Mémoire numérisé par la Direction des bibliothèques de l'Université de Montréal.

Composed for the JACK Quartet during their Spring residency at BU during the week of Febuary 19-23, 2018. Recorded at the BU Concert Hall on Febuary 21, 2018. Composed between September 2016 - February 2018. duration: approx. 30 min. “ ccidentall , r’s finger touches Ch e’s, their feet, under the table, happen to against each other. W might be eng by the mean of these accidents; e might concentrate ph on these slight zones of contact and d l t in this fragm nt of inert finger or f , fet i tically, without concern for the re- sponse (like od——as t etym y of the word t lls us——the Fe does not reply). But in fact erthe is not pe e, he is in lov : h creates meaning, al ays and ev ry here, out of nothing, a it is meaning wh th ll im: is in crucible of meaning. Every contact, f r t lover, raises qu st on of n answer: the skin s asked to reply. “ Quand mon doigt par mégarde… ” (A squeeze of the hand——enormous documentation——a tiny gesture within the palm, a knee which doesn’t move away, an arm extended, as if quite naturally, along the back of a sofa and against which the other’s head gradu- ally comes to rest——this is the paradisiac realm of subtle and clandestine signs: a kind of festival not of the senses but of meaning.) ” Roland Barthes, A Lover’s Discourse: Fragments

A partir da difusão e fragmentação das escritas de vida pela Comunicação no contemporâneo, esta dissertação busca discutir tal fenômeno à luz do conceito de biografema, conforme elaborado por Roland Barthes. Propomos que as narrativas midiáticas vêm praticando um resgate e um desgaste de tal forma semiótica, calcada na descrição de detalhes e pequenas idiossincrasias de suas personagens – jogo de enunciação biográfica visível desde sua formalização com Plutarco, no Século X, até a corrente definição de espaço biográfico, fendido pelo crescente interesse em detalhamentos e escritas menores. Identificado tal cenário em dispersão, a pesquisa tomou como seu objetivo geral distinguir os usos do biografema pelos discursos comunicacionais contemporâneos por meio do mapeamento de suas diversas funções semióticas, observáveis na análise de fragmentos narrativos. Tal distinção é organizada aqui, metodologicamente, a partir da arqueologia de Michel Foucault, na tentativa de localizar os regimes de dizibilidade que instauram e modelam as formas semióticas de enunciação da vida e o modo como se alteram em seu trânsito. Desse painel, partimos para uma observação de certas escrituras concretas capazes de encarnar as forças formativas, levando a uma investigação sobre discursos midiáticos como Caetano estaciona carro no Leblon nesta quinta-feira e Bela, recatada e ‘do lar’, contrapostos ao dispositivo crítico dos livros Anjo noturno, Inverdades, La literatura nazi en America, O concerto de João Gilberto no Rio de Janeiro, Um homem burro morreu, Vida e Vésperas. Desmontados a partir da sua enunciação de traços biografemáticos, tais textos são remontados em nossa análise a partir da identificação de três estratégias semióticas que animam a circulação do biográfico pelos meios de comunicação. Foi possível ler aí três principais usos estratégicos a modelizar a palavra biografemática: a palavra de ordem, voltada a tomar a descrição do biografado como realização de injunções de poder; a palavra mítica, forma de organização sígnica específica desse uso, dedicada a naturalizar os intuitos estratégicos a que serve; e a palavra fágica, que apropria para a mídia a forma crítica do biografema, mas também opera o movimento inverso, reiniciando essa semiose. Na disposição dessas formas de lidar com os traços biografemáticos, podemos inferir o caráter volátil da linguagem envolvida na constituição do biografema e das biografias; linguagem cujo uso desvela uma condição parasita da Comunicação, estruturada pela produção de signos e de regimes poéticos e políticos. / Based on the diffusion and fragmentation of the life’s writings by Communication in the contemporany, this dissertation seeks to discuss such phenomenon in light of the concept of biographeme, as elaborated by Barthes. We propose that the media’s narratives have been practicing a rescue and a detrition of this semiotic form, based on the description of details and little idiosyncrasies of his characters – a game of biographical writing visible since its formalization with Plutarch, in the Xth century, to the current definition of biographical space, cracked by the growing interest in smaller writings and details. Identified the dispersion of such scenario, the research took as its general objective to distinguish the uses of the biographeme by the contemporary communicational discourses, mapping its diverse semiotic functions, observable in the analysis of narrative fragments. Such distinction is methodologically organized with the arche-genealogy of Michel Foucault, in an attempt to locate the regimes of readability that establish and model the semiotic forms of enunciation of life and how they change in their transit. From this panel, we set out for an observation of certain concrete writings capable of embodying this formative forces, leading to an investigation into media discourses such as Caetano estaciona carro no Leblon nesta quinta-feira and Bela, recatada e ‘do lar’ opposed to the critical apparatus of the books Anjo noturno, Inverdades, La literatura nazi en America, O concerto de João Gilberto no Rio de Janeiro, Um homem burro morreu, Vida e Vésperas. Disassembled in their enunciation of biographematical traces, in our analysis these texts are traced back to the identification of three semiotic strategies that animated the circulation of the biographical in the media. It was possible to read in these three main strategic uses modeling the biographematical word: the word of order, aimed at taking the description of the biography as concretion of injunctions of power; the mythical word, an specific form of symbolic organization, dedicated to naturalize the strategic purposes that it serves; and the phagic word, which appropriates to the media the critical form of biographeme, but also operates the reverse movement, restarting this semiosis. Laying out these ways of dealing with the biographematical traces, we can infer the volatile character of the language involved in the constitution of the biographeme and the biographies; the language whose use unveils a parasitic condition of Communication, structured by the production of signs and poetic and political regimes.

<p>Abstract</p><p>Titel: Myter som sanning i ”Battlestar Galactica”</p><p>Författare: Ulf Liedström och Maria Dovgan</p><p>Handledare: Malin Nilsson</p><p>Examinator: Veronica Stoehrel</p><p>Typ av arbete: C-uppsats i Medie- och Kommunikationsvetenskap, 15 hp HT-07</p><p>Plats: Högskolan i Halmstad</p><p>Syfte: Syftet med studien är att ta reda på vilka myter som finns i TV-serien ”Battlestar Galactica” och hur de används för att säga något om vår kontemporära syn på vetenskap, politik och religion.</p><p>Metod: Vi har använt oss av en kvalitativ semiotisk metod med djuppsykologiska teorier av C. G. Jung</p><p>Resultat: Vi har kommit fram till att myter i högsta grad används i serien och att de används för att få tittaren till att reflektera över det nutida samhällets brister och därmed är serien också väldigt samhällskritisk till sin karaktär.</p><p>Nyckelord: Battlestar Galactica, Science Fiction, Semiotik, Roland Barthes, Carl Gustav Jung</p>

Abstract Titel: Myter som sanning i ”Battlestar Galactica” Författare: Ulf Liedström och Maria Dovgan Handledare: Malin Nilsson Examinator: Veronica Stoehrel Typ av arbete: C-uppsats i Medie- och Kommunikationsvetenskap, 15 hp HT-07 Plats: Högskolan i Halmstad Syfte: Syftet med studien är att ta reda på vilka myter som finns i TV-serien ”Battlestar Galactica” och hur de används för att säga något om vår kontemporära syn på vetenskap, politik och religion. Metod: Vi har använt oss av en kvalitativ semiotisk metod med djuppsykologiska teorier av C. G. Jung Resultat: Vi har kommit fram till att myter i högsta grad används i serien och att de används för att få tittaren till att reflektera över det nutida samhällets brister och därmed är serien också väldigt samhällskritisk till sin karaktär. Nyckelord: Battlestar Galactica, Science Fiction, Semiotik, Roland Barthes, Carl Gustav Jung

The reception and the study of the novel Spring Snow by Yukio Mishima has – as always with the novels of Yukio Mishima – focused on the writer himself according to his spectacular way of life and death. Opposite to the studies and the reception, this master thesis focuses on the novel itself by following two more or less hidden traces in the novel: the protagonist Kiyoaki and his attitude to responsibility and dreams. This examination deepens the novel, by showing how the mechanisms of its inherent complexity work. It has been made by freely applying Roland Barthes´ method “rewriting the text”.

Köp och försäljning är grunden för marknadsekonomin. Ny teknik och avreglerade marknader ger möjligheter till nya former för försäljning. Telefonförsäljning är ett exempel på det. En del av säljföretagen kritiseras för dåliga anställningsförhållanden och oetiska försäljningsmetoder. Mot den bakgrunden analyseras säljföretags platsannonser för att visa vad de kommunicerar i syfte att rekrytera personal. Den bild företagen vill ge av sig själva och av de arbeten som annonseras ut analyseras.

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My thesis is composed of three parts. First of all, based on the three essays of early Roland Barthes, Le message photographique, Rhetoric de l¡¦image, and Le troisieme sens, in which Barthes applies photography with semiology, I outline Barthes¡¦s early thought and delineate why Barthes turns from semiology to phenomenology. In the second part, I focus on Barthes¡¦ last work La chambre claire, and explore the notions such as ¡¥studium¡¦ and ¡¥punctum.¡¦ Thirdly, I use Sartre¡¦s early work l¡¦imagination to interpret the notion of ¡¥punctum,¡¦ in order to outline the phenomenology in La chambre claire more clearly. In sum, my thesis concerns itself with the interplay between early Barthes, Barthes in La chambre claire, and Sartre in l¡¦imagination.

Jeanette Winterson’s novel Written on the Body asks what it means to express love not through language but through the body, where it is felt, challenging the boundaries placed between body and language. Using Winterson’s novel and Roland Barthes’s A Lover’s Discourse as points of inquiry, this thesis examines conceptions of love based on heteronormative and romanticized visions of present and healthy bodies. This thesis asks how a body that is diseased and dying can express an emotion that is predicated on these very notions of presence, absence, and health. The narrator of the novel sees love as a scripted story that, once adhered to, determines the (successful) experience of love. Louise’s cancer threatens these scripts of love, as it destroys the narrator’s conception of both love and Louise. Despite the fact that Louise is absent and dying, the narrator begins to write a new story that will allow him/her to have a perfect relationship with Louise, so that s/he can reconcile the contradictions of the scripts that the relationship exposed. Using Slavoj Zizek’s “Melancholy and the Act” and Richard Stamelman’s Lost Beyond Telling as frameworks of mourning and melancholy, the narrator’s melancholy over a lost presence thus emerges as a way that allows him/her to create a perfect love story. To make Louise appear perfect in this perfect love story, the narrator manipulates the language of disease that reconstructs Louise's physical absence as a textual presence. The discourse surrounding Louise thus begins to operate out of the desire to compensate and supplement what is missing; in Louise's case, the narrator is supplementing her with a "normal," healthy body. Looking in the shadows of the narrator’s memories, Written on the Body emerges as not only an account of the narrator’s love story, but also an account of Louise’s story, a story of a body that refuses to be written on and demands to be heard. Winterson demonstrates how the body is always in the process of creating knowledge and meaning that can only be obtained by questioning what is normal, both for the body and for the scripts we all adhere to.