Orientador : Prof. Dr. Caetano Waldrigues Galindo / Dissertação (mestrado) - Universidade Federal do Paraná, Setor de Ciências Humanas, Programa de Pós-Graduação em Letras. Defesa: Curitiba, 27/06/2016 / Inclui referências : f. 151-155 / Resumo: Em sua produção ficcional e não ficcional, o escritor contemporâneo norte-americano David Foster Wallace aborda aspectos que questionam valores tomados como certos pela estética tradicional, tais como identidade, comunidade e nação. O objetivo desse projeto é analisar como uma da obras mais importantes desse escritor representa e figura uma versão de um mundo distópico carnavalizado que modifica a relação de alteridade existente entre o eu e o outro, dentro do universo literário. Para além da relação apresentada no limite da obra literária, este trabalho pretende analisar essa mesma relação de alteridade no espaço fora da obra. Tendo como ponto de partida o projeto literário do próprio escritor, de engajamento do leitor, outro dos objetivos dessa dissertação é promover uma breve discussão sobre a questão do novo movimento literário americano que alguns chamam de pós pós-modernidade (BURN, 2012). Os conceitos de carnavalização e alteridade, abertos e cambiantes, fogem de definições estritas, possibilitando sua discussão de modo a construirmos seu significado na própria obra. Dessa forma, propõe-se a análise, partindo de uma perspectiva dialógica e alteritária, do universo e das personagens representadas no romance Graça Infinita (2014, 1ª ed. 1996), considerado como a obra mais importante em toda a produção de David Foster Wallace. Concebendo a literatura como um catalisador de questões filosóficas e culturais, partiremos das reflexões da filosofia do teórico russo Mikhail Bakhtin, mais especificamente de seus pensamentos a respeito do romance, especialmente no que concerne às obras A Cultura Popular na Idade Média e no Renascimento (2013, 1ª ed. 1965) e Problemas da Poética de Dostoiévski (1981, 1ª ed. 1929). Entendendo o discurso como algo ideológico, que se desenvolve na linha da história trazendo consigo marcas de uma memória, encontramos nele, especialmente no que diz respeito ao discurso narrativo, a possibilidade de vislumbrar de que maneira a obra literária desvela aspectos da realidade. Se o romancista figura uma imagem do homem na obra literária, é através dessa representação que podemos enxergar de que forma o sujeito vê a si próprio e o mundo em que vive. Palavras-chave: David Foster Wallace, Mikhail Bakhtin, alteridade, liberdade. / Abstract: In his fictional and non-fictional production, contemporary American writer David Foster Wallace approaches aspects that question values taken for granted by traditional aesthetics, such as identity, community and nation. The goal of this project is to analyze how one of Wallace's most important works represents and conjures up a carnivalesque dystopic world and how this carnivalesque aspect modifies the relation of alterity existent between the "I" and the "Other" inside this literary universe. Going beyond the relationship existent inside the limits of the literary work, this dissertation aims to analyze the same relation of alterity in the setting that surrounds the novel. Having for a starting point the author's own literary project of engaging the reader, another object of this dissertation is to promote a brief discussion about the new literary movement in America that some critics call post postmodernism (BURN, 2012). The concepts of carnivalesque and alterity, open and changeable, escape any strict definitions allowing a discussion in order to build their meaning inside the novel itself. Therefore, I propose an analysis, from a dialogic perspective, of the universe and characters presented in Infinite Jest, considered the most important work in all of Wallace's production. Regarding literature as a catalyst of philosophical and cultural questions, we will base our discussions in the thoughts and philosophy of Russian theorist Mikhail Bakhtin, particularly the works: Rabelais and his World and Problems of Dostoyevsky's Poetics. Understanding discourse as something ideological in its nature, something that develops itself in the course of history, bringing with it the traces of a memory, when it comes to narrative discourse, there is a possibility to catch a glimpse of the way in which the literary work unveils aspects of reality. If novelists present an image of men in their novel, it is by looking at that image that we can observe how individuals see themselves and the world they live in. Keywords: David Foster Wallace, Mikhail Bakhtin, alterity, liberty.

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.

Resumo: Este trabalho foca o romance Dois irmãos (2000), de Milton Hatoum, que trata da relação conturbada entre os irmãos gêmeos Omar e Yaqub e os efeitos dessa relação sobre os demais membros de sua família. Narrado por Nael, filho de um dos gêmeos, não se sabe qual, com a criada da família, Domingas, o romance perpassa a vida de todos os personagens que fazem parte da família dos irmãos, expondo problemas familiares e o cotidiano da cidade de Manaus durante um longo período de tempo. Interessado na figura do narrador, que media todas as falas dos personagens, este trabalho pretende verificar de que modo é possível perceber a presença de uma confluência de vozes nas palavras desse narrador que, mesmo não abrindo espaço suficiente para a manifestação de outras vozes, demonstra receber a influência de diversos personagens em suas conclusões, seja acerca de sua origem ou mesmo dos problemas enfrentados pela família. Para isso, fazemos uso de alguns conceitos do teórico russo Mikhail Bakhtin, como dialogismo, plurilinguismo, plurivocalidade, pluriestilismo e a polifonia, que colaboram na tarefa de refletir acerca da presença do outro, e de sua voz, na apresentação do enredo. A relação estabelecida entre narrador e personagens também é estudada no intuito de se compreender de que modo a proximidade pode colaborar na seleção e apresentação de discursos pelo narrador, esclarecendo motivos pelos quais ele expõe determinadas vozes e omite outras. Assim, é possível refletir acerca do processo de organização dos discursos, esclarecendo algumas atitudes do narrador, que colaboram na compreensão de diversos fatos abordados no enredo.

Dissertação (mestrado)—Universidade de Brasília, Instituto de Letras, Departamento de Teoria Literária e Literaturas, Programa de Pós-Graduação em Literatura, 2012. / Submitted by Alaíde Gonçalves dos Santos (alaide@unb.br) on 2013-07-18T12:51:34Z No. of bitstreams: 1 2012_BrunadaSilvaFerreira.pdf: 646120 bytes, checksum: 1a43994fd3e354ba9225813d4edc53c6 (MD5) / Approved for entry into archive by Leandro Silva Borges(leandroborges@bce.unb.br) on 2013-07-19T17:40:51Z (GMT) No. of bitstreams: 1 2012_BrunadaSilvaFerreira.pdf: 646120 bytes, checksum: 1a43994fd3e354ba9225813d4edc53c6 (MD5) / Made available in DSpace on 2013-07-19T17:40:52Z (GMT). No. of bitstreams: 1 2012_BrunadaSilvaFerreira.pdf: 646120 bytes, checksum: 1a43994fd3e354ba9225813d4edc53c6 (MD5) / Os romances de Erico Verissimo são usualmente categorizados entre históricos, urbanos e sócio-políticos. Essa divisão, entretanto, enrijece e limita a análise e possíveis releituras de sua obra. Sendo possível também entender sua obra a partir de temas mais amplos como morte, liberdade e cultura, em uma abordagem autônoma e aberta, como Bakhtin entende o romance, esta dissertação analisa seus dois últimos romances, O prisioneiro (1967) e Incidente em Antares (1971), segundo esta perspectiva dialógica e polifônica. O eixo temático escolhido para guiar a análise foi a presença da morte, nos dois romances. Evidenciamos como Verissimo insere-se em uma longa tradição literária de representação dos diálogos dos mortos para defender o direito de liberdade e pensamento autônomo de todo ser humano. Considerando o signo da Morte como uma fronteira entre o que é e o que não pode ser dito, e, ainda, como o elemento que introduz e autoriza a ironia, a sátira e a crítica social na narrativa, discute-se sua função articuladora do discurso, como recurso que dinamiza a fala, ressignifica a moral, polemiza a ordem social vigente e, finalmente, aponta para o maior anseio do ser humano, em vida ou na morte, qual seja: o de Liberdade. _______________________________________________________________________________________ ABSTRACT / Erico Verissimo's novels are usually categorized between historical, urban and socio-political. This division, however, is stiffening and limits the analysis and possible readings of his work. It is also possible to understand his work from broader themes such as death, freedom and culture, in an autonomous and open approach, as Bakhtin understands the romance, so, this dissertation analyzes his last two novels, O prisioneiro (1967) and Incidente em Antares (1971) according to this dialogic and polyphonic perspective. The thematic axis chosen to lead the analysis was the presence of death in both novels. We see Verissimo into a long literary tradition of representation of the dialogues of the dead to defend the right to freedom and autonomous thought of every human being. Considering the sign of Death as a boundary between what is and what cannot be said, and yet, as the element that introduces and authorizes the irony, satire and social criticism in the narrative, one can discuss his articulating role in the speech as a resource that boosts the speech, reframes the moral, polemicizes the existing social order, and, finally, heads for the greatest aspiration of human been, in life or in death: the wish for Liberty.

Orientador: Roxane Helena Rodrigues Rojo / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem / Made available in DSpace on 2018-08-22T18:17:16Z (GMT). No. of bitstreams: 1 Marsaro_FabianaPanhosi_M.pdf: 9593735 bytes, checksum: 0e7880010dace5dd3a3e4c95bc7054cc (MD5) Previous issue date: 2013 / Resumo: Esta dissertação de Mestrado, situada no campo da Linguística Aplicada, teve como objetivo analisar, sob uma perspectiva enunciativo-discursiva, o projeto gráfico-editorial de duas coleções de livros didáticos de Língua Portuguesa, recomendadas pelo Programa Nacional do Livro Didático, na edição de 2011, a saber, "Diálogo - Edição Renovada", da editora FTD, e "Tudo é Linguagem", da editora Ática. Na análise, procuramos entender de que forma o projeto gráfico-editorial e o projeto pedagógico do livro didático de língua portuguesa se inter-relacionam. Embasadas pela Teoria Bakhtiniana, defendemos a perspectiva que considera o livro didático de Língua Portuguesa como um enunciado em um gênero do discurso. Coerentes com essa Teoria, em nossa análise, respeitando os procedimentos metodológicos formulados por Bakhtin, partimos das situações concretas de enunciação para compreender de que modo se organizam, no gênero livro didático de Língua Portuguesa, seus temas, estilo e forma composicional. O projeto gráfico-editorial, nesse sentido, foi considerado parte fundamental da estruturação do discurso didático materializado nesse gênero. Para chegar a esse entendimento, baseamo-nos, principalmente, no conceito de forma arquitetônica, formulado pelo Círculo. Na análise, em comparação à coleção "Tudo é Linguagem", o projeto pedagógico de "Diálogo - Edição Renovada" nos pareceu mais propício ao desenvolvimento de um projeto gráfico-editorial consistente, integrado à concepção da coleção. As duas coleções, porém, cumprem igualmente os critérios do Programa Nacional do Livro Didático quanto ao projeto gráfico-editorial, ou seja, são legíveis, estabelecem hierarquia entre as informações e trazem ilustrações de qualidade. Acreditamos que o Programa Nacional do Livro Didático poderia oferecer critérios mais consistentes quanto ao projeto gráfico-editorial, para além dos requisitos mínimos para elaboração de um livro legível. Concluímos que o projeto gráfico-editorial é adequado na medida em que se relaciona produtivamente ao projeto pedagógico do livro didático, priorizando estratégias que valorizem e ampliem a proposta de ensino aprendizagem dos autores e não apenas soluções estéticas / Abstract: This Master's thesis, situated within the area of Applied Linguistics, has aimed at analyzing, from an enunciative-discursive perspective, the editorial-graphic project of two textbook collections for the teaching of Brazilian Portuguese language, recommended by the 2011 National Program for the Textbook, named "Diálogo - Edição Renovada", (FTD eds.), and "Tudo é Linguagem", (Ática eds.). Throughout the analysis, we have tried to understand how both the editorial-graphic and the pedagogical projects relate in the Brazilian Portuguese language textbook. Grounded on the Bakhtinian Theory, the theoretical perspective which considers the Brazilian Portuguese language textbook as a speech genre enunciation is taken. In accordance with that theory, in our analysis, and respecting the methodological procedures stated by Bakhtin, we departed from concrete enunciative situations to understand how themes, style and the composing structure are organized in the Brazilian Portuguese language textbook genre. According to this perspective, the editorial-graphic project has been considered as a key element for basis of the didactic discourse materialized in this genre. We came to grips with such an understanding of the matter by basing our analysis mostly in the architectural concept of form as conceived by the Circle. In the analysis, by comparing to the "Tudo é Linguagem" book collection, the pedagogical project of "Diálogo - Edição Renovada" proved us to be better suitable to the development of a consistent editorial-graphic project, integrating the concept established in the collection. Nevertheless, both didactic collections meet the criteria established by the National Program for the Textbook in terms of editorial-graphic project, i.e., they prove to be legible; there is a established hierarchy amongst information and they both present quality illustrations. We strongly believe that the National Program for the Textbook could have offered better consistent criteria regarding the editorial graphic project, beyond the minimum required items for the elaboration of a readable book. All in all, we come to terms to the adequacy of the editorial-graphic project as it not only focus on aesthetic solutions but also interacts productively with the pedagogical project of the textbook, prioritizing strategies that enhance and value the teaching-learning approach offered by the authors / Mestrado / Lingua Materna / Mestra em Linguística Aplicada

The non-fiction introduction to The Wyvern’s Tale: A Thought Experiment in Bakhtinian Dual Chronotope Occupation documents the evolution of the novel, The Wyvern’s Tale, from the ideas that inspired it to its current incarnation as a full-length novel intended for an adult audience. It comprises an explanation of the novel’s main concept, Bakhtinian dual chronotope occupation, as well as an idea-focused account of the creative-writing process. Detailed in the introduction’s theoretical premise is the relationship between Mikhail Bakhtin’s theories of chronotope and the carnivalesque and the ideal of the divided union in Chalcedonian Christology. This relationship revolves around the state of existing in two time-spaces at once. The novel, The Wyvern’s Tale, explores this dual existence imaginatively using the setting of parallel worlds – the every-day world and a fictional world called Wyvern – as well as a protagonist, who functions in the fictional world as a Christ-figure. Particular thematic emphasis is placed on differing perceptions of truth and reality, and on the transformative power of costumes. The novel’s outcome, dependent on the reader’s decision as to whether dual chronotope occupation is possible or impossible, is respectively either hopeful or tragic. It attempts to reflect the outcome of the life and death of Christ depending on whether his co-existence as God and man was real or imagined.

Made available in DSpace on 2014-06-11T19:22:19Z (GMT). No. of bitstreams: 0 Previous issue date: 2010-05-04Bitstream added on 2014-06-13T19:27:27Z : No. of bitstreams: 1 moro_aem_me_arafcl.pdf: 689150 bytes, checksum: bc19afe1f2e0933a1f9873451ec68d62 (MD5) / Conselho Nacional de Desenvolvimento Científico e Tecnológico (CNPq) / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / Nesta dissertação, buscamos compreender a produtividade das ideias do Círculo de Bakhtin no exame do diálogo e da interação entre o sistema de linguagem musical e o sistema de linguagem verbal. Analisamos formas de representação do discurso musical em contos de Machado de Assis (1839-1908). Para tanto, refletimos inicialmente sobre a relação de M. M. Bakhtin (1895-1975) com a música, o seu pensamento musical e sua importância teórica para a constituição da metodologia dialógica de análise da linguagem. Como são as ideias do Círculo sobre dialogismo, discurso direto, indireto e indireto livre, polifonia, modulação tonal e sinfonismo dialógico? A partir dessas ideias, como é possível analisar os alcances objetivos do pensamento musical de Machado de Assis em seus contos? Sendo assim, expomos e comentamos a estrutura, a organização e o funcionamento do material, da forma e do conteúdo do “som significativo” representado na linguagem verbal e musical. Por meio dessa concepção bakhtiniana, estudamos os alcances de continuidades e descontinuidades materiais, formais e semânticas do pensamento musical nas relações do sujeito com os elementos de linguagem musical e verbal. Desse modo, exploramos como o discurso musical de Machado de Assis foi percebido e tratado em perspectiva literária historiográfica e musicológica. Discorremos sobre como o sujeito, o tempo e o espaço aparecem refletidos, refratados e acomodados no diálogo da literatura com a música. Também examinamos como os temas do discurso musical machadiano são modulados no gênero conto e como eles são representados em esferas de atividades da cultura musical brasileira. Por fim, analisamos a posição dialógica do sujeito autor na enunciação do discurso musical e sua condução temática / In this dissertation, we have researched the productivity of ideas from “Bakhtin’s Circle” to the examination and understanding of “dialogue” and possible interactions between verbal and musical languages. By this way, we have analyzed Machado de Assis (1839-1908)’s musical discourse representation forms in his Brazilian short stories. So, at first, we have reflected about M. M. Bakhtin’s musical language relationships answering what your musical thought is like and showing its theoretical importance to the constitution of dialogical methodology on language analysis. In other words, what the ideas from the Circle about dialogism, reported direct and indirect and free indirect speech, polyphony, tonal modulation and dialogical symphonism are like? Starting from those ideas, how is possible to analyze material objective reaches of the Machado de Assis’s musical thought in his short stories? We have exposed and commented the material structure, the formal organization and the content semantic function of the “meaningful sound” represented in verbal and musical language. Through that bakhtinian conception, we have studied material reaches, formal and semantic continuities and descontinuities of musical thought in subject’s relationships with musical and verbal language elements. We have explored how Machado de Assis’s musical discourse was first perceived and treated by historiographic literary critic and musicology perspective. We have discoursed about how subject, time and space appear contemplated, refracted and suitable in literature’s dialogue with music. We have also examined how musical themes from machadian literary discourse are modulated by short story genre and how they are represented in Brazilian culture spheres of musical activities. Finally, we have analyzed the subject author's dialogic position, his musical discourse enunciation and his thematic conduction

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)