Esta tese apresenta os resultados de uma pesquisa sobre tiras cômicas de produção local na Argentina e no Brasil, tendo como recorte temático o futebol e seu papel na construção identitária de ambos os países. Abordamos as tiras cômicas como um gênero discursivo, ou seja, como um dispositivo comunicacional sócio-historicamente condicionado (Maingueneau, 2010) e as analisamos levando em conta sua inserção na espacialidade social. Trata-se de um trabalho comparativo e interdisciplinar em que nos valemos de referenciais teóricos tanto dos estudos discursivos e enunciativos, como também de reflexões advindas de outros campos do conhecimento, como a História (Campos, 2015; Franco-Júnior, 2007), a Sociologia (Bordieu ([1976]-2002; Archetti, 1995; Alabarces, 2014), a Antropologia (Guedes, 2006) e a Comunicação (Martín-Barbero, 1991). Para operacionalizar a análise, mobilizamos o conceito de cena da enunciação (Maingueneau, 2001, 2006). No exame da cena englobante e da cena genérica das tiras cômicas, reconstruímos sua historicidade na Argentina e no Brasil, enfocando especificamente sua publicação rotineira nos jornais diários. Nesse percurso, constatamos que diferenças verificadas na formação sócio-histórica desses países repercutem na inserção do gênero na respectiva espacialidade social. Para a análise das cenografias, nos debruçamos sobre um corpus composto por tiras argentinas e brasileiras publicadas respectivamente nos jornais Clarín e Folha de S. Paulo por ocasião das Copas do Mundo de 1994 e 2014. Baseando-nos também nas categorias propostas por Charaudeau (2006) para o estudo do discurso humorístico, na análise dessas tiras (i) investigamos que efeitos de sentido são construídos sobre as derrotas e as vitórias das seleções argentina e brasileira nas citadas edições da Copa; (ii) examinamos os procedimentos utilizados para obter o humor e seus possíveis efeitos, (iii) observamos que relações interdiscursivas se estabelecem, (iv) identificamos posicionamentos a respeito do futebol e da Copa. Contrastados os resultados, relevamos as semelhanças e diferenças com relação aos temas anteriores observadas nas produções de ambos os países. / This thesis shows the results of a research on comics strips from local production in Argentine and in Brazil, focus on football and its role in the identity construction of both countries. Approaching the comic strips as a discursive genre, that is, as a sociohistorically conditioned communicational device (Maingueneau, 2010) and analyzing them considering their insertion in the social spatiality. It is a comparative and interdisciplinary work in which we use theoretical references from both the discursive and enunciative studies, as well as reflections from other fields of knowledge, such as History (Campos, 2015; Franco-Júnior, 2007). Sociology (Bordieu ([1976] -2002, Archetti, 1995, Alabarces, 2014), Anthropology (Guedes, 2006) and Communication (Martín-Barbero, 1991). In order to analyze, we mobilized the concept of the scene of enunciation (Maingueneau, 2001, 2006). From the exam of the encompassing and generic scene of the comic strips, we reconstructed its historicity in Argentina and Brazil, focusing specifically on its routine publication in the daily newspapers. Along the way, we found that the differences identified in the socio-historical formation of these countries rebound in the insertion of the gender in the respective social spatiality. Analyzing the scenographies, we considered a corpus composed of Argentine and Brazilian strips published respectively in the Clarín and Folha de S. Paulo newspapers by the 1994 and 2014 World Cup occasions. Based on the categories proposed by Charaudeau (2006) for the study of humorous discourse, in the analysis of these strips (i) we investigated what kind of meaning effects are built on the defeats and victories of the Argentine and Brazilian teams in the aforementioned editions of the Cup; (Ii) we examined the procedures used to obtain the humor and its possible effects, (iii) we observed that the interdiscursive relationships are established, (iv) identified positions regarding to soccer and the World Cup. Contrasting the results, we highlighted the similarities and differences in relation to the previous themes observed in the productions of both countries.

Le présent travail constitue une tentative d’interpréter la manière dont le concept du viol émerge comme catégorie pénale, en partant de la réflexion menée par le Pseudo-Quintilien autour du raptus à la fin du Ier et au début du IIe siècle. Ce sont les mécanismes d’édification de la terminologie juridique qui prend en compte le contexte social, et plus concrètement, le degré d’élaboration conceptuelle auquel la jurisprudence sévérienne parviendra un siècle plus tard à l’égard de la qualification du raptus comme crimen vis. À la différence de ses prédécesseurs (déclamateurs et juristes), le Pseudo-Quintilien comprend sous la dénomination du raptus le commerce sexuel illicite (stuprum), commis avec violence (per vim), contre la volonté de la victime qui subit un préjudice corporel et psychique (iniuria). Le rhéteur aborde cette pratique illicite mais non pas encore illégale au stade pré-délictuel, et l’érige en un crimen, en l’inscrivant implicitement dans la procédure de vi publica, afin de dénoncer la tolérance sociale de la violence infligée à une vierge / épouse de condition libre à des fins sexuelles et / ou matrimoniales. En partant des Déclamations mineures qui portent sur le viol, et qui n’ont pas été étudiées de manière systématique comme preuve historique indirecte de la réalité du phénomène aux premiers siècles du Principat, nous examinons le raptus comme crime de violence (crimen vis), reposant sur le préjudice pour atteinte à l’intégrité physique et morale (iniuria) d’une vierge / épouse de condition libre. Faute de témoignages directs sur la réalité antique des femmes violées, nous déplaçons l’intérêt vers l’origine du processus culturel, qui caractérise la vie des citoyennes nubiles : le contexte de la formation de l’aristocratie masculine, qui crée les identités féminines en matière de viol. En faisant valoir la performance de la persona du Pseudo-Quintilien, nous proposons une interprétation du raptus, en conformité avec la perspective du genre, comme phénomène juridique et social, qui engage les relations entre sexes / statuts / classes, et qui influe sur la réalité sociale par son acte de dire. / The present work is an attempt to interpret the way in which the concept of rape emerges as a criminal category, starting from the reflection conducted by the Pseudo-Quintilian on the notion of raptus at the end of the 1st and the beginning of the 2nd century. It is a question of the mechanisms of building legal terminology which take into account the social context and, more concretely, that of the degree of conceptual elaboration to which the Roman jurisprudence under the Severan emperors will come a century later with regard to the qualification of the raptus as crimen vis. Unlike its predecessors (declaimers and jurists), Pseudo-Quintilian understands under the denomination of raptus the illicit sexual act (stuprum), committed with violence (per vim), against the will of the victim who suffers corporeal and moral injury (iniuria). Pseudo-Quintilian addresses this unlawful but not yet illegal practice at the pre-criminal stage, and sets it up as a crimen by implicitly inscribing it in the procedure of vi publica in order to denounce the social tolerance of violence inflicted on a virgin / wife of free status for sexual and / or matrimonial purposes. Starting from the Minor Declamations on rape, which have not been systematically studied as indirect historical evidence of the phenomenon in the first centuries of the Roman Empire, we examine raptus as a crime of violence (crimen vis), based on damage to the physical and moral integrity (iniuria) of a virgin / wife of free status. In the absence of direct testimony on the ancient reality of women who have been raped, we are shifting the interest in the origin of the cultural process which characterizes the life of nubile citizens, i.e. the educational context of Roman patricians which creates female identities with regard to rape. By emphasizing the performance of Pseudo-Quintilian’s persona, we propose a gendered interpretation of raptus as a legal and social phenomenon which engages relations between sexes / status / social classes, and which influences the social reality by its act of enunciation.

L’écriture de la presse féminine se caractérise aujourd’hui par une récurrence d’unités linguistiques en anglais ayant la valeur d’un énoncé (par exemple : Girl power !, What else ?, All they need is love, etc.), que nous appelons « énoncés fashion » et que nous considérons comme une manifestation d’alternance codique. Celle-ci est largement inexplorée dans les travaux sur les anglicismes en France, plutôt centrés sur la notion d’emprunt linguistique, ou bien privilégiant les interactions orales.L’objectif de cette thèse est de décrire les formes, le sens et les contextes d’emploi des énoncés anglais dans la presse féminine française contemporaine, et de caractériser linguistiquement et socioculturellement le style langagier dont ils font partie. En nous situant dans le cadre théorique de l’analyse du discours, nous articulons plusieurs approches : grammaire de la phrase, étude du figement, linguistique de l’énonciation et pragmatique, linguistique textuelle, étude de l’intertextualité, sémiotique des genres et des cultures, afin de rendre compte des différentes facettes de ces énoncés, remarquables par leur saillance et par la relation qu’ils créent entre les participants de la communication. / Now days, French women’s magazines offer examples of language units in English that form or can form a complete utterance (eg. Girl power!, What else?, All they need is love, etc.). We propose to refer to them as “vogue utterances” and consider them as a manifestation of codeswitching. As this phenomenon has received little interest among linguists who deal with Anglicisms in French, since the focus has been put on loanwords or on codeswitching in oral interaction.Our aim is to describe the forms, the meaning and the context of use of English utterances in contemporary French women’s press and to characterize the writing style they are part of from a linguistic and a socio-cultural point of view. Within the theoretical framework of the French discourse analysis, we combine different approaches: syntax, phraseology, enunciative linguistics and pragmatics, text linguistics, studies of intertextuality, semiotics of discourse genres and semiotics of cultures, in order to describe different aspects of these utterances, which are remarkable for their salience and the relation they create between the participants in the communication process.

La recherche en art se caractérise par une articulation polarisée entre la pratique artistique et la théorie. Cette thèse propose de transférer ce paradigme symptomatique de cette discipline vers la question pragmatique des modalités de sa communication scientifique. La forme de cette dernière fait débat pour les acteurs des écoles supérieures d'art françaises, qui défendent une liberté face au modèle prédominant de l'écrit universitaire. L'hypothèse formulée par cette thèse consiste à penser que la documentation devient une forme plausible de communication scientifique adaptée à la recherche en art. Pour traiter de cet objet d'étude, la recherche en arts numériques, le plus souvent interdisciplinaire, coopérative et collective, s'est avérée particulièrement pertinente, car la pluralité et la fragmentation de ses résultats permettent justement de sortir de la dichotomie pratique versus théorie. En effet, ces derniers impliquant plusieurs intervenants se partagent entre des créations artistiques, des développements technologiques et des contributions théoriques. Le constat d'un glissement de la documentation vers la communication scientifique est conditionné par l'existence de l'énonciation documentaire ; puisque le savoir, peu importe la pratique discursive utilisée, se concrétise par un discours compris comme le résultat d'un acte énonciatif. Trois études de cas à vocation exploratoire ont été menées autour de trois dispositifs documentaires établis par des acteurs de la recherche en arts numériques, en France et au Québec – le Cahier de Résidence de Kawenga, territoires numériques, le Répertoire des œuvres hypermédiatiques et les autres rubriques du sites internet du laboratoire NT2 et l'Archive Arc_Danse développée au laboratoire Hexagram-UQAM. La méthodologie utilisée érige l'énonciation documentaire pensée dans le prolongement de l'énonciation éditoriale comme un concept opérationnel. Elle s'articule en deux étapes. La première étudie la documentation comme dispositif info-communicationnel en utilisant, selon les terrains, différents outils et modes d'implication du chercheur. La seconde examine les objets documentaires par une approche sémiotique afin d'y relever directement les marques indicielles de l'énonciation documentaire et d'identifier conjointement les énonciateurs signalés et dissimulés. Il en ressort la caractérisation de régimes énonciatifs spécifiques. Cette thèse conforte l'idée que la documentation véhicule un discours documentaire au point qu'il est possible de l'utiliser comme un moyen communicationnel et non plus comme un outil de transfert neutre du contenu informationnel de documents vers des usagers. Elle en détaille aussi plusieurs attributs qui attestent concrètement de sa faculté à pouvoir répondre aux enjeux info-communicationnels propres à la recherche en arts numériques et plus globalement à la recherche en art. / Art research is characterized by a polarized articulation between art practice and theory. This thesis proposes to transfer this symptomatic paradigm from this discipline to the pragmatic question of the modalities of its scientific communication. The form of the latter is debated by the actors of the French higher art schools, who defend freedom in the face of the predominant model of academic writing. The hypothesis of this thesis is that documentation becomes a plausible form of scientific communication adapted to art research. To deal with this object of study, digital arts research, which is most often interdisciplinary, cooperative and collective, has proved particularly relevant, since the plurality and fragmentation of its results make it possible to break out of the practical versus theoretical dichotomy. Indeed, the latter involving several participants are divided between artistic creations, technological developments and theoretical contributions. The observation of a shift from documentation to scientific communication is conditioned by the existence of documentary enunciation; since knowledge, regardless of the discursive practice used, is embodied in a discourse understood as the result of an enunciative act. Three exploratory case studies were conducted around three documentary devices established by actors in digital arts research in France and Quebec - the Cahier de Résidence de Kawenga, territories numériques, the Répertoire des œuvres hypermediatiques and other sections of the NT2 laboratory website, and the Archive Arc_Danse developed at the Hexagram-UQAM laboratory. The methodology used raises the documentary statement thought to be an extension of the editorial statement as an operational concept. It is divided into two stages. The first one studies the documentation as an information-communication device using, depending on the field, different tools and modes of involvement of the researcher. The second examines documentary objects using a semiotic approach in order to directly identify the index marks of the documentary utterance and to jointly identify the reported and concealed utterers. This results in the characterization of specific enunciative regimes. This thesis supports the idea that documentation conveys a documentary discourse to the point that it can be used as a means of communication and no longer as a tool for the neutral transfer of information content from documents to users. It also details several attributes that attest concretely to its ability to respond to the info-communication issues specific to digital arts research and more generally to art research.

This work is part of the research line "Language, Subject and History" and proposes, from studies of enunciation, a discourse analysis about gaucho. This discourse is constituted as a reference source to a cultural movement called Nativism. In order to develop this analysis, we used the concept of Enunciation, postulated by Benveniste, and the concepts of Enunciation, Event, Temporality, Place of Enunciation and Interdiscourse, proposed by Guimarães. Moreover, we also used notions derived from Discourse Analysis, such as: Memory, Interdiscourse, Forgetting and Rememory. When considering that the establishment of a nativist discourse is produced through a rememory of Rio Grande do Sul historiography, we firstly reviewed the speeches of travelers and essayists in order to demonstrate that they constitute a set of ideas that reshape and resay in nativist discourse production. The nativist discourse comes with the Nativist Movement which, in turn, is part of the Traditionalist Movement, and these movements aim to maintain the gaucho culture and are used in this research as well as the founder event of Nativist Movement, Califórnia da Canção Nativa. As it is a discourse that is evident in both linguistic materiality and creation of meaning in terms of enunciation, the corpus of research is composed by three winning compositions in Califórnia da Canção Nativa. By analyzing this corpus, we tried to interpret the meanings that emerge from these statements by the rememory of other speeches, producing a crossover of speeches in the enunciative event of nativistic musics. In the nativistic compositions, speeches that helped form the gaucho as social type are retaken. However, in these compositions, the senses are different, are new, because, it happens in another time and space. The native gaucho is resignify for the timing of the event enunciation. Thus, the operation of the discourse reaffirms attributes, which previously meant the gaucho as distinct from the other Brazilians, to signify it as a symbol of regional identity, which authorizes it to be inserted into a national culture. / Este trabalho, desenvolvido dentro da Linha de Pesquisa Língua, Sujeito e História , propõe, a partir dos estudos enunciativos, uma análise do discurso sobre o gaúcho. Considera-se que esse discurso constitui-se como fonte de referência ao que veio se configurar como um movimento cultural chamado Nativismo. Para o desenvolvimento desta análise, é abordado o conceito de Enunciação, postulado por Benveniste e os conceitos de Enunciação, Acontecimento, Temporalidade, Espaço de Enunciação e Interdiscurso propostos por Eduardo Guimarães. Além disso, são mobilizadas, também, noções advindas da Análise do Discurso, tais como: Memória, Interdiscurso, Esquecimento e Rememoração. Ao considerar que a constituição de um discurso Nativista se produz por meio de uma rememoração da historiografia rio-grandense, primeiramente, retomamos os discursos dos viajantes e dos ensaístas, com vistas a evidenciar que estes constituem um conjunto de idéias que se reformulam e se redizem na produção do Discurso Nativista. O discurso Nativista surge com o Movimento Nativista que, por sua vez, faz parte do Movimento Tradicionalista, sendo que esses movimentos pretendem a manutenção de uma cultura gauchesca e são abordados nesta pesquisa, bem como o evento considerado fundador do Movimento Nativista, a Califórnia da Canção Nativa. Por tratar-se de um discurso que se evidencia, tanto na materialidade lingüística como se significa no plano da enunciação, tomamos como corpus da pesquisa, três composições vencedoras da Califórnia da Canção Nativa. Através da análise desse corpus, procuramos interpretar os sentidos que emergem desses enunciados pela rememoração de outros discursos, produzindo um cruzamento de discursos no acontecimento enunciativo das músicas nativistas. Nas composições nativistas, são retomados discursos que ajudaram a constituir o gaúcho como um tipo social. Contudo, nestas composições, os sentidos são outros, são novos, pois, se dão em outro tempo espaço. O gaúcho autóctone é ressemantizado pela temporalização do acontecimento enunciativo. Assim, o funcionamento do interdiscurso reafirma atributos, que anteriormente significaram o gaúcho como distinto dos demais brasileiros, para significá-lo como símbolo de uma identidade regional, a qual o autoriza a estar inserido numa cultura nacional.

La présente étude explore les diverses résonances de la notion de situation, dans quatre recueils poétiques d’Henri Michaux : La nuit remue, Plume précédé de Lointain intérieur, Épreuves, exorcismes et La vie dans les plis. Il s’agit de montrer, en se fondant sur un examen linguistique et grammatical précis de la construction de l’espace et de la temporalité dans ces textes, comment la notion de situation structure l’écriture michaldienne, suivant trois grandes entrées : la première, c’est le principe de disproportion. Michaux situe en effet souvent des objets trop grands dans des espaces trop petits, ou des objets petits dans des espaces immenses ; nous y voyons la marque d’une intervention particulière, diverse dans ses enjeux, sur l’espace textuel. La seconde entrée, c’est le principe de mobilité : en prenant appui sur les textes cadres des recueils et des sections, on met en évidence la densité du maillage assuré par les verbes de mouvement, illustrés dans toute la gamme de leurs significations, de leur emploi spatial concret (renvoyant à une modification de la situation au sens premier) à leur utilisation la plus abstraite ou désémantisée ; il apparaît ainsi que la mobilité revêt une dimension proprement linguistique. La troisième entrée enfin, c’est celle de l’énonciation : après avoir étudié les structurations situationnelles à l’œuvre dans le monde du texte, on s’intéresse à l’inscription, dans celui-ci, des coordonnées de la deixis, c’est-à-dire de l’ancrage personnel et spatio-temporel de l’énonciation ; ce qui permettra d’éclairer la singularité de la parole michaldienne, à la fois fortement située et souvent insituable. / This study explores various aspects of the concept of situation in four poetry collections by Henri Michaux: La nuit remue, Plume précédé de Lointain intérieur, Épreuves, exorcismes et La vie dans les plis. Based on detailed linguistic and grammatical analysis of how space and temporality are constructed in these texts, it aims at showing how this idea of situation structures Michaux’s writing through three main points of entry. First, disproportion. Indeed, Michaux often places items that are too big in spaces that are too small, or small objects into huge spaces. This testifies to a specific intervention—with various goals—on the textual space. Second, mobility. A wide network of verbs of movement can be found in the framing texts of the collections and of each section; these are used in all their meanings¬—from their literal spatial use (referring to a modification of the situation proper) to their more abstract or desemanticized sense. Mobility thereby takes on a properly linguistic dimension. Finally, enunciation. After having studied situational structuring in the realm of the texts, I focus on the coordinates of the deixis, i.e. the personal and spatio-temporal markers of enunciation, that appear in the poet’s writing; this will help bring out the singularity of Michaux’s voice—a located and unlocatable one.

Depuis quelques années Cyrano de Bergerac bénéficie d’un regain d’intérêt dans les études littéraires. Toutefois, ce vaste champ bibliographique se centre essentiellement sur les deux romans ou sur le recueil de lettres, sans prendre en compte l’ensemble de l’œuvre d’un écrivain pourtant polygraphe. Le présent travail se propose à la fois de trouver la cohérence d’un geste d’écriture au-delà des variations génériques, et d’analyser la dimension idiosyncrasique d’un style : la singularité de l’écriture cyranienne mérite d’être envisagée hors de tout rattachement à un groupe littéraire ou idéologique (qu’on pense, notamment, aux « burlesques » ou encore aux « libertins »). Les perspectives croisées de la stylistique et de l’analyse du discours permettent de faire émerger une quête permanente de la virtuosité langagière, dont l’écriture de la pointe est le support privilégié.Cyrano écrit pour susciter l’admiration, comme il en convient lui-même : l’ensemble de son œuvre porte la trace de cette aspiration. Toutefois, la recherche obstinée de la fulgurance comporte en soi un coût pragmatique : l’artifice, nécessaire mais risqué, témoigne de la fragilité de l’éclat. / For a few years now, Cyrano de Bergerac has been considered with renewed interest by literary scholars. However the many studies published recently have mainly focused on his two novels or on the collection of his letters, without really taking into account his body of works in its entirety. This study offers both to find, beyond generic variations, the coherence of his writing, and to analyse the idiosyncratic dimension of his style; the singularity of Cyrano’s writing deserves to be considered for itself, without linking it to any literary or ideological movement – be it the “Burlesques” or the “Libertines”.The combined perspectives of stylistics and of discourse analysis reveal a constant quest for linguistic virtuosity, writing conceits being its most used device. Cyrano writes to arouse admiration, as he confesses himself; his whole body of works bears the mark of this endeavour. However, aiming constantly for dazzling wit comes at a pragmatic cost; literary devices are necessary but risky – they bear witness to the fragility of the writer’s feat.

Submitted by Biblioteca Central (biblioteca@unicap.br) on 2018-06-06T17:43:35Z No. of bitstreams: 2 ana_fabricia_rodrigues_souza.pdf: 593943 bytes, checksum: dc5b22cd7859d8146b501351d04c1f3d (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Made available in DSpace on 2018-06-06T17:43:35Z (GMT). No. of bitstreams: 2 ana_fabricia_rodrigues_souza.pdf: 593943 bytes, checksum: dc5b22cd7859d8146b501351d04c1f3d (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Previous issue date: 2018-03-14 / This work intends to discuss the metaphor relating it to the echolalia, bringing some perspectives on the subject in the enunciative field, that considers the subjectivity of the speech putting the subject in the center of the discussions.We analyzed echolalia, as a language disorder, associating it with the concept of metaphorical language under the scope of Émile Benveniste's Theory of Enunciation (1991, 2006). It was chosen to perform a qualitative research of an applied nature with the explanatory objective, following the bibliographic procedure, because it was deemed necessary to investigate the echolalia of a place other than a decontextualized repetition of the speech of another. For this, the subject in question was related to the metaphor, because it is similar in the fact that both represent a possible analogical transposition in the discourse. After analyzing the concept of metaphor under the classical, structuralist, functionalist, cognitive and enunciative aspects, confronting them with the notion of echolalia within the linguistic field, phonoaudiological and psychoanalytic, bringing to the discussion examples illustrative of echolonic language taken from specialized scientific publications, that one can perceive that it is in the analogy that is made within the discourse of the speaker, in the process of resignification that marks its singularity, that the acting subject is seen. In this comment, we undertake that the echolalia speech assumes the role not only of an empty speech, or disembodied speech, but of a metaphorical language from the enunciative point of view. The results found, through the analysis in cases of Autism and one Alzheimer's case, corroborate a new perception of echolalia, which is no longer seen as an "empty" speech, but as a single speech mark that re-means, that is, presents a sense within a context. / Este trabalho intenciona discutir a metáfora relacionando-a à ecolalia, trazendo algumas perspectivas sobre o assunto no campo enunciativo, que considera a subjetividade da fala colocando o sujeito no centro das discussões. Analisamos a ecolalia, enquanto transtorno de linguagem, associando-a ao conceito de linguagem metafórica sob o escopo da perspectiva da Teoria da Enunciação de Émile Benveniste (1991, 2006). Escolheu-se realizar uma pesquisa qualitativa de natureza aplicada com o objetivo explicativo, seguindo o procedimento bibliográfico, porque se julgou necessário se investigar a ecolalia de um outro lugar que não de uma repetição descontextualizada da fala de outrem. Para tanto, se relacionou a temática em questão com a metáfora, por se encontrar semelhança no fato de ambas representarem uma possível transposição analógica no discurso. Após análise do conceito de metáfora sob os aspectos clássico, estruturalista, funcionalista, cognitivo e enunciativo, confrontando-os com a noção de ecolalia dentro do campo linguístico, fonoaudiológico e psicanalítico, trazendo para discussão exemplos ilustrativos de linguagem ecolálica retirados de publicações científicas especializadas, que se pôde perceber que é na analogia que se faz dentro do discurso do falante, no processo de ressignificação que marca sua singularidade, que se vê o sujeito atuante. Nesse momento, empreendemos que a fala ecolália assume o papel não apenas de uma fala vazia, ou descorporificada, mas de uma linguagem metafórica do ponto de vista enunciativo. Os resultados encontrados, através das análises em casos de Autismo e um caso de Alzheimer, corroboram para uma nova percepção da ecolalia: como uma marca única de fala que ressignifica, ou seja, apresenta um sentido dentro de um contexto.

Este trabalho realizado na Área de Estudos Linguísticos, Literários e Tradutológicos de Francês do Departamento de Letras Modernas da FFLCH/USP se situa na intersecção do Direito e das Ciências da Linguagem, numa perspectiva multi e interdisciplinar, do discurso jurídico. O corpus, formado por textos jurídicos em língua francesa e portuguesa (brasileira), tem como objeto de estudo o discurso jurídico. Nele conceitos de direito foram, ao longo do tempo, modificados e integrados às práticas sociais. O método comparativo foi o escolhido para melhor examinar as transformações. No primeiro texto, escolhido pela sua importância histórica, a Declaração de Direitos do Homem e do Cidadão (França, 1789), surgem os conceitos de homem, igualdade e liberdade. Esses mesmos conceitos reaparecem na Declaração Universal dos Direitos do Homem (ONU, 1948), em que direitos mais explicitados conferem maior proteção ao homem. O terceiro documento, a Constituição da República Federativa do Brasil (Brasil, 1988) detalha no seu artigo 5° todos os direitos conferidos ao homem do século XX, conceitos que ressurgem implícitos na lei sobre a Informatização dos Processos Judiciais (Brasil, lei 11.419/2006). A partir da observação desses documentos levanta-se a hipótese de que os conceitos apresentados de homem, liberdade, igualdade e de justiça não são os mesmos presentes no primeiro documento, o que evidencia uma evolução sócio-histórico-linguístico-discursiva. A reformulação ocasiona, inclusive, um apagamento de conceito. Dessa forma o liame que une os documentos é resultante de um processo. As noções de polifonia e de dialogismo emprestados da Análise do Discurso são desenvolvidos a partir dos estudos bakhtinianos e dos procedimentos argumentativos da retórica renovada por Perelman, bem como das reformulações discursivas implicadas. 8 No primeiro capítulo os documentos são contextualizados historicamente, a fim de que se possa entender seu surgimento. O segundo, teórico, verifica a presença da Teoria da Enunciação e dos conceitos de auditório, ethos e logos, integrantes da Teoria da Argumentação. Do ponto de vista linguístico-discursivo o que se valoriza são as reformulações como ferramentas dessas alterações. Ressalta-se que tais transformações tecem-se a partir das relações entre a Língua e o Direito. Os conceitos de transplant, circulation juridique e empréstimo propostos pelo Direito Comparado consideram as diferenças entre as línguas e as culturas francesa e brasileira. O terceiro capítulo trata do discurso jurídico e de uma proposta de classificação dos diferentes textos em subgêneros a partir de seu objetivo e local de produção. O resultado das análises revela que o decurso do tempo provoca a evolução dos conceitos de homem, liberdade, igualdade e justiça, a ponto de sua existência material no texto escrito permitir seu apagamento, passando de concreta à abstrata, já que implicitamente é o conteúdo que justifica a proposição e a publicação da lei Informatização dos Processos Judiciais. / This following thesis, developed in the French Linguistic, Literary and Translation area of the Modern Language Department FFLCH / USP lies in the intersection of Law and Language Sciences. The corpus composed of legal texts in French and Portuguese (Brazilian) has as its object of study of the legal discourse in which the concepts of law, over time, have been modified and integrated with social practices. The comparative method was chosen to better examine these transformations. The first text, chosen for its historical significance, the Declaration of Rights of Man and of the Citizen (1789, France), bring to the light the concepts of \"man\", \"equality\" and \"freedom\". These same concepts reappear in the Universal Declaration of Human Rights (UN, 1948), in which most rights specified give greater protection to the man. The third document, the Constitution of the Federative Republic of Brazil (Brazil, 1988) explains, in its 5th article, all rights granted to man of the 20th century, concepts which reappear implicit in the Law on the Informatized System of the Judicial Process (Brazil, law 11,419/2006). The observation of these documents raises the hypothesis that the concepts presented \"man\", \"freedom\", \"equality\" and \"justice\" are not the same in the first document, which highlights a socio-historical-linguistic evolution-discursive. The reformulation causes, also, an erase of concept. In this way the link that connects the documents is the result of a process. The concepts of polyphony and dialogism borrowed from Discourse Analysis are developed from Bakthins studies and procedures of argumentative renewed Rhetoric by Perelman, as well as discursives involved. In the first chapter documents are historically contextualized in order to permit their understanding and emergence. In the second chapter, theoretical, the Enunciation Theory and the concepts of dialogism and polyphony are noted in texts as well as the concepts of the Auditorium, ethos and logos from the 10 Theory of Argumentation. In the aspect of Linguistically-discursive cases the reformulations are the tools of these changes. It should be noted that such transformations weave from relations between the Languag and the Law. The concepts of \"transplant\", \"circulation juridique\" and \"borrowing\" proposed by the Comparative Law consider the differences between the French and Brazilian languages and cultures. The third chapter treat the legal discourse and propose a classification for texts in different sub-genres from its goal and production site. The result of the analysis prove that the course of time causes the evolution of the concepts of \"man\", \"freedom\", \"equality\" and \"justice\", to the point that it may even result in the erasure of his material existence in the written text, ranging from concret to abstract, since its content appears implicitly in the proposition and the publication of Law on the Informatized System of the Judicial Process.

Ana Cristina Cesar e Roland Barthes são frequentemente caracterizados por uma dicção intimista e subjetiva, que o estudo especializado averigua ser resultado de articulações muito específicas do eu em seus textos. Esta dissertação inscreve-se nesses estudos, traçando a movimentação entre os espaços de intersecção, os de autonomia e o trânsito entre escritor e locutor em escritos de Ana C. e de Barthes. Examina a inclusão deliberada de determinados dados biográficos dos escritores no espaço textual da obra, pensando um arraigamento da escrita na biografia como projeto em Barthes e como inquietação em Ana C.. Discute os diários como espaço de modulação do eu na escrita, e também de correlatos como subjetividade e identidade, visto que os dois autores trabalham o gênero com finalidades literárias, operando nele certos deslocamentos. São também investigados modos de relação entre os meticulosos eus textuais e o Outro, em duas frentes: imagens fotográficas em livros dos autores e o anseio pelo outro, como interlocutor em Ana C. e como matéria e motivo de um narrar em Barthes. A análise se concentra sobre A teus pés, Crítica e Tradução e a iconografia de Inéditos e Dispersos de Ana C., e de Barthes, A Câmara Clara, Incidentes e Roland Barthes por Roland Barthes. / Ana Cristina Cesar and Roland Barthes are often described as having an intimist and subjective diction, which specialized study shows to be the result of very specific articulations of I in their texts. Likewise, this dissertation traces the dynamics of intersection, autonomy and transit between writer and speaker in the writings of Ana C. and Barthes. It examines the deliberate inclusion of certain writers biographical data in the oeuvre arena, which roots writing in biography as a project for Barthes and as unease for Ana C.. This work discusses the diary as a writing arena for modulating the I, as well as related notions such as subjectivity and identity, given that the two authors work the genre with literary purposes and thus operate certain shifts in it. This study also investigates relationships between the meticulous textual I and the Other, on two fronts: photography in the authors books and the longing for the other, as an interlocutor for Ana C. and as subject and reason of narrative for Barthes. The analysis focuses on Ana C.s A teus pés, Crítica e Tradução and the iconography of Inéditos e Dispersos, and Barthes Camera Lucida, Incidents and Roland Barthes by Roland Barthes.