This thesis asserts that the slave narratives are a significant resource for philosophers. Following Lewis Gordon, I argue that the slave narratives should not be understood merely as experiential evidence by which to validate Western thought. Instead, the narratives should be read as moments in which Black narrators shared their unique insights on the Western world. In line with Angela Davis, I argue that these critiques are still relevant to philosophers of this day and age. However, I argue that Davis' Marxist reading of Frederick Douglass' Narrative of the Life of Frederick Douglass, an American Slave is still vulnerable to Gordon's criticism. Using the narrative Olaudah Equiano, I demonstrate that by reading the slave narratives as expressing unique thoughts, philosophers can discover new resources to invigorate their philosophical inquiries.

Whether they are gracing movie screens, tweeting about the size of their baby bump, or being photographed by the paparazzi in their swimwear accidently on purpose, celebrities compel consumers to care. Despite the pervasive consumer interest in celebrities, the fundamental process of how and when consumers develop relationships with and attachments to them is a subject that has been underexplored by marketing scholars, a discipline whose activities are often turbocharged by celebrities. In this research project, celebrities are viewed as brands in and of themselves, and accordingly, are examined through the prism of marketing's brand relationship literature. Drawing upon that literature and narrative transportation theory, a theoretical model of the celebrity brand attachment process is developed and empirically tested over the course of four online experiments. Results indicate that narratives about celebrity brands transport consumers to a place where they feel and behave as if they are in a communal-like relationship with the celebrity brand, despite their awareness of the contrary. These feelings and behaviors are lasting and manifest themselves back in the real world with increases in attachment and intention to consume more celebrity brand narratives. Furthermore, differences in the narrative type (on-stage vs. off-stage) and celebrity brand type (achieved vs. attributed) are found to impact the relationship between narratives and attachment level, while brand type and attachment style type are not found to significantly impact the narrative - attachment relationship.

Over the last two centuries, mass-produced serial narratives, especially those created for women, have been vilified or ignored by literary and cultural critics. Serial narratives, which include continuing stories published in installments and independent tales that form part of an overarching plot, have been maligned for their content, for the material realities of their mass production, and most simply for their popularity. Serial texts aimed at female audiences have been subjected to further criticisms: they have been judged as being trivial or insipid in content and as lacking aesthetic merit or cultural weight. Despite these criticisms, serial narratives were exceedingly popular with audiences in the late nineteenth and early twentieth centuries and by the end of the twentieth century became the dominant mode of storytelling across nearly all media. Popularity, far from being a reason to disparage these works, suggests the enormous power serial narratives have to both reflect and shape the culture that produces and consumes them. This cultural agency has long been overlooked, and this study hopes to change that. Serial narratives, it will be argued, train readers and viewers in various ways to actively participate in the narrative and in parallel ways in real life, an outcome especially noteworthy for modern female audiences. Ongoing and repetitive, serial narratives invite long-term engagement that enables audiences to participate imaginatively in the story itself and to embody the attitudes and behaviors of the serial protagonists in their own lives. In addition, because they are published on a potentially infinite basis, serial narratives are a medium through which modern audiences come to understand themselves and the world they inhabit. This connection between the reading and viewing choices of the modern citizen and their lived experiences, what I call serial modernism, provides a way of understanding how serial texts enact this connection particularly in relation to the modern woman’s increasing sense of agency and her continually evolving identity. Several serial texts from different eras and in different media that powerfully engage with evolving expectations of American women over the last 150 years will crystallize this connection: Louisa May Alcott’s Little Women series (1868-1886) and her serialized novel Work (1873); two silent film serials, The Perils of Pauline (1914) and The Hazards of Helen (1914-1917); two teenage sleuth series, Carolyn Keene’s Nancy Drew (1930-2003) and Margaret Sutton’s Judy Bolton (1930-1967); and Sara Paretsky’s adult detective series V.I. Warshawski (1982-present).

Over the past two millennia, dominant Western narratives of the Persian Wars have established a problematic East-West binary in which Greece is represented as a defender of democracy whose improbable victory over the Persians laid the foundation for the development of Western civilization and the Persians are represented as a power hungry, totalitarian “Other” determined to subjugate all whom they encounter. Frank Miller’s graphic novel, 300, and its subsequent film adaptations, 300, and 300: Rise of an Empire (collectively referred to as the 300 franchise) have reinforced and contributed new problematic elements to the dominant Persian War narratives with contemporary visual representations of key historical figures, locations, and events as they pertain to the conflict. In this thesis I conduct a visual rhetorical analysis of the 300 franchise to identify and explain its problematic visual representational tactics for both the Greeks and Persians. Next, I conduct a visual rhetorical analysis of a non-Western Persian Wars counter-narrative, Ramin Abhari’s Xerxes Speaks. Throughout my analysis of Xerxes Speaks I identify instances in which the counter-narrative addresses 300’s problematic representations of the East as “Other.” I conclude by discussing the importance of critiquing visual representations in order to continue to disrupt dominant Western Persian War narratives and subsequently try to establish a currently marginalized Persian perspective on the Persian Wars.

SOUSA, Camila Stephane Cardoso. A gradação em narrativas infantis. 2013. 107f. – Dissertação (Mestrado) – Universidade Federal do Ceará, Departamento de Letras Vernáculas, Programa de Pós-graduação em Linguística, Fortaleza (CE), 2013. / Submitted by Márcia Araújo (marcia_m_bezerra@yahoo.com.br) on 2014-06-05T12:56:21Z No. of bitstreams: 1 2013_dis_cscsousa.pdf: 1043715 bytes, checksum: dafb0cfa727afacceda12aef240b48d6 (MD5) / Approved for entry into archive by Márcia Araújo(marcia_m_bezerra@yahoo.com.br) on 2014-06-05T13:50:42Z (GMT) No. of bitstreams: 1 2013_dis_cscsousa.pdf: 1043715 bytes, checksum: dafb0cfa727afacceda12aef240b48d6 (MD5) / Made available in DSpace on 2014-06-05T13:50:42Z (GMT). No. of bitstreams: 1 2013_dis_cscsousa.pdf: 1043715 bytes, checksum: dafb0cfa727afacceda12aef240b48d6 (MD5) Previous issue date: 2013 / This paper aims to analyze the different uses of Graduation in nineteen oral narratives produced by eleven children from 05 to 11 years, five females and six males. We observed how children manifest graduation in the different texts and which resources they use to express lexicogramatically each subtype of graduation. The collection of reports was performed during 04 months, from June/2011 to February/2011 in a shelter situated in Fortaleza. We have based this study in a functional perspective of the process of language acquisition to show how language development is grounded in the use made of language in a communicative process. We based our research in Givón’s cognitive and functional conceptions and Halliday’s systemic-functional to develop the notion of protogrammatics well as to provide the theoretical framework to guide our analysis; from the perspective of Appraisal Theory of Martin and White on the phenomenon of Graduation; and orientation of the proposals about language Acquisition that are based on the idea that the acquisition and development of language are given by inserting child in a given speech community, guided so discursive and pragmatic factors. Our results indicate that the use of graduation changes, besides experiential categories, evaluative elements, which manifests primarily by system Force. Children also use the Graduation as a form of textual organization, accentuating or attenuating certain information as, among other factors, the Informational Statute and Degree of Empathy. We also realize that different types of gradation occur at the same time in most cases and not in isolation. / Este trabalho tem por objetivo analisar os diferentes usos da gradação em dezenove narrativas orais produzidas por onze crianças entre 05 e 11 anos, sendo cinco do sexo feminino e seis do sexo masculino. Observamos, para isso, como as crianças manifestam a gradação em seus diferentes textos e quais recursos lexicogramaticais elas utilizam para expressar cada subtipo de gradação. A coleta dos relatos foi realizada durante 04 meses, de Fevereiro/2011 a Junho/2011, em um abrigo situado em Fortaleza-CE. Tomamos como base uma perspectiva funcional do processo de aquisição da linguagem para mostrar como o desenvolvimento linguístico é pautado no uso que se faz da linguagem em um processo comunicativo. Embasamos nossa pesquisa nas concepções cognitivo-funcional de Givón e sistêmico-funcional de Halliday para desenvolver a noção de protogramática bem como para propiciar o arcabouço teórico que orientará nossa análise; na perspectiva da Teoria da Avaliatividade de Martin e White acerca do fenômeno da gradação; e na orientação das propostas acerca de Aquisição da Linguagem que tomam por base a concepção de que a aquisição e o desenvolvimento da linguagem se dão mediante a inserção comunicativa da criança em uma dada comunidade linguística, orientando-se assim por fatores pragmáticos e discursivos. Nossos resultados apontam que o uso da Gradação modifica, além de categorias experienciais, elementos avaliativos, o que se manifesta prioritariamente pelo sistema de Força. As crianças também utilizam a Gradação como forma de organização textual, acentuando ou atenuando determinadas informações, conforme, dentre outros fatores, o Estatuto Informacional e o Grau de Empatia. Percebemos também que os diferentes tipos de Gradação ocorrem concomitantemente em grande parte dos casos e não isoladamente.

Esta dissertação investigou como a rua é construída narrativamente na seção Brasiliana de CartaCapital. A pesquisa parte do pressuposto de que a narrativa jornalística é uma das formas de experimentação da realidade e de mediação com o mundo, perspectiva vinculada ao paradigma construcionista, que tem no jornalismo uma instância de construção social da realidade devido à forma como seu discurso foi historicamente institucionalizado. Além disso, considera a cidade como um texto, composto por outros menores, que pode ser lido e tecido por seus habitantes. O jornalismo é um dos mediadores do conhecimento sobre a cidade quando articula esses textos. Brasiliana oferece narrativas produzidas sobre diferentes pontos do Brasil, algumas vezes do exterior, mas com predominância de relatos ancorados na cidade de São Paulo. Fizemos uma análise flutuante de 742 textos produzidos semanalmente entre 2001 e 2016 para chegarmos ao recorte de 11 narrativas sobre ruas e, assim, tecermos considerações sobre as inter-relações entre jornalismo e cidade. O estudo objetivou responder sobre os percursos na rua traçados pelo jornalista-narrador, as personagens e os conflitos que compõem as narrativas e as estratégias de figuração adotadas pelo jornalista-narrador, de forma a vislumbrar a construção narrativa da rua na seção. Utilizamos o método de análise da narrativa como proposto por Motta (2013) para estudos em jornalismo, ancorado nas teorias narrativas de Ricoeur (1994), Genette (1995) e Culler (1999). Nessas narrativas jornalísticas, revelaram-se ruas polifônicas, locais onde diferentes vozes sociais interagem, do que resultam conflitos socioeconômicos e religiosos – vias que acabam por refletir a condição da cidade como um espaço produtor de diferenças. Os resultados indicam que, pela presença de um jornalista-narrador que percorre ruas, encontra personagens e é capaz de descrever os espaços onde os habitantes se relacionam e as cenas que expõem seus conflitos, as Brasilianas são um exemplo de fazer jornalístico mais plural sobre a cidade. / This dissertation investigated how the street is narratively constructed in the CartaCapital’s section named Brasiliana. The research starts from the assumption that the journalistic narrative is one of the forms of experimentation of the reality and of mediation with the world, perspective linked to the constructionist paradigm, that has in journalism an instance of social construction of reality due to the way in which its discourse was historically institutionalized. In addition, it considers the city as a text, composed of smaller ones, that can be read and woven by its inhabitants. Journalism is one of the mediators of the knowledge about the city when it articulates these texts. Brasiliana offers narratives produced on different points in Brazil, sometimes from abroad, but with predominantly anchored reports in the city of São Paulo. We did a floating analysis of 742 texts produced weekly between 2001 and 2016 to get to the cut of 11 narratives about streets and, thus, to make considerations about the interrelations between journalism and city. The objective of this study was to answer the narrator-journalist's path in the street, the characters and the conflicts that make up the narratives and the strategies of figuration adopted by the narrator-journalist, in order to glimpse the narrative construction of the street in the section. We have used the method of narrative analysis as proposed by Motta (2013) for studies in journalism, anchored in the narrative theories of Ricoeur (1994), Genette (1995) and Culler (1999). In these journalistic narratives, polyphonic streets were revealed, where different social voices interact, resulting in socio-economic and religious conflicts – streets that reflect the condition of the city as a space that produces diferences. The results indicates that, because of the presence of a narrator-journalist who walks the streets, finds characters and is able to describe the spaces where the inhabitants relate and the scenes that expose their conflicts, the Brasilianas are an example of making a journalism more plural about the city.

As artes sequenciais (AS) ou narrativas gráficas (NG) são uma modalidade de expressão híbrida (multimodal) composta de texto imagem e texto palavra. Ao longo de toda sua história, as NG têm enfrentado diversos desafios na academia e no mercado, e, mesmo sendo um assunto de complexa multidisciplinaridade, é objeto de poucas pesquisas no design visual, que possui amplo conhecimento em metodologias projetuais e características intrinsecamente multidisciplinares, além de expertise técnica em comunicação visual. Esta pesquisa busca analisar os princípios metodológicos de projeto visual e o processo de produção das narrativas gráficas partir de pesquisa bibliográfica, fazendo uma análise etapa a etapa de metodologias selecionadas nas áreas de Design Generalista (MUNARI, 2008; BAXTER, 1995), Design Visual (FUENTES, 2006; DENARDI E GERALDES, 2016; MAYA, FRANCESCHI E NEROSKY, 2016; HALUCH, 2013), Narrativas (BEREITER E SCARDAMALIA, 1987; INGERMAN, 2014) e Narrativas Gráficas (LARSON, 2014; SALERNO, 2011; MOORE, 2003; BYRNE, 1999; MATEU-MESTRE, 2010). Utilizando bibliografia sobre projeto visual, imagem, linguagem visual, narrativas e narrativas gráficas como base para a construção de conhecimento teórico, as etapas são segmentadas em fases, utilizando como base as metodologias projetuais generalistas, mostrando que existem benefícios para os profissionais produtores de NG em utilizar as metodologias projetuais do Design Visual como linha projetual para a produção de HQ. / The sequential arts (AS) or graphic narratives (NG) are a modality of hybrid modality (multimodal) composed of image and word. Throughout its history, NG has faced several challenges in academia and in the market, and although it is a subject of complex multidisciplinarity, it has little research in the visual design field, that has ample knowledge in design methodologies and characteristics intrinsically multidisciplinary, as well as technical expertise in visual communication. This research seeks to analyze the methodological principles of visual design and the process of production of graphic narratives, making a step by step analysis of selected methodologies in the areas of General Design (MUNARI, 2008; BAXTER, 1995), Visual Design (FUENTES, 2006; DENARDI E GERALDES, 2016; MAYA, FRANCESCHI E NEROSKY, 2016; HALUCH, 2013), Narratives (BEREITER E SCARDAMALIA, 1987; INGERMAN, 2014) and Graphic Narratives (LARSON, 2014; SALERNO, 2011; MOORE, 2003; BYRNE, 1999; MATEU-MESTRE, 2010). Using bibliographic research on visual design, image, visual language, narratives and graphic narratives as the basis for the construction of theoretical knowledge, the steps are segmented in phases, using as base the generalist design methodologies, showing that there are benefits for the professional producers of NG to use the Visual Design methodologies as the design backbone for NG production.

Significados relativos a gênero e sexualidade são construções socioculturais em permanente elaboração. Esta pesquisa investigou a negociação dos significados associados às sexualidades de homens e mulheres, atualmente. Para isso, foram realizados 2 estudos com jovens universitários em interação. No Estudo 1, analisaram-se 6 narrativas provenientes de 9 grupos focais – 6 presenciais e 3 on-line – realizados com 45 graduandos de Porto Alegre (RS). No Estudo 2, analisaram-se 84 comentários a um texto sobre a “Marcha das Vadias”, publicado em um blog. Conceitos da psicologia discursiva e abordagens narrativistas foram empregados na análise de dados. Embora expectativas sobre – e os próprios – comportamentos sexuais sigam marcadas por tradicionais diferenças de gênero, foram identificadas relativizações aos padrões de sexualidade feminina. Ademais, significados associados a certos aspectos da sexualidade, como fidelidade e homossexualidade, foram semelhantes quando se referiam a mulheres e homens, evidenciando que a suposta complementaridade entre homens e mulheres nada tem de natural. / Meanings related to gender and sexuality are permanently under construction and unstable. This research aimed at investigating the negotiation of meanings associated to men´s and women´s sexualities, nowadays. For such, 2 studies were carried out, both with young college students. In Study 1, we analyzed 6 narratives derived from 9 focus groups – 6 face-to-face and 3 online – conducted with 45 students from a university located in Porto Alegre (RS). In Study 2, we analyzed users´ comments to a blog post on the Slut Walk. Concepts from discursive psychology and narratives approaches were employed in data analysis, which showed flexibilizations of the standard feminine sexuality, even if expectations about – and also sexual behaviors themselves – are still marked by traditional gender differences. Furthermore, conceptions about some aspects of sexuality, such as faithfulness and homosexuality, were, sometimes, found to be independent of gender, highlighting that there is no natural complementarity between men and women.

O presente trabalho pretende compreender os modos de subjetivação pelos quais atores tornam-se sujeitos de sua prática musical. O material empírico desta pesquisa são as narrativas dos profissionais das artes cênicas que executam vocal e instrumentalmente as trilhas sonoras de seus espetáculos ao vivo. Foram obtidas, por meio de entrevistas, narrativas individuais com dois participantes e uma entrevista coletiva de seu grupo de trabalho. A abordagem teórica apoia-se nos fundamentos da pesquisa narrativa, principalmente no aporte de Jerome Bruner (2002; 2000) e nos estudos sobre discurso, saber e sujeito de Michel Foucault. A análise dos dados foi realizada com uma inspiração na perspectiva arqueológica foucaultiana, que entende o discurso como prática radicalmente histórica, inseparável das relações de poder, da produção de saber e da produção de sujeitos e subjetividades. As reflexões deste estudo permitiram compreender que a constituição musical do ator é condição inevitável para sua prática profissional; igualmente, que a subjetividade inscrita na apropriação da experiência musical, ao longo da vida, ocorre como cuidado de si e prática de si, e se torna fundamental para o aperfeiçoamento do ofício do ator e para a constituição de si mesmo. / This work intends to understand the modes of subjectivation through actors become subjects of their musical practice. The research’s empirical material is the narratives of the drama professionals who perform their plays’ soundtracks in live by using voice and instruments. Narratives were collected through individual narrative interviews with two participants and a collective interview with their work group. The theoretical approach is narrative inquiry fundamentals, particularly Jerome Bruner (2002; 2000) contribution and Michel Foucault studies of discourse, knowledge and subject. The data analysis was inspired by the foucauldian archaeological perspective, that considers discourse as a radically historic practice, inseparable of power relationship, knowledge production and production of subjects and subjectivities. Reflections from this study allowed comprehending that actor musical constitution is inescapable condition for his professional practice; that subjectivity registered in the musical experience appropriation along the life takes place like care of the self and practice of the self, and it becomes fundamental for the actor’s craft improvement and selfconstitution.

A temática “tatuagens” tem sido explorada em diferentes campos do conhecimento, a partir de diferentes quadros teóricos e metodológicos, porém deixando a atividade “tatuar”, seja como ofício, ocupação ou profissão, aparentemente negligenciada. Nesse sentido, a partir de uma imersão de 19 meses em um estúdio de tatuagens em Porto Alegre, sul do Brasil, o trabalho de quem tatua emergiu como um campo empírico rico para observar e analisar atividades aparentemente desviantes, já que, apesar de uma parcela da sociedade não perceber o “tatuar” como profissão, as pessoas que tatuam têm clareza sobre seu status profissional. Nesse cenário as fronteiras da Administração e da Gestão de Pessoas emergiram e salientaram a importância em compreender, mais especificamente, como essas pessoas desempenham e desenvolvem suas vivências nessa atividade, orientadas, ou não, por uma vontade em serem reconhecidas pelos(as) outros(as) como profissionais. Por isso, o conceito central observado não foi o de Profissão, mas sim o de Carreira. Entendendo-a como uma ponte analítica entre indivíduo e instituição, a partir de Everett Hughes, sociólogo da Escola de Chicago, é através da compreensão da carreira das pessoas que tatuam que foi possível compreender como elas vivem, entendem e lidam com uma profissão, aparentemente, em formação. Assim, o problema de pesquisa apontado é o seguinte: como a pessoa que tatua vivencia sua carreira? Esse problema contempla a busca por compreender como a pessoa vive e narra sua carreira, focando nos elementos de sua ocupação, compreendida como ainda não objetivamente institucionalizada, mas subjetivamente estabelecida, explorando os status e papeis sociais que elas vivem, os pontos de inflexão que negociam e os elementos que as fazem entender sua ocupação como profissão. Assim, a carreira, ainda que contemple todos aspectos da vida, será enfocada analiticamente no aspecto profissional, pois a especificidade analítica é voltada à atividade laboral de quem fala. Isto se deve à inserção deste trabalho na área de Gestão de Pessoas da Administração, apontando como interesse a compreensão de carreiras e profissões aparentemente diferentes do status quo, de modo que possa gerar reflexões e inspirações para a área. Para responde-la, realizei uma pesquisa de caráter qualitativo e exploratório, orientada pelo método de História de Vida, contemplando Narrativas, as quais foram utilizadas tanto para a coleta como para a análise e apresentação da trajetória. Além delas, também foram utilizadas como fontes de informação as visitas a campo, convenções, pesquisas bibliográficas específicas e redes sociais e de notícias na internet. Como resultados, parece que a pessoa que tatua vivencia sua carreira entendendo sua ocupação como profissão, determinando elementos, ao longo do percurso de vida, que comprovam a sua atividade como profissional; que há etapas pelas quais deve passar, bem como status, papeis e instituições; que passa por conflitos e dilemas frequentes durante a carreira e por um mercado de trabalho característico, que podem influenciar, também, na forma em zig zag que ela acaba se delineando. Em suma, parece formar-se uma “carreira padrão”, devido à repetição de algumas faixas temporais e vivências. Por fim, são apresentadas perspectivas de pesquisa futuras. / The topic “tattoo” have been explored in different fields of knowledge, from different theoretical and methodological frameworks, yet the activity of “tattooing”, either as craft, occupation or profession, have been, apparently, neglected. In this sense, from a immersion of 19 months at a tattoo studio in Porto Alegre, southern Brazil, the work of “tattooists” emerged as a rich empirical field to observe and analyze apparently deviant activities, since, although a portion of society realize the “tattooing” as a profession, the “tattooists” or “tattoo artists” have clarity about their professional status. In this scenario, the borders of Administration and Human Resources Management emerged and stressed the importance in understanding, more specifically, how these people play and develop their experience in this activity, oriented or not by a desire to be recognized by others as professionals. Therefore, the central concept is not Professions, but Careers. Understanding it as an analytical bridge between individual and institution, by Everett Hughes, a sociologist at the Chicago School, is through understanding the career of “tattooists” that is possible to understand they live, comprehend and deal with a profession, apparently, not established. Thus, the research problem identified is the following: how the people who tattoos experiences their career? This issue includes the search for understanding how a person lives and narrates his/her career, focusing on elements of the occupation, understood as not yet institutionalized objectively, but subjectively established, exploring the status and social roles which he/she lives, the turning points that are negotiated and the elements that make them understand their occupation as a profession. Thus, career, still covering all aspects of life, is analytically focused on professional aspects. This is due to the inclusion of this work in the field of Management and Personnel Management, pointing to interest the understanding of seemingly different careers and occupations of the status quo, so that it can generate ideas and inspirations for the area. To answer it, I conducted a qualitative and exploratory research, guided by the method of Life History, contemplating Narratives, which were used both for the collection and for the analysis and presentation of the path. Besides them, were also used as sources of information visits to the field, conventions, specific literature searches, readings and social networking and news on the Internet. As a result, it seems that the person who experiences the Tattoo Career understands the occupation as a profession, determining elements along the path of life, proving the activity as a professional one; that there are steps that must pass as well as status, roles and institutions; that passing by conflicts and dilemmas during the career and in a characteristic labor market, which may influence, too, in the form of zig zag the path ends up outlining. In short, it seems to form a “standard career” due to repetition of some temporal tracks and experiences. Finally, future research perspectives are presented.