Examiner la dramaturgie québécoise contemporaine, c’est travailler la singularité et emprunter d’autres voies de la mise en crise du drame. Cette thèse montre comment des auteurs opèrent un double mouvement de représentation et de figuration qui renouvelle le drame. Malgré une décomposition de celui-ci, cette dramaturgie maintient une prégnance de la fable et du personnage grâce à la permanence de la fiction. Les auteurs continuent d’être des raconteurs d’histoires, mais les stratégies narratives ne vont plus de soi et engendrent un questionnement sur le personnage qui se transforme en agent essentiel des combinatoires explorées. Si les possibilités fictionnelles s’accroissent à partir des structures traditionnelles, elles se nourrissent aussi des données du personnage et inversement – une entité équivoque émerge et interroge d’autres modalités de présence dans le texte et sur le plateau. Par une exacerbation des sensations dans le discours, le personnage se change en espace esthésiogène. Cette approche n’est pas liée à une radicalisation de la forme et du contenu ; l’évolution s’inscrit dans une continuité historique et s’apparente à un nouveau développement de la dramaturgie québécoise. Une dramaturgie de l’entre-deux émerge, celle d’un territoire trouble, propice à la métamorphose et à l’expérience. Fable et personnage apparaissent comme des médias touchant tous les composants du drame. Le personnage devient le corps du récit et la fable donne corps au personnage, l’action se concentre autour de l’histoire à raconter. La persistance et la mutation de ces données provoquent aussi des répercutions dans les régimes de parole ou les cadres spatio-temporels. Une instabilité s’installe donnant à voir des univers poreux, mêlant réel et légendaire, laissant entrevoir de nouvelles possibilités dramaturgiques, notamment pour le spectateur. / To consider Québec contemporary drama means to work on singularity and implies taking other routes than the one leading to the crisis of the dramatic form. This thesis demonstrates how some playwrights operate a double movement of representation and figuration that renews the dramatic form. Despite its state of decomposition, those writings manage to sustain the imprint of the story and of the character thanks to the omnipresence of the fiction. The playwrights keep on being storytellers but the narrative strategies used are no longer an evidence and therefore generate a questioning of the character that further transforms itself into an essential agent of combinations previously explored. If the possibilities of the fiction are growing from traditional structures, they feed themselves from facts coming from the character and, conversely – an equivocal entity emerges and interrogates other modality of presence within the text and on stage. By an exacerbation of the sensations within the speech, the character transforms itself into an espace esthésiogène. This approach is not related to a radicalisation of the form or of the content; its evolution is part of an historical continuity and is connected to a new development in Québec drama. A dramaturgy of the “in between” emerges, a dramaturgy of the disturbed land, favourable to metamorphosis and experience. Story and character appear as medias touching all aspects of the drama. The character becomes the substance of the narrative and the fable gives shape to the character, the action focuses on the story to be told. The persistence and the mutation of this data have repercussions within levels of speech or other spatial-temporal frames. A certain instability settles in and allows us to see porous worlds, combining reality and legend, suggesting new dramaturgical possibilities, especially for the spectator.

Quels sont les constituants d’une participation réussie à une discussion en langue française ? Après avoir enregistré des discussions de groupe autour de sujets polémiques entre apprenants de niveau avancé en français, en Australie, un panel de francophones de leur âge a évalué vingt extraits de ces discussions en termes de réussite des échanges, et en prêtant attention à certains aspects intersectionnels de leurs comportements tels que l’entraide, la domination et leur contribution à l’avancée du débat, ces critères ayant été dégagés d'une analyse comparative des définitions de la réussite et de l'échec d'une discussion, telles que données par ces participants. Ces évaluations ont ensuite été analysées pour déterminer lesquels de ces aspects corrélaient le plus avec la réussite globale de l’échange. En situant ce projet dans une perspective pragmatique interculturelle et interactionniste, nous avons effectué une analyse multidimensionnelle des échanges jugés les plus réussis et les moins réussis afin d’identifier les stratégies intéractionnelles contribuant au succès ou à l’échec des échanges en français. Nous nous sommes notamment intéressé aux phénomènes et comportements présents dans les extraits jugés les plus réussis et absents des extraits les moins réussis, avons analysé les pistes audio des enregistrements pour accéder à une représentation visuelle de leur atmosphère sonore, avons analysé les comportements non-verbaux des participants,et avons effectué une micro-analyse de la transcription de ces mêmes extraits. Les résultats de ce projet offriront une meilleure compréhension de l'ancrage culturel des stratégies interactionnelles contribuant à la réussite ou à l'échec d'une discussion et serviront de base potentielle à l’enseignement de compétences interactionnelles en français langue seconde. / What constitutes successful participation in discussion in French? The project combines qualitative and quantitative methods to determine what behaviours constitute successful participation in French debate among learners of French. After group discussions on polemical topics among advanced learners of the language were recorded in Australia, a group of French age-peers judged the exchanges on their relative success and on aspects of interactional behaviour including the extent to which participants advanced debate, dominated and/or supported each other. These aspects were identified prior to the evaluation through a comparative analysis of definitions of a successful and a failed discussion as provided by the participants. The Francophone assessments of the recordings were then analysed to determine which of these aspects correlated with the overall success of the exchange. Building on these results, and drawing on the principles of cross-cultural pragmatics, a multidimensional interactionist analysis of the most and least successful exchanges was undertaken to identify interactional strategies contributing to the success or failure of the exchanges. This involved focussing on the various phenomena and behaviour observable in the discussions judged most successful but absent in the least successful discussions, analysing the waveform representations of the audio-recordings to determine the sound atmosphere, analysing non-verbal behaviour, and undertaking a detailed micro-analysis of the transcription of these exchanges. Results showed that advancing debate through advancing and challenging opinions was most likely to lead to the Francophones judging the discussions as successful. The most successful discussions showed participants adopting a wide range of interchangeable interactional positions in which all could successively take the lead in discussion, and consistently questioning and elaborating opinions, thus placing a clear emphasis on the co-construction of ideas. Least successful discussions as seen by the Francophones showed greater concern for facework strategies and followed a stable pattern of opinions being offered in turn but not negotiated, leading to agreement rather than debate. The sound and visual atmosphere of the discussion was also directly connected to the success of the discussion: the non-verbal behaviour analysis showed that participants in successful discussions displayed an increased use of hand gestures and maintained visual contact between the participants while the waveform analysis underlined situations of brouhaha as a recurring component of the most successful discussions. The project departs from previous studies by focusing on discussion in French as a multilayered cultural practice and therefore undertaking a multidimensional analysis to ascertain the elements that correlate with its success or failure. The findings of the project will provide a better understanding of the cultural specificity of different interactional styles, and of the cultural anchoring of interactional strategies contributing to the success or failure of a discussion. It will serve as a potential basis for teaching interactional skills and pragmatic competence in French as a second language.

Sammanfattning Stenkastning mot polis och annan blåljuspersonal är något som förekommer i flera delar av Sverige. Syftet med föreliggande studie är att undersöka hur företrädare för olika verksamheter beskriver och förklarar stenkastning mot polis och annan blåljuspersonal, samt huruvida företrädarna för verksamheterna förstår fenomenet ur ett samhälls- eller ett individperspektiv, eller en kombination av dessa. I studien genomfördes sex stycken kvalitativa intervjuer från tre olika verksamheter. Verksamheterna som undersöktes var polisen, Verdandi och Träffpunkt, och två individer intervjuades från varje verksamhet. Empirin analyserades sedan utifrån tidigare forskning, samt de teoretiska begreppen figuration, social inlärning och intersektionalitet. Resultatet från studien visar att de tre verksamheterna betraktar fenomenet stenkastning mot polis och annan blåljuspersonal lite olika, exempelvis då en verksamhet lägger vikt vid ett individperspektiv, den andra betonar ett samhällsperspektiv och den tredje kombinerar dessa två perspektiv. Implikationerna av föreliggande studie är en ökad insikt i olika verksamheters perspektiv på stenkastning mot polis och annan blåljuspersonal, vilket kan underlätta framtida samverkan i arbetet med de individer som kastar sten. Diskussion förs angående samhällets möjlighet till att motverka stenkastning mot polis och annan blåljuspersonal.

Afin de se perpétuer dans le temps, la tradition recourt à des figures qui la véhiculent. Cette étude prend pour objet la figure du vampire qui, en transmettant des aspects importants de la tradition culturelle, prend la forme d’une tradition en soi, se manifestant dans une série de récits et d’œuvres littéraires et culturelles. Ces figures possèdent le plus grand pouvoir de transmission puisqu’elles ne sont pas des traditions à la base, mais elles ne peuvent rester culturellement importantes seulement qu’en devenant des traditions. C’est-à-dire que la figure du vampire possède sa propre tradition littéraire et/ou filmique, tout en offrant une vision de la transmission, de la tradition et de l’éducation. Afin de demeurer présentes à travers le temps, les traditions doivent posséder un noyau principal, tout en restant assez malléables afin que des caractéristiques secondaires de celles-ci puissent changer et évoluer. Le vampire est une figure toute aussi malléable que les traditions, faisant donc d’elle l’emblème parfait du concept. De plus, cinq nœuds de tradition réapparaissent, à différents niveaux, dans la littérature vampirique. Le choix de la victime, la morsure vampirique et l’échange de sang transformatif – et le lien de ceux-ci à une vision perverse de la sexualité, le processus d’éducation, le désir d’appartenir à une famille ou à une communauté et le besoin de comprendre ses origines, illustrent tous le lien indéniable entre la figure du vampire et le concept de la tradition. Ce mémoire explore l’impact de la figure du vampire comme emblème de la tradition à travers le roman vampirique classique – le plus traditionnel – Dracula de Bram Stoker et à travers les trois premiers tomes des Vampire Chronicles d’Anne Rice, soit Interview with the Vampire, The Vampire Lestat et Queen of the Damned, ainsi que leurs adaptations cinématographiques. / To perpetuate itself in time, tradition makes recourse to figures that convey it. This study takes as its object the vampire figure that, in transmitting important aspects of the cultural tradition, takes the form of its own tradition, manifesting itself in a series of narrative and cultural works. As this study maintains, the vampire figure possesses its own literary and cinematographic tradition, even as it provides an understanding of transmission, tradition, and education. In order to persist through time, traditions need to retain a static core, while also being malleable enough to allow for the transformation of the secondary features. The vampire is a malleable cultural figure, making it the perfect emblem of the concept of tradition. Moreover, five recurring traditional constellations are present, in various degrees, in vampire-centric narratives. The victim choice, the vampiric bite and the transformative blood exchange – with its undeniable relation to “perverse” sexuality, the training process, the desire to belong to a family or a community, and the search for one’s origins all illustrate the link between the vampire and the concept of tradition. This thesis explores the impact of the vampire figure as an emblem of tradition through the most classic – the most traditional – narrative, Bram Stoker’s Dracula, and through the first three installments of Anne Rice’s Vampire Chronicles – Interview with the Vampire, The Vampire Lestat, and Queen of the Damned – as well as through their film adaptations.

La présente recherche s’attache à mettre en relief l’un des aspects particuliers de l’art : la peinture.Il s’agit, à la suite d’une pratique personnelle cultivée depuis plu¬sieurs années et explorant les relations complexes entre expression plastique et intégration de la lettre écrite, de réfléchir sur l’entité singulière qu’est l’écriture.C’est alors que, conjuguant le travail plastique et le travail de recher¬che, se conduit cette étude dont l’objectif se fonde et se développe autour de la question des rapports texte/image au sein des œuvres peintes traversant et construisant l’ensemble de l’histoire de l’art occidental.En 1924, l’artiste Paul Klee (1879-1940) déclare :« Ecrire et dessiner sont identiques en leur fond » . Un cloisonnement entre les disciplines littéraires et pictu¬rales fait néanmoins foi depuis des siècles et ce malgré l’étymologie commune des ter¬mes « écrire » et « dessiner » formulée à partir du mot grec grapheïn . Mais, au regard des pratiques artistiques menées par les cubistes, tels le po¬choir ou le papier collé, par les futuristes, tel le bouleversement des co¬des de composition et de mise en page, par Dada, telle la destruction du langage, par les surréalistes, telle l’« écriture automatique », par les lettristes, telle la prise en compte de la singularité de la lettre même, et par l’Art conceptuel envisageant l’écrit comme une matière à l’œuvre, nous voyons que les liens tissés entre le domaine iconique et le domaine textuel se renou¬vellent cons¬tamment et mérite un examen approfondi.Ainsi, notre recherche organise et analyse les différents usages concédés à la lettre par l’univers pictural. Elle met en valeur son intégration, son implication, son évolution et sa résonnance dans le champ visuel. La tra¬duction des modalités plastiques de l’écriture, après l’observation d’œuvres contemporaines comme celles de Jenny Holzer, de Claude Closky ou de Ta¬nia Mouraud, fait émerger l’indice d’une nouvelle organisation actuelle des codes graphiques qui, après le règne de la figuration et celui de l’abstraction en art, explore le graphème comme une matière picturale première et à part entière. Paul KLEE, Théorie de l’art moderne, Gallimard, Paris, (1956), 1998, p. 58. Bruno DUBORGEL, Figures du grapheïn, Publications Universitaires de Saint-Etienne, Saint-Etienne, 2000, pp. 11-12. « Grapheïn… A/ Primitivement, égratigner, écorcher… B/ Par suite, tracer des signes pour écrire ou pour dessiner, d’où : I/ Graver… II/ Ecrire… […] Le verbe graphô est attesté depuis Homère. Sens : “érafler” (Cf. Iliade 17, 599), tracer, dessiner, écrire, d’où rédiger un décret, etc. », extraits du Dictionnaire Grec-Français d’André Bailly (16e édition, Hachette, Paris, 1950) et du Dictionnaire étymologique de la langue grecque de Paul Chantraine (Histoire des mots, Klincksieck, Paris, 1968). / It’s a question of one of peculiarities of art : the painting.It’s a question, following a personal practice cultivated for many years and investigating the complex relations between plastic expression and integration of the written letter, of reflecting about the singular entity that is the writing.It’s then that, conjugating the plastic work and the research work, behaves this study which the objective establishes and develops around the question of relationships text/picture within the painted works crossing and building the whole western art history.Everything begins with the proverb thrown, in 1924, by the artist Paul Klee (1879-1940) declaring that :« To write and to draw are identical in their bottom » .A subdivision between the literary and pictorial disciplines been va¬lid for centuries and it in spite of the common etymology of the terms « to write » and « to draw » formulated from the greek grapheïn word. Neverthe¬less, towards the artistic practices led by the cubists, such the sten¬cil or the stuck paper, by the futurists, such the upheaval of the codes of composition and layout, by Dada, such the destruction of the language, by the surrealists, such the automatic writing, by the lettrist, such the conside¬ration of the visual peculiarity of the letter, and by the Conceptual art envisaging the paper as subject in the work, we see that the links weaved bet¬ween the iconic domain and the textual domain are constantly renewed and deserve a detailed examination.So, our research organizes and analyzes the various practices granted literally within the pictorial universe. It considers its integration, its impli¬cation, its evolution and its resonnance in the field of vision. The translation of the pictorial modalities of the writing, after the observation of works contemporary as those of Jenny Holzer, Claude Closky, Tania Mouraud, brings to the foreground the indication of a new current organization of the graphic codes which, after the reign of the representation and that of the abstraction in art, investigates the grapheme as the first and full pictorial subject. Paul KLEE, Theory of the modern art, Gallimard, Paris, (1956), 1998, p. 58. Bruno DUBORGEL, Figures of the grapheïn, University Publications of Saint-Etienne, Saint-Etienne, 2000, pp. 11-12. « Grapheïn… A/ Primitively, graze, skin… B/ Following, to draw signs to write or to draw, from : I/ Graze… II/ to write… […] The graphô verb is attested since Homère. Sense : « scratch » (Cf. Iliade 17, 599), to draw, to write, where from to draft a decree, etc. », extracted from the André Bailly's Greek-French Dictionary (16th publishing, Hachette, Paris, 1950) and of the Etymological Dictionary of the Greek language of Paul Chantraine (History of the words, Klincksieck, Paris, 1968).

A pesquisa aqui apresentada teve por objetivo estudar os processos de socialização a que são submetidos jovens que aderem a organizações que buscam preservar ou subverter a ordem. Por meio de entrevistas, observações de campo, análise de documentos e pesquisa bibliográfica, procurei desvendar: 1) os processos de socialização conduzidos por essas organizações; 2) como se desenham as teias familiares, afetivas, profissionais e escolares, nas quais os jovens integrantes estavam ou estão enredados e de que forma elas os compeliram a aderir a movimentos que buscam preservar ou subverter a ordem; 3) como agem essas organizações para reforçar ou atenuar em seus integrantes determinadas formas de sentir, pensar, agir e se relacionar com os outros e com o mundo. Foram escolhidas, para a condução do estudo, a Academia da Força Aérea (AFA), instituição que forma oficiais para a Aeronáutica, uma das três Forças Armadas (FFAA), protetoras da ordem por excelência, e a Juventude Pátria Livre (JPL), grupo marxista-leninista subordinado ao Partido Pátria Livre (PPL), antigo Movimento Revolucionário 8 de Outubro (MR8), siglas que defendem, a longo prazo, a subversão da ordem para a implantação de uma sociedade igualitária e socialista (ou seja, a construção de uma nova ordem). Os dados coletados sugerem pontos de convergência na socialização de militares da AFA/Aeronáutica e de militantes da JPL/PPL, como também identificam falsas similaridades e diferenças significativas. Os pontos de convergência são os seguintes: 1) forte identidade de grupo e preocupação com a sociedade (senso de coletividade acima do senso de individualidade); 2) apego a valores patrióticos e nacionalistas; 3) ética da missão dada - missão cumprida; 4) diferente percepção do ser voluntário, em comparação com o que estamos habituados no senso comum; 5) ética corporal e de vestuário explícita e institucionalizada, no caso dos militares, e implícita e não institucionalizada, mas também perceptível, no caso dos militantes; 6) recrutamento endógeno; 7) vigorosa preocupação com a doutrina. As falsas similaridades e divergências significativas também podem ser agrupadas em sete pontos: 1) diferentes relações com a cidade; 2) escolarização dos entrevistados e dos antepassados; 3) religião; 4) adesão a outras organizações; 5) vida itinerante; 6) apoio familiar; 7) sacrifícios. / The research presented here had the objective of studying the socialization processes that young people are subjected to adhere to organizations that seek to preserve or overturn the order. Through interviews, field observations, analysis of documents and literature, I tried to unravel: 1) socialization processes conducted by these organizations; 2) how to design the family, emotional, professional and educational webs, in which young members were or are caught and how they compelled them to join movements that seek to preserve or overturn the order; 3) how act these organizations to enhance or mitigate its members in certain ways to feel, think, act and relate with others and with the world. I chose to study Academia da Força Aérea (AFA), an institution that forms officials for Aeronautics, one of the three Armed Forces, protective order par excellence, and Juventude Pátria Livre (JPL), marxist-leninist group subordinate to the Partido Pátria Livre (PPL), former Movimento Revolucionário 8 de Outubro (MR8), groups that stand, in the long term, the subversion of the order for the deployment of an egalitarian socialist society (ie, building of a new order). Results suggest points of convergence in the socialization of military AFA/Aeronautics and militants JPL/PPL, but also identify false similarities and differences. Convergent points are: 1) strong group identity and concern for society (sense of collectivity above the sense of individuality); 2) attachment to patriotic and nationalist values; 3) ethics given mission - mission accomplished; 4) different perception of \"volunteering\", compared to what we used in the common sense; 5) body and explicit and institutionalized ethical clothing, in the case of the military, and implicit and not institutionalized, but also noticeable, in the case of the militants; 6) endogenous recruitment; 7) strong concern with doctrine. False similarities and significant differences can also be grouped into seven points: 1) different relationships with the city; 2) education of the respondents and ancestors; 3) religion; 4) adherence to other organizations; 5) itinerant life; 6) family support; 7) sacrifices.

Neste trabalho, foram analisadas duas obras que tratam sobre o Brasil e que são bastante conhecidas nacional e internacionalmente. O intuito foi apreender a formação das imagens femininas para saber se a sensualidade é um traço produzido por esses textos e se ele se torna relevante na construção da identidade das mulheres brasileiras, uma vez que aparece em descrições de estrangeiros sobre as mulheres brasileiras (SILVA; BLANCHETTE, 2005; PISCITELLI, 2005; PISCITELLI et al., 2007) e, igualmente, nas propagandas e mídias do Brasil (PISCITELLI, 1996; PACHECO, 2004; GABRIELLI, 2011). Fundamentada na semiótica francesa, a análise observou textos produzidos em momentos diferentes para possibilitar a percepção de semelhanças e continuidades ou de diferenças e rupturas entre as duas obras no imaginário sobre a mulher brasileira. A primeira narrativa investigada é a Carta do Descobrimento do Brasil, escrita por Pero Vaz de Caminha, no ano de 1500, e a segunda é Casa-Grande e Senzala, de Gilberto Freyre, publicada em 1933. Para analisar a contrução textual-discursiva da identidade feminina, o nível discursivo do Percurso Gerativo do Sentido se destacou, sendo observados os percursos figurativos e temáticos, as isotopias deles decorrentes, bem como as projeções da enunciação de cada texto. Ressalta-se que as manipulações, a sanção, as paixões, o ser e o fazer dos sujeitos contribuíram para a construção da identidade feminina. Os resultados da análise demonstram um direcionamento do olhar sobre as mulheres, que recai na sensualidade e na sexualidade. Em outras palavras, mesmo com uma extensão maior, tanto em Casa-Grande e Senzala quanto na Carta de Caminha as categorias de gênero e de sexualidade predominam nas descrições femininas e nas relações que elas estabelecem com a sociedade. / In this paper we analyzed two works nationally and internationally well-known dealing on Brazil in order to apprehend the formation of women\'s images to know if the sensuality is a trait produced by these texts and if this trait becomes relevant in the construction of Brazilian womens identity; since it appears in foreign descriptions about these women (SILVA; BLANCHETTE, 2005; PISCITELLI, 2005; 2007; et al) and also in advertisements and media in Brazil (PISCITELLI, 1996; PACHECO, 2004; GABRIELLI, 2011). Based on the French Semiotics, the study observed texts produced at different times to allow the perception of similarities and continuities or differences and ruptures between the two works in the imaginary about the Brazilian woman. The first narrative investigated is the Letter of the Discovery of Brazil written by Pero Vaz de Caminha, in 1500, and the second is The Master and the Slaves by Gilberto Freyre, published in 1933. To analyze the textual-discursive construction of female identity, the discursive level of Generative Route of Sense stood out being observed the figurative and thematic routes, the isotopies resulting from these routes and also the projections of each textenunciation. However, the manipulations, the sanction, the passions, the being and the doing of individuals contributed to the construction of female identity in the texts. The analyse results show a guidance of look at women which falls in sensuality and sexuality. In other words, even with a greater extention, both in The Master and the Slaves as in the Letter of Caminha, it is the category of gender and sexuality that prevails in women\'s descriptions and in the relationships that they establish with society.

A seguinte dissertação examina dois núcleos fundamentais da literatura do escritor francês Raymond Roussel (1877-1933), a saber: o problema da representação e a questão da produtividade textual, conceito emprestado de Julia Kristeva. Nesse percurso, nossos objetos privilegiados para análise são o romance Impressions dAfrique (1910) e o texto publicado postumamente Comment jai écrit certains de mes livres (1935). Observa-se na escritura rousseliana um deslocamento da representação mimética de modo a configurar a emersão da produtividade da linguagem literária. Essa última categoria se manifesta nos agenciamentos dos famosos procédés, na medida em que se transita do fascínio da cena descrita à prospecção do vazio da linguagem. / The following thesis examines two fundamental cores of French writer Raymond Roussels literature (1877-1933): the problem of representation and the issue about the textual productivity, concept borrowed from Julia Kristeva. Our privileged objects for analysis are the novel Impressions d\'Afrique (1910) and the posthumously published text of Comment jai écrit certains de mes livres (1935). A displacement of mimetic representation can be noticed in the Rousselian scripture that configures the surfacing of productivity of the literary language. This last category is manifested in the assemblages of the well-known procédés, as it transits from the fascination of the scene described to the prospect of emptiness of the language.

Essa dissertação apresenta resultados da pesquisa Deslenguada: uma figuração da dissidência em val flores, sob orientação do Prof. Dr. Luiz Gonzaga Godoi Trigo, no contexto do mestrado acadêmico em Estudos Culturais, na Escola de Artes, Ciências e Humanidades, da Universidade de São Paulo, entre os anos 2016 e 2018. O objeto dessa pesquisa foi a obra Deslenguada: desbordes de una proletária del lenguaje\", publicada na Argentina em 2010 pelas edições Ají de Pollo, por valeria flores, escritora lésbica feminista contemporânea dissidente. Tivemos como objetivo analisar a Deslenguada enquanto figuração, abordando a ideia de uma proletária da linguagem, a fim de reconhecer resistências da dissidência sexual em sua obra. A abordagem teórico-metodológica foi qualitativa e fez uso da Análise do Discurso. Para tal, percorremos os enunciados da resistência e da dissidência. A pesquisa teve caráter exploratório, cujos procedimentos foram a pesquisa bibliográfica e a partir de levantamento de referências teóricas de val flores. Utilizamos coleta de dados da internet, tais como artigos científicos, páginas da web, zines e entrevistas. Para abordar as figurações, passamos inicialmente pelos conhecimentos situados através de autoras como Adrienne Rich (1986), Patricia Hill Collins (1990) e Donna Haraway (1995). O reconhecimento de que a produção literária ou as artes, de maneira geral, estão inseridas numa esfera de disputa (econômica, política e social), produzindo significantes que circulam no imaginário social, nos impulsionou a compreender as maneiras pelas quais estas incidem sobre a produção de subjetividades. Concluímos que a figuração Deslenguada é inscrita como um contraponto, numa produção dissidente e imaginativa, perfurando as políticas heterocapitalista branca e patriarcal, que levam os sujeitos da dissidência sexual aos silenciamentos resultantes da opressão masculina e da heteronormatividade que se atualizam por meio da linguagem / This dissertation presents the outcomes of the research Dislanguaged: a dissidence figuration in val flores, upon the guidance of Professor Luiz Gonzaga Godoi Trigo, for the academic masters degree in Cultural Studies, at the Escola de Artes, Ciências e Humanidades, University of São Paulo, between 2016 and 2018. This research object was the book Deslenguada: desbordes de una proletária del lenguaje (Dislanguaged: overflows of a language proletarian), published in Argentina, in 2010, by the publisher Ají de Pollo, by valeria flores, contemporary lesbian dissident feminist writer. Our objective was to analyse the expression Dislanguaged as figuration, approaching the idea of a language proletarian, in order to recognize the sexual dissidence resistance in her oeuvre. The theoretical-methodological approach was qualitative and used the speech analysis and, as for this, weve been through the statements of resistance and dissidence. The research has had an exploratory feature, being the procedures both the bibliographical research and val flores theoretical references survey. Weve used internet data such as scientific articles, web pages, zines and interviews. As to approach the figurations, we first turned to the situated knowledges brought by the authors Adrienne Rich (1986), Patricia Hill Collins (1990) and Donna Haraway (1995). Through the recognition that the literary production is inserted in a dispute realm economical, political and social -, coming up with signifiers that are present on the social imaginary, weve been driven to understand how this falls on the subjectivity production. Weve concluded that the figuration of Dislanguaged is inscribed on an imaginative and unsubmissive production, cracking the white and patriarchy heterocapitalist politics, as a counterpoise that silences the sexual dissidence, resulting from the masculine oppression and the heteronormativity that are updated due the language usage

El presente trabajo propone un análisis de los diarios de Rodolfo Walsh escritos entre 1957 y 1976. Estas anotaciones personales, que lleva a cabo el escritor a lo largo de casi veinte años, se encuentran en el libro Ese hombre y otros papeles personales, editado por Daniel Link. De esta forma, la investigación se centra en estos textos personales que constituyen un verdadero cuaderno de bitácora del autor, ya que además de su diario abarca otras escrituras del yo vecinas y correlativas a éste, como memorias, relatos de infancia y diverso material de cuño autobiográfico. De este modo, el primer capítulo se centra en dos tópicos previos al trabajo específico sobre el corpus. El primero referido a la problemática de los géneros literarios que transita el escritor en su obra. Y en segundo término se analiza la cuestión del diario íntimo en general y, las escrituras del yo en referencia al diarista, como qué tipo de diario construye y las dificultades que presenta su fragmentariedad y heterogeneidad. El segundo y tercer capítulo se centran en el análisis del diario íntimo del escritor propiamente dicho, desde su estancia en Cuba entre 1959 y 1961 hasta su actuación en el caso Padilla en 1972, entre otras circunstancias. En el cuarto capítulo el análisis se basa en el material de cuño autobiográfico del escritor existente en el corpus y los rasgos autofigurativos que emergen del mismo. Finalmente, en el último capítulo el estudio incursiona en la problemática de la violencia revolucionaria para Rodolfo Walsh y cómo se configura ello a partir de los escritos del diarista. El trabajo se propone, en definitiva, una reflexión sobre esa heterogeneidad y heterodoxia del corpus a partir de la emergencia de un sujeto escindido y cómo opera y se configura ello en los propios textos y su vínculo con la escritura pública del autor. / The present dissertation proposes an analysis of Rodolfo Walshs diaries written between 1957 and 1976. These personal notes, which have been made during almost twenty years, are in the book entitled Ese Hombre Y Otros Papeles Personales, organized by Daniel Link. Thus, this research focuses on these personal texts that are a real logbook of the author, considering that beside the diary, the notes include other correlated writings as memories, childhood stories and autobiographical material. The first chapter focuses in two preliminary topics: the first one is about the problems that emerge from the subject of the literary genres related to the author and his work, and the second one analyzes the issue of the diary in general, the scripts referring to the author, what kind of diary was built and the difficulties of its fragmentation and heterogeneity. The second and third chapters are centered on the analyses of the writers diary itself, since his stay in Cuba between 1959 and 1961 until his performance in \"Padilla\" in 1972, among other circumstances. In the fourth chapter the research is based on the autobiographic material of the writer inside the corpus and the personal traits which represent and emerge from it. Finally, in the last chapter the study goes into the problem of revolutionary violence to Rodolfo Walsh and how it is configured from the writings of the author. In summary, the paper proposes a reflection about all this corpus heterogeneity and heterodoxy, from the emergence of a divided subject and the observation of the configuration of it inside the texts and its relation with Walshs public writing.