No / This paper considers the situation of people with dementia who are living in long-term care from two rarely-applied theoretical perspectives. The first, Agamben’s theory of biopolitical life versus bare life, demonstrates that the situation of people with dementia living in care homes or hospitals approximates to that of prisoners, internees and refugees, deprived of full citizenship or biopolitical life. In popular imagery people with dementia are frequently referred to, first in terms of numbers, as a ‘rising tide’, in a way that has historically been used to justify discrimination and social exclusion. In many, care environments it is, moreover, still the case that people with dementia are reduced to a condition of ‘bare life’ only: given little choice, having few rights, lacking freedom of movement, and subjected to almost constant surveillance. In other contexts, such treatment is known to cause or exacerbate many of the problems which – following a biomedical model – are constructed as ‘symptoms of dementia’, such as disorientation in time and space, sleep disturbance, hallucinations and repetitive movement. The second body of theory is Bakhtin’s work on cultural resistance. This demonstrates that many of the so-called ‘challenging behaviours’ manifested by people with dementia, can better be understood as coping, sense-making and self-determining strategies adopted in order to survive within prevailing organisational cultures. Based on a series of studies carried out in intermediate and long-term care since 2009, the paper draws on a range of narrative and film-based examples to demonstrate the ‘courage, humour, fortitude and cunning’ with which, as Walter Benjamin noted, the oppressed have always met the conditions of their oppression. In the process, ‘challenging behaviour’ is given political and ideological meaning, as protest, perpetrated by people who are struggling against extreme odds to be reinstated as full citizens. / Conference website: http://www.aginggraz2017.com/conference-schedule

This dissertation attempts a Bakhtinian analysis of the polyphonic dialogue between Joseph Conrad's Heart of Darkness, Francis Ford Coppola's Apocalypse Now, Karel Schoeman's Na die Geliefde Land and Jason Xenopoulos' Promised Land. Specific Bakthinian concepts are employed to determine whether the films are "apt" adaptations of the literary texts; how the stylistically hybrid texts engage in conversation with different movements, genres and trends; how the polyphonic conversations between different texts and discourses, such as literature and film, or colonialism and postcolonialism, can provide insight into the variety of discourses, textual and ideological, of a postcolonial, post-apartheid South Africa; and how identity crises experienced by key characters can be explained using the notions of hybridity, "The Marginal Man" and liminality. All four texts have key characters that experience identity crises that spring from cultural hybridity; their cultural hybridity has the potential to either render them marginally stagnant or lead them to liminally active participation within their imagined communities. This dissertation argues that even though there are major differences between the films and the literary texts they are based upon, they are relevant to a specific target audience and therefore enrich the ur-texts. Salient characteristics of realism, symbolism, impressionism, modernism, postmodernism, postcolonialism and the apocalyptic dialogise one another within the four texts, thereby liberating the texts from one authorial reading. The dialogue between the discourses of literature and film supplement an understanding of the dialogue between war, imperialism, colonialism, postcolonialism and the Will to Power. / Thesis (M.A. (Applied Language and Literary Studies))--North-West University, Potchefstroom Campus, 2006

The purpose of the present dissertation is to study the elaborations of the initiation myth in contemporary Italian author Alessandro Baricco. The theoretical and methodological framework consists mainly of Mircea Eliade’s phenomenological theory of initiation. It is argued that the categories of space and time are interdepent in religious thought and should thus be studied as a unit, through the notion of the chronotope. The dissertation therefore proposes to introduce the concept of the chronotope of initiation as an operative tool, the intersection of the theories of Eliade and Mikhail Bakhtin, for the literary subgenre of the initiation novel. A hermeneutical analysis of the novels Oceano mare, Emmaus and Mr Gwyn demonstrates that the initiation myth is present in all three novels. The symbolism of death and rebirth is coherently enacted as a movement via the categories cosmos-chaos-cosmos, for which the author uses the symbolism of the earth to define cosmos (regularity and structure) and water symbolism for the regenerating chaos (dissolution and renewal). The different chapters of analysis accentuate the interaction of space and time within the different phases of the initiation pattern: the profane, the threshold, the sacred, the centre (the place where the actual ritual is enacted) and the return, which are all defined as chronotopes. The analysis shows that although the chronotope of initiation – the concept intending the fusion of the temporal event of ritual at the spatial centre – assumes different forms throughout the corpus, its function remains unmodified, with its purpose being the creation of ontological change. In its inherent structure, the chronotope of initiation unites antithetical spatial and temporal characteristics. Spatially it unites infinite and dissolving chaotic space with the constitutive envelope or sacred vertical centre, and temporally it brings together the ultimative ontological change at a fixed, historical moment with the eternal, sacred, time opened by ritual, representing the coincidentia oppositorum of the sacred. The analysis also shows that the so-called “portraits of the ineffable”, present in all three novels, reflect the same qualities. As immanent works of art, they function as thresholds into the infinite. From a chronological perspective, the dissertation shows a modification of the initiation pattern in Baricco’s writing: from the classical form in Oceano mare, via a more realistic application in Emmaus, to the most elaborate, meta-literary adaption in Mr Gwyn. Nevertheless, the use of the pattern and its thematic coherence reveals that Baricco consciously elaborates on the pattern to suit the contemporary context.

Made available in DSpace on 2016-04-28T18:23:01Z (GMT). No. of bitstreams: 1 Luciene Novais Mazz.pdf: 4727183 bytes, checksum: 7817f0fb80c1675457368b46c2a748d7 (MD5) Previous issue date: 2015-02-23 / Conselho Nacional de Desenvolvimento Científico e Tecnológico / Into the corporate world there are various standard settlement documents establishing an explicit hierarchy of power with respect to the effectiveness of written texts, invoking actors by a specific mode of enunciation in the process of translating a text from a given source language into a target language. But, despite that rigid regulation could be homogenized, in terms of meaning, it has not prevent cultural dimension interference that reflects the foreign text and also it cannot obscure the value of diversity amongst companies spread all over the world. On the other hand, that interference has effects on the way to develop writing of domain-specific language even in English as the global language of business. Besides the identity preserved by regulations and standards, this thesis aims to demonstrate differences on translating a technical document from multiple foreign languages into English. The starting point for our research lies in three main approaches: the translation process, highlighting the linguistic and cultural diversities amongst target texts; Bakhtin´s theory of dialogical discourse on the concept of multiple voices, the plurivocity as a fundamental condition operating the meaning; terminology studies that provides a theoretical and methodological bases to search for lexical units in a specific domain. Moreover, the theory and corpus-based studies allow developing an initial methodological procedure based on corpus linguistics analysis, considering the three aspects: (i) lexical variation leveling of its irregularities and further establishing identity amongst texts, (ii) linguistics invariant enabling to recognize the differences within groups as well as enunciative traces in which discourse are addressed to take place in different social and cultural environment, (iii) effects of relationship of lexical units among texts so as to provide a normalization and standardization of compound words (terms) that are given in specific contexts. This research in a relevant sense finds support on a study-initiated of a previous master´s program. In addition to it offers knowledge carried out under particularly specific features of linguistics and social scope to pharmaceutical domain and also issues relate to corporate interests and its interdisciplinary scientific fields / No mundo corporativo, há inúmeros documentos altamente regulados e padronizados estabelecendo explícita hierarquização de poder em relação à escrita, aos atores envolvidos, à enunciação que os caracteriza, tanto na língua fonte como em sua tradução para outras línguas. Esse aspecto, que poderia homogeneizar os sentidos, não impede, apesar da rigidez normativa, interferências da dimensão cultural, da interculturalidade que caracteriza as traduções, e da diversidade das relações entre empresas. Isso acarreta divergências no modo de redigir textos de uma dada especialidade, ainda que em uma língua pretensamente globalizada, como é a língua inglesa. A partir desse pressuposto, esta pesquisa tem como objetivo demonstrar, ao lado da identidade resguardada pelas normas, as diferenças na tradução técnica presentes em documentos escritos, traduzidos do original de diversas línguas para a língua inglesa. Os pontos de partida para este estudo situam-se em três principais abordagens: a) o processo tradutório, evidenciando as diferenças linguísticas e culturais entre os textos de chegada coletados; b) a teoria dialógica do discurso, que oferece os conceitos de vozes, de plurivocidade, como condição de sentido; c) os estudos terminológicos, que fornecem bases teóricas e metodológicas na investigação das unidades lexicais de conteúdo específico. A fundamentação teórica e o corpus permitem um trabalho metodológico inicial com o léxico com base na Linguística de Corpus, considerando-se: (i) as regularidades e invariantes linguísticas que levará ao estabelecimento de certa identidade entre os textos; e (ii) a identificação e análise dos aspectos que convivem com essas invariantes e que possibilitam reconhecer as diferenças no interior da identidade identificada por marcas enunciativas que revelam os discursos produzidos em diferentes lugares sociais e culturais, conforme proposta da teoria bakhtiniana; e (iii) a consequente relação das unidades lexicais entre os documentos analisados, viabilizando a aplicação de uma normatização dos termos em documentos técnicos especializados. A relevância desta pesquisa reside na continuidade do trabalho iniciado no mestrado e na possibilidade de oferecer recursos aos profissionais que atuam especificamente no setor da indústria farmacêutica, bem como em assuntos relacionados aos interesses corporativos e às esferas técnico-acadêmicas e científicas

Made available in DSpace on 2016-04-28T18:23:08Z (GMT). No. of bitstreams: 1 Felipe Augusto de Souza Santos.pdf: 1601405 bytes, checksum: 5aceb79107bef912ae3c37583b50be9c (MD5) Previous issue date: 2015-09-04 / Conselho Nacional de Desenvolvimento Científico e Tecnológico / This research aims to investigate issues of theatrical aesthetics and the process of creation of Samuel Beckett, from a study on aspects of his work as a playwright and director of his own plays. First it will be made an approach about the relationship between text and scene in Beckett s work, that is, we will make a survey of the major aesthetic and structural features of plays such as Waiting for Godot, Endgame, Happy days and Footfalls, in order to problematize some of major issues involving the dramaturgy of Beckett, and also a study of the trajectory of Beckett from playwright to director. Later, we will make an analysis of the dramaturgical text of Krapp s last tape, using concepts from the writings of Mikhail Bakhtin and the Circle, such as dialogism, polyphony and chronotope, and also a reflection on the various performances of Krapp s last tape directed by Beckett. For this, we will use an unpublished translation of Krapp s last tape held by the researcher and published in this work as well as Beckett s directing notebook, with notes of the staging process of his version of Krapp s last tape performed at the Schiller-Theater in Berlin in 1969, and the changes undergone by the dramatic text. The results suggest the importance of the staging process performed by Beckett on some of his major plays, particularly Krapp s last tape, as a revising and defining element of his dramaturgy / Esta pesquisa tem como objetivo investigar questões ligadas à estética teatral e ao processo de criação de Samuel Beckett, a partir de um estudo relativo a aspectos de seu trabalho como dramaturgo e encenador de suas próprias peças. Primeiramente será realizada uma abordagem acerca da relação entre texto e cena na obra de Beckett, ou seja, faremos um levantamento das principais características estéticas e estruturais de peças como Esperando Godot, Fim de partida, Dias felizes e Passos, no intuito de problematizarmos algumas das principais questões envolvendo a dramaturgia de Beckett, e também um estudo acerca da trajetória de Beckett de dramaturgo a encenador. Posteriormente, faremos uma análise do texto dramatúrgico de A última gravação de Krapp, utilizando conceitos provenientes dos escritos de Mikhail Bakhtin e do Círculo, tais como dialogismo, polifonia e cronotopo, e também uma reflexão sobre as diversas encenações de A última gravação de Krapp dirigidas por Beckett. Para tanto, serão utilizados uma tradução inédita de A última gravação de Krapp realizada pelo pesquisador e publicada neste trabalho, bem como o caderno de direção de Beckett, contendo as anotações do processo de encenação de sua montagem de A última gravação de Krapp no Schiller-Theater de Berlim, em 1969, e as alterações sofridas pelo texto dramatúrgico. Os resultados obtidos apontam para a importância do processo de encenação realizado por Beckett em relação a algumas de suas principais peças, em especial A última gravação de Krapp, como elemento revisor e definidor de sua dramaturgia

Thesis (M.A. (Applied Language and Literary Studies))--North-West University, Potchefstroom Campus, 2006.

The subject of this thesis is the social-adventure novel which was popular in the 1840s and early 1850s in Sweden. In contrast to literary critics who have tended to regard the thrilling plot of the genre as merely a way of creating effects, I try to analyze the plot as a bearer of both meaning and ideology. Inspired by the Russian scholar Mikhail Bakhtin, I define the plot in the genre as an adventure-plot, with links back to the novel of Antiquity. In an introductory chapter I discuss theories of genres which resembles the social- adventure novel. I conclude the chapter with a brief discussion of the differences between the adventure novel and the biographical novel. In chapter 2 I look into the reception of the social-adventure novel by contemporary critics. In the first case-study, I examine Samvetet eller Stockholms mysterier, 1850, (The Conscience or the Mysteries of Stockholm), by C. F. Ridderstad. By means of the ad­venture-plot we are introduced to everyday life in Stockholm in the middle of the cen­tury. But the adventure-plot also had other possibilities. It could be used to examine the various competitive moral and ideological views that were current at the time. In the second case-study, I analyze a variant of the social-adventure novel which deals with the development of the individual. The need to examine ideology and its values is essential in the historical-adventu­re novel. This case-study contains readings of novels by Ridderstad, J. A. Kiellman- Göranson and C. J. L. Almqvist. The function of the plot in the historical-adventure novel is to test the "natural" qualities of the heroes; to examine the ideology of the vil­lain; and finally to claim that history in the end depends upon the (im) moral actions of the individual. This is created through the mixture in the novels of historical time and adventure-time. The thesis ends with an analysis of a novel by Viktor Rydberg, Den siste athenaren, 1859, (The Last Athenian). In this novel there is also an adventure plot, but no ad- venture-time. The reason for this is that Rydberg only uses the adventure plot for his own monologic view of history and the destiny of mankind. Rydberg's novel marks an ending. It stands as the final expression of that period which began in the 1830s, in which the novel emerged as a leading genre in Swedish literature. / <p>Diss. Umeå : Umeå universitet, 1990</p> / digitalisering@umu

This dissertation presents an investigation into two so-called live art works – Ugly girl at the rugby (1998) and Chandelier (2001-2002) – by the contemporary South African artist Steven Cohen (1962-). These works are explored with reference to the manner in which Cohen (as self-declared queer Jewish freak) uses performance art as a form of activism in order to expose practices of marginalisation and suppression (oppression) of non-normative or so-called deviant subject positions in terms of gender, race and ethnicity. The analysis of artworks is guided by the discourse of the carnavalesque and performative conceptualisations of gender with particular emphasis on Cohen’s use of drag as contemporary form of masquerade in order to propose an alternative subject position. The argument is as follows: that Cohen, by setting up an extreme alternative to normative identity constructs, manages to destabilise existing hierarchies that are structured according to binaries as these exist in spaces (such as a rugby stadium and a squatter camp) in the South African context. This destabilising of binary hierarchies gives rise to the argument that the symbolically encoded nature of spaces known for associations of suppression, exclusion and marginalisation are wrought open so that alternative meanings can come into being by activating these spaces as multifaceted and chronotopic constructs. The conclusion is that Cohen contributes profoundly towards the destabilisation of identities and in this way also helps to propose invigorating and fresh views of gender, race and ethnicity in a contemporary South African situation. / Thesis (MA (History of Art))--North-West University, Potchefstroom Campus, 2013.

This dissertation presents an investigation into two so-called live art works – Ugly girl at the rugby (1998) and Chandelier (2001-2002) – by the contemporary South African artist Steven Cohen (1962-). These works are explored with reference to the manner in which Cohen (as self-declared queer Jewish freak) uses performance art as a form of activism in order to expose practices of marginalisation and suppression (oppression) of non-normative or so-called deviant subject positions in terms of gender, race and ethnicity. The analysis of artworks is guided by the discourse of the carnavalesque and performative conceptualisations of gender with particular emphasis on Cohen’s use of drag as contemporary form of masquerade in order to propose an alternative subject position. The argument is as follows: that Cohen, by setting up an extreme alternative to normative identity constructs, manages to destabilise existing hierarchies that are structured according to binaries as these exist in spaces (such as a rugby stadium and a squatter camp) in the South African context. This destabilising of binary hierarchies gives rise to the argument that the symbolically encoded nature of spaces known for associations of suppression, exclusion and marginalisation are wrought open so that alternative meanings can come into being by activating these spaces as multifaceted and chronotopic constructs. The conclusion is that Cohen contributes profoundly towards the destabilisation of identities and in this way also helps to propose invigorating and fresh views of gender, race and ethnicity in a contemporary South African situation. / Thesis (MA (History of Art))--North-West University, Potchefstroom Campus, 2013.

This dissertation attempts a Bakhtinian analysis of the polyphonic dialogue between Joseph Conrad's Heart of Darkness, Francis Ford Coppola's Apocalypse Now, Karel Schoeman's Na die Geliefde Land and Jason Xenopoulos' Promised Land. Specific Bakthinian concepts are employed to determine whether the films are "apt" adaptations of the literary texts; how the stylistically hybrid texts engage in conversation with different movements, genres and trends; how the polyphonic conversations between different texts and discourses, such as literature and film, or colonialism and postcolonialism, can provide insight into the variety of discourses, textual and ideological, of a postcolonial, post-apartheid South Africa; and how identity crises experienced by key characters can be explained using the notions of hybridity, "The Marginal Man" and liminality. All four texts have key characters that experience identity crises that spring from cultural hybridity; their cultural hybridity has the potential to either render them marginally stagnant or lead them to liminally active participation within their imagined communities. This dissertation argues that even though there are major differences between the films and the literary texts they are based upon, they are relevant to a specific target audience and therefore enrich the ur-texts. Salient characteristics of realism, symbolism, impressionism, modernism, postmodernism, postcolonialism and the apocalyptic dialogise one another within the four texts, thereby liberating the texts from one authorial reading. The dialogue between the discourses of literature and film supplement an understanding of the dialogue between war, imperialism, colonialism, postcolonialism and the Will to Power. / Thesis (M.A. (Applied Language and Literary Studies))--North-West University, Potchefstroom Campus, 2006