Made available in DSpace on 2017-07-10T18:55:46Z (GMT). No. of bitstreams: 1 ROSEMEIRI.pdf: 3575198 bytes, checksum: 0dc90e5d540109fb8dbb81505cb9f197 (MD5) Previous issue date: 2007-02-23 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / The present research has for objective to analyze the culture punk contemporary from the speech production of punks of the city of Curitiba, adopting the method of research and exposition of Mikhail Bakhtin. In this approach it is become do a critical richnes of the studies about youth in Brazil and the movement punk. One considers of these bibliographical productions its methods, concepts and mediating results of our reflections that privilege the relations between language and society, between language and culture in its importance as historical process, social and interactive that integrates the relation I-others in the dialogue restored between speeches. / A presente pesquisa tem por objetivo analisar a cultura punk contemporânea a partir da produção discursiva de punks da cidade de Curitiba, adotando o método de pesquisa e de exposição de Mikhail Bakhtin. Nessa abordagem realiza-se a fortuna crítica dos estudos sobre juventude no Brasil e sobre o movimento punk. Considerase dessas produções bibliográficas seus métodos, conceitos e resultados mediadores de nossas reflexões que privilegiam as relações entre linguagem e sociedade, entre linguagem e cultura na sua importância como processo histórico, social e interativo que integra a relação eu-outros no dialogismo instaurado entre discursos.

Orientadores: Jorge Luiz Schroeder, Verônica Fabrini Machado de Almeida / Dissertação (mestrado) - Universidadw Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-21T16:09:57Z (GMT). No. of bitstreams: 1 Garcia_BrunodeAssis_M.pdf: 4249705 bytes, checksum: d2949a94aa18d0c76af6e9ddc0b5f52c (MD5) Previous issue date: 2012 / Resumo: Esta pesquisa aborda obras teatrais baseadas em Histórias em Quadrinhos através da ótica Bakhtiniana da análise do discurso. Utilizo teorias de Will Eisner, Paulo Ramos e Mikhail Bakhtin para analisar a produção do discurso de algumas obras de HQs. Baseado nestas mesma teorias, analiso as produções teatrais relacionadas, e a traduções intersemióticas ocorrida durante o processo de criação dos espetáculos baseados em Histórias em Quadrinhos / Abstract: This research approaches theatrical works based upon Comics through Bakhtinian perspective of Speech Analysis. I use theories from Will Eisner, Paulo Ramos and Mikhail Bakhtin to analise the some examples of Comics'discourse production. Based upon these theories, I also run an analysis over related theatrical productions, and the intersemiotic translations ocurred in the creative process to develop Theater plays based upon Comics / Mestrado / Artes da Cena / Mestre em Artes da Cena

Post-structuralist IR has often treated foreign policy/security discourses and their effects on policy through a “representational model”, i.e. how one dominant representation makes possible particular policy outcomes. However, in a longitudinal analysis, where the concern with “outcome” is already about continuity/change, this model is restricting and must be replaced by a model integrating multiple voices and contestations, and looking for non-linear mechanisms of long-term constraints. Thus, the purpose of this thesis is, first, to develop a theoretical-analytical framework suitable for an explicit interest in contestations and tracing constraints; and second, in an illustrative-explorative study, to apply such relational-dialogical framework to “war on terror” in the US and the UK (2001-2012). Bakhtinian Dialogism occupies an important status in the framework; therefore, a broader aim is to demonstrate how a “dialogical turn” inspired by the philosophy of Mikhail Bakhtin and his circle would enrich debate. Developments of the past decade – increased anti-war critique, change of governments in the US and the UK, and protracted withdrawal – provide new grounds for a longitudinal inquiry into “war on terror”. Moving beyond the question how “war on terror” was initially constructed and legitimised, scholarly attention must focus on a longitudinal inquiry into why “war on terror” endured. In this respect, the formidable deconstructions of official discourses by anti-war critique have received marginal attention in IR. The empirical part explores how critical discourses have contested the official narratives; how the latter have engaged with them as well as with moderate deliberative critique, and to what effect for continuity/change, to understand whether and how successive governments in the US and the UK have been discursively constrained (bound) in their attempts to change policy. Without claiming to be a comprehensive explanation, it locates and interprets patterns and logics within the discursive exchanges, delineating potential routes contributing to constraints and hence continuation. Thus, on the one hand, destabilising critique was shattering the foundations of the official “war on terror” narratives without fully re-inscribing the dislocated space with new imaginings, thus inviting official representatives to re-claim such space. On the other hand, deliberative voices were pushing for the realisation of the promises inherent in the official discourse, demanding “winning” the (albeit “mistaken”) war, thus inviting for continued engagement.

Doctorat en philosophie et lettres / info:eu-repo/semantics/nonPublished

Master of Arts / Department of English / Gregory J. Eiselein / In her collection of poems The War Works Hard (2005), Iraqi-American poet Dunya Mikhail presents her readers with unembellished insight into the Iraqi war from a woman's perspective. This perspective is rarely voiced in Iraqi war literature which is dominated by male writers concerned with men's heroism at the battle front and boundless patriotism. At the same time, these male authors rarely depict Iraqi women's experiences of war beyond the battle grounds. Even when women are present in such literature, they often share their men's point of view on war and voice only their acceptance of it. Mikhail, however, contemplates a counter narrative to this stereotypical female role by presenting women who protest war and the destruction it causes. Her poems portray mothers, lovers, sisters and daughters who protest war's brutality and injustice. Some of the women in Mikhail's poems protest war by directly or indirectly criticizing its institutions and condemning the leaders who promote it. While other women in her work find that their protest lies in their de-fragmentation of the destruction and loss caused by war, thus refusing its power over them and their loved ones. Yet, the most important form of women's protest of war in Mikhail's work is recollection. Through the recollection of their fragmented memories and lives, Mikhail's women manage to survive and find a spark of optimism in the darkness that war has unleashed. Their survival and their ability to re-establish their lives apart from war and the presence of men constitutes a powerful and dramatic protest of war's control over their lives.

Orientador: Mario Alberto de Santana / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-26T18:42:54Z (GMT). No. of bitstreams: 1 Nunes_Aline_M.pdf: 7800220 bytes, checksum: 1060c0c513828e6e0a06e16da0104e2a (MD5) Previous issue date: 2015 / Resumo: Esta investigação quer refletir a respeito da discursividade do ator em cena partindo do conceito de Dialogismo. Consideramos discurso como o resultado da interação dialógica de "vozes" e, para compreender tal interação, pedimos o auxílio dos filósofos do chamado "Círculo de Bakhtin". Além desta diretriz filosófica, há, aqui, também, o desejo de procurar, no pensamento produzido pelo próprio teatro, lastro para o aprofundamento em tal matéria. Segundo a óptica empregada neste estudo, toda palavra enunciada em cena assume três componentes distintas e concomitantes: a componente gestual, entonacional e verbal. Da interação destas componentes é que nasce o sentido do enunciado e o que chamaremos de palavra- corpo. Na visão desta investigação, um enunciado é algo que vai muito além do logos da mensagem; ele se faz presente e manifesta-se por meio do corpo do enunciador, transformando o próprio corpo em enunciado concreto. Aqui as principais vozes que constituem a palavra-corpo são chamadas de voz da "materialidade", voz do "imaginário", voz da "ideologia" e voz da "intuição". Segundo Bakhtin, as vozes de um discurso dialógico podem interagir de forma Heteroglóssica (ou Plurilinguista), e, nesta forma, as potências vocais são diferentes, estabelecem hierarquias; ou Polifônica, em que as mesmas vozes dialogam em equipotência. Para analisar o processo de composição de tais "palavras" escolhi como objeto os discursos empreendidos pelos intérpretes de "Primus", da "Boa Companhia" de Campinas (SP), e "Prometheus ¿ a tragédia do fogo", da paulistana "Cia. Teatro Balagan". Busco, assim, compreender o processo de composição discursiva do ator a partir de suas técnicas corporais, do jogo e da imaginação, de suas influências culturais, éticas e teóricas e, por fim, por meio de sua relação com a intuição, com o instintivo e o saber que não passa pela racionalidade / Abstract: The present investigation aims to reflect upon the discursiveness of the actor on the scene based upon the concept of Dialogue. The term discourse is herein understood as the upshot of the dialogic interaction of voices. In order to comprehend this interaction we call upon the philosophers of the Bakhtinian Circle. Besides the mentioned philosophical guidelines, there is also the desire to search within the knowledge produced inside the realm of theatre itself, for foundations that enable further delving into the matter. Conforming to the standpoint adopted in the present study, every word uttered on the scene assumes three distinct and concomitant components: gestural, intonational and verbal. It is from this interaction that arises the meaning of the enunciation and what we shall call body-word. In the perspective of the present investigation, enunciation is something that goes far beyond the Logos of the message; it is present and unfolds itself through the body of the enunciator, transforming the body itself in a concrete enunciation. The preeminent voices that constitute the Body-word are herein defined as: voice of "materiality"; voice of the "imaginary"; voice of "ideology", voice of "intuition". According to Bakhtin, the voices of a dialogic discourse may interact Heteroglossically (or Plurilinguistically) ¿ whereby the power of the voices is unequal and hierarchies are established ¿ and Polyphonically through which voices are put into dialogue in equipotent manner. In order to analyse the compositional process of the mentioned words I chose as object, the discourses put forth by the interpreters in "Primus" by a theatrical company established in Campinas (SP), and "Prometheus ¿ a tragédia do fogo" by "Cia. Teatro Balagan" a company based in São Paulo. I therefore aim to comprehend the actors¿ process of discursive composition stemming from their corporal techniques, the play of imagination, cultural, ethical and theoretical influences and lastly by virtue of their relationship with intuition, with what is instinctive and what is not rationally known / Mestrado / Teatro, Dança e Performance / Mestra em Artes da Cena

As early as 1954, families of children who had been segregated into separate spaces fought and succeeded in having their concerns heard in the landmark Supreme Court case, Brown v. Board of Education. In 1975, P.L. 94-142, Education for the Handicapped Children Act (EAHCA) was important because it exposed the history of family-school relations, addressing the multiple forms of inequity, particularly the exclusion of children with dis/abilities from U.S. public schools (Valle & Connor, 2011). Although EAHCA legislation was created to provide solutions to the problems of special education, it appeared to have provided an unequal environment in which the families with the most economic resources could advocate for their children and obtain access to better educational opportunities (Ong-Dean, 2009). Goodwin, Cheruvu, and Genishi (2008) described these policies as based on the “culturally deprived paradigm that compares racially, culturally, linguistically, and socioeconomically diverse peoples to a White, middle-class standard” (p. 4). In this manner, these educational legislative policies are problematic as they have defined parent involvement as meaning families of culturally and linguistically different backgrounds are expected to act or interact with school professionals in particular ways. Moreover, these conceptualizations of parent involvement continue to privilege and perpetuate professional viewpoints based on a Eurocentric middle-class standard (Sleeter, 2001). Bakhtinian theories of language are used to understand how families describe their experiences as they encounter the deficit discourse of parent involvement used by school professionals. This is important because professional jargon or “stratified language” presents a danger in that it is replete with value judgments and beliefs (Bakhtin, 1981, p. 293), assuming power that then comes to inform the ways families understand their experiences and their selves in school contexts. This tells us that it is imperative to know how families of children with dis/abilities experience their communication with school professionals as there is a danger that the discourse of parent involvement will continue to perpetuate particular definitions of family participation that disqualify family knowledge by silencing the potential strengths and contributions of minoritized families (Lareau & Munoz, 2012). Moreover, the way minoritized families experience school professionals and how this is connected to how they come to be involved in their child’s education is not clear. This study, conducted just before and during the coronavirus pandemic, drew from Disability Studies (DS), disability critical race studies (DisCrit), and Intersectionality theories. It examined family-school communication being fully inclusive of all the ways families engage in the education of their children with dis/abilities at the crossroads of race, ethnicity, dis/ability, class, language, and culture (Hernández-Saca et al., 2018; Annamma et al., 2013). To rethink traditional notions of what counts as knowledge, pláticas (personal exchanges) revealed critical raced-gendered epistemologies that allowed the experiential knowledge of Latinx mothers of children with dis/abilities to be viewed as a strength (Delgado Bernal, 2002).

Thesis Intertextuality in the work of Milan Kundera deals with intertextuality facets in his novels theoretically and practically. This work deals with the text and the relations between one and other - with intertextuality and with novel genre theories. I work with four important theorist, Michail Bachtin, Julia Kristeva, Gerard Genette and Roland Barthes. I examine their concepts of polyphony or Socratic dialogue and apply them on Kundera. Practical part explores Milan Kundera, intertextuality relation of his work his novelistic and theoretical approaches. Powered by TCPDF (www.tcpdf.org)

The diploma thesis Milan Kundera and Intertextuality deals with aspects of relations between the texts in his novels. The first part outlines the intertextuality, theory of the novel and the approaches of some literary theorists towards this issue. The second half of the thesis analyzes the intertextuality in Kundera's works in various forms, mainly based on the themes of dreams and physicality. The greatest emphasis is placed on examining the legacy of Kafka in the context of Kundera's works, particularly in the novels The Joke and The Book of Laughter and Forgetting. Powered by TCPDF (www.tcpdf.org)

In this bachelor’s essay, I examine the importance of place in Marguerite Duras’ The Lover from 1984. By using an ecocritical approach I find that the concepts of “culture” and “nature”, or “human” and “environment”, are made undistinguished. I also find that colonialism is highly present, and the novel accords to the theories of the overlapping literary fields of ecocriticism and postcolonialism. Ecocritical postcolonialism maintains that non-white people have historically been likened to animals and thus have a similar relationship with colonisers as humans have with the non-human. In addition, I apply Michail Bachtin’s concept of the chronotope to the novel and conclude that the Mekong River, the Cholen district, the mother’s home, the desert, and France are the most significant chronotopes. They all represent time in some way – usually in the form of cultural history or the protagonist’s lifetime – and each one plays into the novel’s overarching views of colonialism and nature.