Robert McKersie, Leonard Greenhalgh and Todd Jick. / Bibliography: p. [19-20].

by Thomas M. Stoker. / Bibliography: p. 65-66.

Made available in DSpace on 2016-08-29T15:08:52Z (GMT). No. of bitstreams: 1 tese_6073_DISSERTAÇÃO DE MESTRADO - IVAN A. ROZÁRIO JÚNIOR.pdf: 1799215 bytes, checksum: 5321daa37a203758a86d6b3e3e11c314 (MD5) Previous issue date: 2012-12-11 / A dissertação tem como finalidade compreender, por meio do pensamento do Círculo de Bakhtin, a alteridade que se revela no enunciado do adolescente em conflito com a lei, em sua relação com a linguagem, e de que modo a relação dialógica pode contribuir para a (re)construção da subjetividade e a ressignificação de princípios e valores a partir de um processo dialógico de intervenção. Na busca de respostas à questão desvelada, realizou-se um percurso metodológico de investigação capaz de descortinar as marcas de subjetividade, identificar as tensões enunciativas, as entonações e os julgamentos de valor no enunciado produzido pelo adolescente, partindo da perspectiva dialógica e da relação de alteridade constituída, no processo de intervenção socioeducativa, culminando na reflexão de um processo de exotopia. Como aparato teórico, foram traçadas algumas categorias bakhtinianas relevantes à compreensão desse discurso produzido pelo adolescente em conflito com a lei, tais como: dialogismo, estilo, apreciação valorativa, vozes alheias, subjetividade/alteridade, exotopia, responsabilidade/responsividade, a fim de construir uma base metodológica que auxiliasse a análise do corpus, assim como compreender o papel do gênero Autobiografia na constituição desse outro sujeito a partir do contexto da socioeducação. Em efeito, trás análises estabelecidas, pode-se dizer que a relação de alteridade é capaz de provocar no adolescente uma postura axiológica, que o conduz à retomada de sua própria consciência, reconhecendo-se como sujeito constituído nas/das relações dialógicas, possibilitando-lhe ressignificar-se como sujeito responsável/responsivo / The dissertation aims to understand, according to The Bakhtin’s Circle thinking, the otherness that is revealed by the statement of adolescents in conflict with the law along with their language relation, and how the dialogical relationship can contribute to the (re)construction of subjectivity and the redefinition of principles and values from a dialogical process of intervention. Looking for the answers to the question unveiled, a methodological path of investigation that could uncover traces of subjectivity has been traced in order to identify the enunciate tensions, intonations and judgments of values in the statement produced by the teenager, from both the dialogical perspective and the constituted relationship to alterity in the process of socio-educational intervention, that culminates in a process of reflection about exotopy. As a theoretical apparatus, some bakhtinian categories considered relevant to the understanding of speech produced by adolescents in conflict with the law, such as dialogism, style, process of evaluation, voices of others, subjectivity / otherness, exotopy, responsibility / responsiveness were drawn in order to build a methodological basis that could support the analysis of the corpus, as well as to understand the role of the gender Autobiography on the construction of the that other subject from a socio-educational context. Effectively, it brings back established analysis, so one can say that the relation of the otherness is capable of causing the teenagers an axiological posture, which leads to the resumption of their own consciousness, by recognizing themselves as subjects consisting of / on dialogical relationships, enabling them to reframe themselves as responsible / responsive ones.

Submitted by Elizabete Silva (elizabete.silva@ufes.br) on 2015-09-17T19:38:54Z No. of bitstreams: 2 license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) Ambiguidade como recurso da publicidade análise de propagandas das Havaianas.pdf: 1970455 bytes, checksum: 787f91fbf41d74088ac2ed07d167862a (MD5) / Approved for entry into archive by Morgana Andrade (morgana.andrade@ufes.br) on 2015-11-23T18:57:42Z (GMT) No. of bitstreams: 2 license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) Ambiguidade como recurso da publicidade análise de propagandas das Havaianas.pdf: 1970455 bytes, checksum: 787f91fbf41d74088ac2ed07d167862a (MD5) / Made available in DSpace on 2015-11-23T18:57:42Z (GMT). No. of bitstreams: 2 license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) Ambiguidade como recurso da publicidade análise de propagandas das Havaianas.pdf: 1970455 bytes, checksum: 787f91fbf41d74088ac2ed07d167862a (MD5) Previous issue date: 2013 / O tema desta dissertação é o uso da ambiguidade associado a clichês, em anúncios das sandálias Havaianas. Tendo por base a Semântica Discursiva, reconhece-se a ambiguidade como estratégia de produção de sentido, utilizada como recurso da publicidade. Sob essa perspectiva teórica, a ambiguidade é definida a partir de Mari (1991, pág. 75) como a bifurcação de leituras que conduzem a dimensões referenciais distintas. Sabe-se que a ambiguidade ainda é vista como um desvio da linguagem, podendo promover um retardo na comunicação. No entanto, ela é sempre encontrada em anúncios publicitários, enquanto recurso produtivo. Em pesquisa realizada no ano de 2011, constatou-se que a ambiguidade era encontrada em propagandas veiculadas em revistas femininas, associada aos clichês, o que facilitava a sua recepção. Uma hipótese é o fato de as propagandas se adequarem mais aos desejos e expressões próprias do consumidor, a fim de promover identidade com este. Por meio da utilização de clichês, o marketing ganha em eficiência, estabelecendo uma imagem de legitimidade do produto que vende. Esta dissertação tem como objetivo principal analisar as estratégias de marketing das propagandas das Havaianas que utilizam o recurso da ambiguidade. Além de aprofundar a discussão teórica sobre a ambiguidade enquanto um recurso produtivo da linguagem, as propagandas das Havaianas foram analisadas levando em conta a questão da história no jogo com o sistema linguístico. Por isso o trabalho acaba por promover uma reflexão sobre a relação entre publicidade e produção de sentido. Por isso a análise procurou contemplar essa dimensão histórico-social da linguagem. Constatou-se que a ambiguidade, com o uso de clichês, é muito utilizada na linguagem da propaganda. Seu uso tem propósito de chamar a atenção para o produto focalizado. A duplicidade de sentidos é proposital, funcionando como "isca” para atrair a atenção do consumidor. Observou-se, ainda, que há sempre um apelo ao aspecto lúdico da linguagem como chamariz para conduzir ao reconhecimento do produto veiculado. Os anúncios trabalham com um sentido que já é consagrado pelo uso coletivo. O sentido mais literal sempre se refere à marca. Conclui-se, portanto, que a ambiguidade torna o consumidor um agente produtivo, na medida em que se identifica com o lugar comum apontado pelo clichê. Com isso, observa-se o fortalecimento da marca por meio da identificação do produto com o público. Foi, portanto, a partir das estratégias de marketing que as Havaianas tornaram-se “mania” nacional. As ambiguidades inseriram o texto no contexto histórico da sua produção, aproximando o texto do leitor. Essa identidade trouxe leveza, soltura, humor e graciosidade às propagandas analisadas. / The theme of this dissertation is the use of the ambiguity associated with clichés, announcements of Havaianas. Based on the Semantic Discourse, recognizes the ambiguity as a strategy for the production of meaning, used as a source of advertising. From this theoretical perspective, the ambiguity is defined from Mari (1991, p. 75) as the bifurcation of readings that lead to distinct referential dimensions. It is known that the ambiguity is still seen as a deviation of the language, and may promote a delay in communication. However, it is always found in advertisements, as a productive resource. In a survey conducted in 2011, found that the ambiguity was found in the advertisements in women's magazines, associated with clichés, which facilitated its reception. One hypothesis is that the ads fit the wants and more expressive of the consumer, in order to promote identity with this. Through the use of clichés, marketing gains in efficiency, establishing an image of legitimacy of the product it sells. This dissertation aims at analyzing the marketing strategies of advertisements Havaianas using the feature of ambiguity. Besides deepening the theoretical discussion on the ambiguity as a resource productive language, advertisements Havaianas were analyzed taking into account the issue of history in the game with the linguistic system. So this work promotes a reflection on the relationship between advertising and the production of meaning. Therefore the analysis sought to contemplate this social-historical dimension of language. It was found that the ambiguity with the use of clichés is widely used in the language of advertising. Its use has purpose to draw attention to the focal product. The duplicity of meanings is purposeful, functioning as "bait" to attract the consumer’s attention. It was observed also that there is always an appeal to the playful aspect of language as a decoy to lead to the recognition of the advertised product. The ads work with a sense that is already enshrined in the collective use. The most literal sense always refers to the brand. It is concluded, therefore, that the ambiguity makes the consumer a productive agent, in that it identifies with the common place appointed by cliché. With this, there is the strengthening of the brand through product identification with the public. It was, therefore, from the marketing strategies that Havaianas became national “craze”. Ambiguities inserted text in the historical context of its production, approaching the text reader. This identity brought to the analyzed advertisements lightness, release, humor and grace.

The purpose of this study is to show that within the context of Nigeria's development effort, financial development with respect to the banking system has aided investment and economic development to a greater extent than is generally recognised. This study, therefore, sets itself the task of a detailed examination of the structure of the Nigerian banking system as a service producing industry, the analysis of the economic performance of the banking system arid the prescribing of policies and regulations to improve the banking system's structure and performance. The structure of the Nigerian banking system is reflected in its historical pattern of growth, ownership, the network branch expansion, assets and liabilities composition and the legal and regulatory framework. The economic performance is reflected in output, profitability and the efficiency with which the banks have met some requirements indeispensable for economic development such as the contribution to saving-investment process and the provision of adequate finance to various sectors of the economy. A banking system, as a service industry, suffers from output measurement problem. Surrogates were used to measure the output of the Nigerian banking systems. The profitability of the banking system was measured by the ratios of profit after tax/capital and profit after tax/assets. The determinants of the Nigerian banking system's lending and profitability performance are based on the hypothesis: the demand, policy and structure variables significantly affect the performance of the Nigerian banking system. The evidence from the analysis indicates xii that policy and demand factors were more important in influencing the performance of the banking system. The bank market structure as measured by the bank offices rather than the deposits concentration ratio was significant in influencing the Nigerian banking system's performance. The study i rounded up by prescribing policies and regulations to improve the structure and performance of the Nigerian banking system.

Memoria para optar al título de Periodista / Ser músico, en general, nunca ha sido una tarea simple en Chile, pero ser de rock y en una década de agitación política era casi una locura. Todas las bandas que forman parte de la presente investigación responden en esencia a la gesta heroica de crear música en condiciones sociales complicadas que jugaban en contra y en un periodo donde además el profesionalismo debió partir de cero. “We are Sudamerican Rockers” desea exponer la historiografía musical de una época compleja. Pero antes de comenzar es necesario aclarar que siempre que se habla de rock nacional en los años ‘80 se intenta diferenciar entre lo pasajero y lo trascendente o, como dicen, separar la paja del trigo. El siguiente reportaje no tiene tal afán, sólo desea contar con respeto las historias de los sonidos de una década que han marcado el fin de un siglo.

This thesis considers prose texts by the Austrian authors Marlene Streeruwitz and Lilian Faschinger from the viewpoint of intertextuality. The research does not rely on the narrow definitions of intertextuality which are concerned with the appearance of an anterior text in a later text, or on studies of source and influence. Rather my treatment of the novels considers the way meanings are constructed by a network of cultural and social discourses which embody distinct codes, expectations and assumptions. This study discusses the ways in which the chosen texts, through their intertexts, display a postmodern impetus towards reappropriating authorized discourse in new and challenging ways, from feminist perspectives. My intertextual readings are alert to two main threads – the critique of aspects of Austrian society evident in the novels of Streeruwitz and Faschinger and their place within the tradition of Österreich-Beschimpfung, and the interventions into issues pertaining to gender. I examine thematic similarities and differences in the texts, which draw attention to specifically Austrian or gender related issues, as well as scrutinizing formal and linguistic elements. Ultimately, my thesis poses and suggests answers to questions regarding strategies of intervention by feminist authors and the fruitfulness of intertextual readings.

My doctoral thesis uses the ‘institutional approach’ to analyse the mechanics of the production and distribution of lianhuanhua (comics) from 1949 to 1966. From this analysis, I extrapolate what made the medium unique and therefore what insights lianhuanhua can offer into Maoist ‘political culture’. Lianhuanhua originated in the Republican era and the unique characteristics of its publishing and distribution had important consequences for the medium’s subsequent development after 1949. During the ‘seventeen years’ lianhuanhua functioned as a propaganda tool, supporting political campaigns and celebrating CCP history. Despite these functions however, the themes inherent in the medium were a lot more varied. Analysis reveals that what was allowed and disallowed was considerably more ad hoc than what we might expect of a strictly controlled totalitarian state. Irregular approaches to production and censorship were also mirrored in the lack of an overall national publishing strategy before 1966. Meanwhile, as the producers of an art form which managed to successfully reconcile the inherent contradictions in CCP art policy, lianhuanhua artists developed a complex give and take relationship with Party-State agencies. Comics were disseminated through highly regulated channels, including bookshops, libraries and factories to ensure ‘revolutionary’ content reached a wider audience and Party-State agencies also sought to advocate ‘appropriate’ reading through ‘reading tutorship’. However, these agencies simultaneously faced challenges in regulating the stocks and location of the highly popular lianhuanhua ‘guerrilla vendors’ and this had profound implications for the kinds of content which persisted in circulating in the early PRC.

This thesis sets out to facilitate an interdisciplinary dialogue between literature and architecture by drawing specific connections between the architectural elements of the twentieth-century built environment and the literary representation of that environment in the late modernist novel. Focusing on the mid-century work of three modernist women writers – Elizabeth Bowen, Jean Rhys, and Virginia Woolf – I argue that the architectural spaces they negotiate, and their specific articulation of those spaces, offer important insights into modernity’s crisis of home, belonging, and identity. Moreover, arguing that this crisis is exacerbated in the mid-century by the Second World War, I advance current understandings of ‘late modernism’. In particular, I provide detailed evidence of how these writers collectively respond to the architectural instabilities of the mid-century by developing the anxious forms of high modernist urbanism. Each chapter comprises an extended author-specific case study that brings together critical and theoretical debates on space and place through close readings of pertinent architectural themes and forms: Bowen and architectural ruination, Rhys and the architectural uncanny, and Woolf and architectural ambivalence. Throughout these chapters I demonstrate how the late modernist novel complicates Martin Heidegger’s conservative and mythic conception of the dwelling place through representing the built environment in terms of flux and interchange, thus playing an important role in (re)imagining and (re)constructing understandings of architectural space and place. Taking a literary geographic approach, but moving beyond the existing focus on ‘textuality’, I argue for an increased awareness of the immersive ‘textures’ of space and fiction. Developing literary geographic practice to take better account of architecture and affect, I thus establish a new vocabulary for elaborating the interdisciplinary connections between literature and architecture: what I term a ‘critical literary architexture’.

This thesis explores the effect produced when contemporary novelists write about fellow authors. Since the mid-1990s, the biographical novel, which fictionalises the lives of real-life historical authors, has become an increasingly popular literary genre in Britain and the United States. This contemporary exploration of authorial subjectivity, viewed here through the lens of life-writing, provides a reengagement with debates surrounding the crisis of the author-figure (exemplified by Roland Barthes), and the unreliability of biography as a discourse of subjectivity at the turn of the twenty-first century. Through its inherent self-reflexivity (with its exposure of both the author-biographer alongside the author-subject), I consider how the biographical novel succeeds in reconciling the author-figure with the literary text in new ways. While critical interest in the biographical novel has tended to focus on a limited number of texts, little attention has been paid to their status as an emergent sub-genre of life-writing. Through the exemplary figures of Sylvia Plath, Henry James and Virginia Woolf and their corresponding biographical novels, I draw together a core body of texts to demonstrate their unity as a literary form. With an emphasis upon the role of life-writing in the construction of authorial subjectivity, I consider how each of the three author-subjects have cultivated — and been cultivated by — particular recurrent motifs: firstly through their own texts (whether fictional or biographical), then as they become manifest once again in the writing of the contemporary biographical novelists. Modernist developments in biographical modes, particularly Woolf's revision of the relationship between the biographer and his or her subject, provide both context for the biographical novel, and a rich framework upon which to build contemporary forms of life-writing and authorial subjectivity. Taking these as a starting point through which to view the 'author question', my thesis reveals how the genre of the biographical novel offers a redefinition of both the author as a multiple, progressive and changing figure, and a highlighting how the reinterpretation of life-writing in fictional form both enhances and supports the future of biography and autobiography as an equally evolutionary form.