogeneity configure itself in a certain "range of autonomy" for the subjects involved in the discoursive interaction? In this Chapter, the entire "subjectment" (or not) matter of the discourse subjects is considered based on the "place" taken by the consumer subject / Mestrado / Mestre em Linguística

Orientador: Eric Mitchell Sabinson / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem / Made available in DSpace on 2018-08-12T10:04:16Z (GMT). No. of bitstreams: 1 Fauza_MichelJalil_M.pdf: 1004106 bytes, checksum: a8b2913e4ec383b24cc704f1c55a01e0 (MD5) Previous issue date: 2008 / Resumo: Este trabalho tem a intenção de propor um estudo sobre a peça teatral R.U.R. (Rossum's Universal Robots), escrita pelo autor checo Karel Capek em 1920 e especialmente importante por introduzir, na literatura moderna, a figura do robô do modo que hoje a concebemos. A princípio, apresentamos de maneira breve alguns dos autômatos retratados pela literatura fantástica do século XIX, de forma a distinguir a nova abordagem de Capek sobre o tema. Posteriormente, destacamos passagens da peça, ato a ato, relacionando-as a teóricos da filosofia e da crítica literária, de modo a sugerir novas possibilidades de leitura que se distanciem das interpretações comuns surgidas desde a época de sua publicação e primeiras representações. Para o êxito de tal tarefa, devemos repensar o significado do robô dentro do contexto ficcional de R.U.R. e as implicações geradas pelo seu surgimento. / Abstract: This work examines the theatrical play R.U.R. (Universal Rossum's Robots), written by the Czech author Karel Capek in 1920, and its particular importance for introducing, in modern literature, the figure of the robot as we conceive of it today. Initially, we briefly present some of automatons realized in fantastic literature of the XIX century, distinguishing Capek's new approach. Later, we point out parts of the play, act by act, suggesting relationships to particular philosophers and commenting the criticism on the play, in order to suggest new possibilities of reading different from the common interpretations since its publication and first production. For the success of such task, we need to rethink the meaning of the robot, inside the fictional context of R.U.R., and the implications generated by its appearance. / Mestrado / Historia e Historiografia Literaria / Mestre em Teoria e História Literária

Orientador: Claudiney Rodrigues Carrasco / A Biblioteca do IA possui CD-ROOM / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-02T12:57:12Z (GMT). No. of bitstreams: 1 Barros_AlvaroAlbertodePaiva_M.pdf: 6351372 bytes, checksum: 4075f37108b2c08060b246d0d08e739e (MD5) Previous issue date: 2002 / Resumo: Este trabalho consiste numa edição comentada das Trinta e uma peças musicais do compositor João Juvanklin de Souza, que incluem uma seleção por ele feita de suas melhores obras para bandolim, violão e cavaquinho. Além de traçar um perfil biográfico do compositor, contextualizando-o no ambiente musical do Natal, é feita uma abordagem acerca dos componentes estruturais do seu discurso musical (perfis harmônico, melódico, rítmico e formal), acrescida de comentários, revisões e sugestões de acompanhamento. A anexação de cópias dos manuscritos completa este trabalho, pois, é feita no intuito de revelar de forma mais completa a produção musical de João Juvanklin, notabilizando a sua importância no cenário artístico e cultural do Rio Grande do Norte / Abstract: This work is a critical edition of the Trinta e uma peças musicais by João Juvanklin de Souza, that includes a selection made by himself of his best works for mandolin, guitar and small guitar. Besides delineate a biographical profile of the composer, placing him in the musical atmosphere of the city of NataL it is made an approach concerning the structural components of his musical style (harmonic, melodic, rhythmic and formal profiles), with comments, revisions and suggestions for the accompaniment. The annexation of copies of the manuscripts completes this work, made with the intention of revealing in a more complete way João Juvanklin's musical production, making well-known his importance in the artistic and cultural scenery ofRio Grande do Norte / Mestrado / Mestre em Artes

This thesis examines Ngugi wa Thiong'o's later writings in order to establish the nature of his quest for a people's literature. It illustrates how the author attempts to break the barriers between traditional oral forms and the relatively new written forms in addressing a basically "illiterate" audience. The research begins with an exploration of Gikuyu oral literature as an essential background to Ngugi's later dramatic and fictional writings as distinct from his earlier literary works in which he initiates the dominant quest for a more just society. Ngugi's return to these roots constitutes the central "homecoming" that characterizes his search for new forms. The analysis is conducted through three significant chronological stages representing Ngugi's writings over a period of about a decade from the mid-1970s to the early 1980s. Each stage starts with a play and performance followed by a parallel novel, the first pair written in English and the subsequent ones in Gikuyu. The three stages - designated Transition, Homecoming and Realization - mark Ngugi's involvement in the promotion of Gikuyu culture and orature, both as a source of inspiration and as a cause to which he fully dedicates himself. The transitional stage depicts the convergence between conventional and traditional oral literary forms with which Ngugi begins to experiment. The second stage introduces significant departures as Ngugi begins to use the Gikuyu language as his primary medium of creative expression. The final stage demonstrates his ultimate assertion of the primacy of orality over the written word as a dynamic agent of transmission. The thesis concludes that Ngugi wa Thiong'o in these later works - while leaving the possibilities of his vision of a "New Earth" unfulfilled pioneers the African writers' climb down from an "ivory tower" to deal with the realities of the experience of the predominantly non-reading African masses, acknowledged as both recipients of and active participants in the relatively new written literature which purports to speak for their experiences and their times.

Deux écrivains contemporains, l'un francais, l'autre russe soviétique, ont ressenti vivement le passage inexorable du temps. Ils se sont mis à cueillir les souvenirs et les impressions de l'enfance afin de recréer le "paradis de l'enfance" et ainsi figer la vie passagère et retrouver "le temps perdu". Marcel Proust (1871 - 1922), auteur français du magnifique roman A la Recherche du temps perdu, et Ossip Emilievich Mandel'shtam (1891 - 1938), auteur russe du chef-d'oeuvre Shum Vremeni (Le Bruit du temps), se sont voués, chacun de son côté, à mettre à jour leurs premières sensations et impressions. Dans ces deux oeuvres plus ou moins autobiographiques, le Temps se montre comme personnage principal. Chez tous les deux écrivains nous trouvons un culte passionné des valeurs intellectuelles, une sensibilité développée à l'extrême, un sens du passé et une préoccupation soucieuse de sa conservation. L'objet de cette thèse est, premièrement, de faire plusieurs analogies entre les ambiances familiales et intellectuelles des deux écrivains, entre leurs caractères également sensibles et impressionnables, et entre leurs sentiments et idées philosophiques et psychologiques. On peut faire une analyse détaillée des techniques individuelles qui ont joué un rôle si important dans l'oeuvre de chacun, et, ensuite, rapprocher les méthodes employées pour réaliser leurs tentatives surhumaines, c'est-à-dire, les façons dont chacun a réussi à retrouver le temps perdu. La recherche du réel chez Mandel'shtam, comme chez Proust, commence avec les souvenirs d'enfance, ainsi qu'avee les premières impressions mystérieuses. Tandis que Proust affirme à tout instant la prédominance de la perception affective en cherchant un rapport mystique avec l'Absolu, Mandel'shtam affirme la suprématie de l'élément logique et concret dans l'oeuvre. C'est la capacité de Mandel'shtam, selon M. Gleb Struve, de contenir le général dans le concret qui donne la valeur particulière a son impression du "temps perdu". L'ouvrage de Mandel'shtam, comme celui de Proust, montre un sens historique et un sentiment vif du temps vécu. Leurs oeuvres géniales incarnent leur visions personnelles de la vie temporelle et la vie extra-temporelle. En s'élevant au-dessus du temps, Proust et Mandel'shtam ont pénétré1 le mystère de l'éternel—ils sont arrivés à l'essence de la vie. Tous deux ont réussi définitivement à conjurer et, ensuite, enserrer à jamais dans les toiles fines de leurs oeuvres le Temps élusif et passager. / Arts, Faculty of / English, Department of / Graduate

In my diploma thesis, I provide an analysis of the Munich Agreement and the Czechoslovak crisis from the perspective of the United States of America. My aim is to create comprehensive picture of bilateral relations between Czechoslovakia and the United States before and after the signing of the Munich Agreement. Thesis focuses on the diplomatic and economic relations between Czechoslovakia and United States in the period 1936 -- 1938/1939. The introductory part of the thesis is devoted to the phenomenon of isolationism and its influence in shaping the U.S. foreign policy. The main point of the analysis is the attitude of the American public to the Czechoslovak crisis and the Munich Agreement itself. The main hypothesis consists in the assertion that the United States played a major role in the Czechoslovak crisis that preceeded the signing of the Munich Agreement. I am seeking answers to these questions: How did the American public perceived the Czechoslovak crisis? What was the reaction of the U.S. government to the Czechoslovak crisis and the subsequent the Munich Agreement? How did president F. D. Roosevelt perceived the Czechoslovak crisis? In order to find answers to my questions I am using the issued and unissued sources, specialized literature and especially the contemporary press. The thesis has proved that the United States took part in the events that preceded the signing of the Munich Agreement.

by Jane Bailey / Text in English and French / Typescript / M.A. Florida State College for Women 1934 / Includes bibliographical references (leaves 107-109) / "Chronological list of the works of Francis Jammes": leaves 103-106

Miloslav Troup as an Illustrator Abstract This diploma thesis deals with Czechoslovakian graphic artist Miloslav Troup (1917 - 1993), whose extensive and varied artistic activity took place mainly in the second half of the 20th century encompassing a whole spectrum of art disciplines. However, the thesis aims to comprehensively analyze only one of them, his illustration work. It is written with regard to the concept of chronological order, which has been already successfully used in my bachelor thesis. That was focused on Troup's illustrating work for children and teenagers. This thesis, however, offers deeper insight into the aforementioned issue. The artist's book illustrations from each period are analyzed and presented in the context of his other works of illustration and fine art. The analysis also deals with the art techniques Troup used and the formal component of his work. In a few important cases, Troup's illustration is confronted with the works and art style of other artists coming from the same background. Moreover, each section also briefly outlines the political and cultural situation for the purpose of helping the reader to better understand the general context of the period in which the illustrator created. The thesis also attempts to map Troup's life and the phases of his artistic...

Uppsatsen behandlar kvinnoföreningen Husmodersföreningen i Hässleholm med omnejd fråndess att föreningen startades och tio år framöver, dvs åren 1938–1948. Husmodersföreningen iHässleholm med omnejd var verksamma fram till år 2011 då den lades ner efter 73 verksammaår. Hässleholm är en stad belägen i nordöstra Skåne. Uppsatsen studerar föreningens medlemsantal och aktiviteter, exempelvis föreläsningar,kurser och studiebesök. Föreläsningarna kunde ha fokus på bl.a. hälsorelaterade ämnen,barnuppfostran, knyppling, inredning eller vara samhällsbildande. Kurserna som erbjöds varexempelvis sykurser eller matlagningskurser av olika slag. Med de olika studiebesöken fickmedlemmarna exempelvis åka till Perstorps Ättiksfabrik eller gå på Husmodersföreningensriksmöten. Föreningen hjälpte även till i samhället genom att bidraga stöd till Norge och Finlandunder krigsåren där kvinnorna hjälpte till att sända bl.a. garn, kläder, mat och andraförnödenheter till de krigsdrabbade grannländerna.