A poesia de Paulo Leminski (1944/1989), escrita no Brasil entre os anos 60 e 80 do século XX, revela uma constante atitude de experimentação que abre caminhos para o questionamento da relação entre pensamento, mundo e linguagem. Ao refazer a trajetória do autor e analisar o modo de criação de seus jogos de linguagem, pretendo revelar a lógica de sua poética, voltada para a materialidade do signo lingüístico. Como poeta e ficcionista, redator publicitário, letrista de música, crítico e tradutor, a matériaprima e o objeto de Leminski é sempre a linguagem verbal em suas mais variadas dimensões. Nesse período, entre os anos 60 e 80, em que as teorias sobre os signos e sobre o discurso começam a dominar os estudos literários, a poética metalingüística e reflexiva de Leminski surge como um campo de experiência de limites ainda não testados ou pouco testados por outros poetas. O conceito da poesia como texto literário, como expressão de uma linguagem escrita, veiculada em livros e destinada a um público erudito, passa a ser também por ele questionado. Para Leminski, a poesia faz parte da semiótica, do mundo dos signos que engloba todas as outras formas de manifestações artísticas, de informação e de comunicação. Poesia é também linguagem gráfica, sonora e verbal, que busca uma lógica própria para expressar pensamentos e formas de vida. Esta pesquisa vai focalizar alguns aspectos da teoria da linguagem e da teoria literária evidenciados, em diversos níveis, na prática poética leminskiana. São questões pertinentes ao contexto de diferentes correntes contemporâneas de pensamento que apontam a linguagem como o lugar privilegiado em que se dá a atuação do sujeito e a criação dos sentidos. / The poetry of Paulo Leminski (1944-89), written in Brazil between the 1960s and the 1980s, displays a constant attitude of experimentation that opens up possibilities for questioning the relationships between thought, world and language. By retracing the development of his career as a writer and analyzing the ways in which he created his language games, I set out to discover the logic of his poetics and its links to the materiality of the linguistic sign. As a poet and author of fiction, but also as a producer of advertising copy, song lyrics, literary criticism and translations, Leminski always took verbal language in its many different dimensions as his object and raw material. In the period discussed (1960s, 70s and 80s), when theories of signs and discourse predominated in literary studies, Leminski developed his metalinguistic and reflexive poetics as a field for experiencing and experimenting with limits that other poets had not yet tested at all or only very marginally. He also questioned the concept of poetry as literary text, as the expression of a written language conveyed in books to a learned audience. For Leminski poetry was part of semiotics, of the world of signs that encompasses all other forms of art as well as information and communication. Poetry is visual language and sound as well as verbal language, pursuing its own logic to express thoughts and life forms. My research focuses on some aspects of the theory of language and of the literary theory evinced at various levels by Leminskis poetic practice. The questions raised are pertinent in the context of different contemporary currents of thought which consider language a privileged field for the operation of the subject and the creation of meaning.

A poesia de Paulo Leminski (1944/1989), escrita no Brasil entre os anos 60 e 80 do século XX, revela uma constante atitude de experimentação que abre caminhos para o questionamento da relação entre pensamento, mundo e linguagem. Ao refazer a trajetória do autor e analisar o modo de criação de seus jogos de linguagem, pretendo revelar a lógica de sua poética, voltada para a materialidade do signo lingüístico. Como poeta e ficcionista, redator publicitário, letrista de música, crítico e tradutor, a matériaprima e o objeto de Leminski é sempre a linguagem verbal em suas mais variadas dimensões. Nesse período, entre os anos 60 e 80, em que as teorias sobre os signos e sobre o discurso começam a dominar os estudos literários, a poética metalingüística e reflexiva de Leminski surge como um campo de experiência de limites ainda não testados ou pouco testados por outros poetas. O conceito da poesia como texto literário, como expressão de uma linguagem escrita, veiculada em livros e destinada a um público erudito, passa a ser também por ele questionado. Para Leminski, a poesia faz parte da semiótica, do mundo dos signos que engloba todas as outras formas de manifestações artísticas, de informação e de comunicação. Poesia é também linguagem gráfica, sonora e verbal, que busca uma lógica própria para expressar pensamentos e formas de vida. Esta pesquisa vai focalizar alguns aspectos da teoria da linguagem e da teoria literária evidenciados, em diversos níveis, na prática poética leminskiana. São questões pertinentes ao contexto de diferentes correntes contemporâneas de pensamento que apontam a linguagem como o lugar privilegiado em que se dá a atuação do sujeito e a criação dos sentidos. / The poetry of Paulo Leminski (1944-89), written in Brazil between the 1960s and the 1980s, displays a constant attitude of experimentation that opens up possibilities for questioning the relationships between thought, world and language. By retracing the development of his career as a writer and analyzing the ways in which he created his language games, I set out to discover the logic of his poetics and its links to the materiality of the linguistic sign. As a poet and author of fiction, but also as a producer of advertising copy, song lyrics, literary criticism and translations, Leminski always took verbal language in its many different dimensions as his object and raw material. In the period discussed (1960s, 70s and 80s), when theories of signs and discourse predominated in literary studies, Leminski developed his metalinguistic and reflexive poetics as a field for experiencing and experimenting with limits that other poets had not yet tested at all or only very marginally. He also questioned the concept of poetry as literary text, as the expression of a written language conveyed in books to a learned audience. For Leminski poetry was part of semiotics, of the world of signs that encompasses all other forms of art as well as information and communication. Poetry is visual language and sound as well as verbal language, pursuing its own logic to express thoughts and life forms. My research focuses on some aspects of the theory of language and of the literary theory evinced at various levels by Leminskis poetic practice. The questions raised are pertinent in the context of different contemporary currents of thought which consider language a privileged field for the operation of the subject and the creation of meaning.

L’expression du "rythme plastique au cinéma" est généralement considérée comme métaphorique, en sorte qu’il est difficile de l’appliquer au cinéma. Cette thèse cherche à éclaircir le fait que la question du rythme plastique n’est pas indifférente à l’organisation visuelle propre à l’art cinématographique. C’est le cinéma d’Andreï Tarkovski qui nous conduit à aborder la rhétorique du "temporelle dans un plan et à travers les plans : l’importance qu’il accorde au plan nous invite à penser le rythme comme inscrit dans la dimension plastique de l’espace encadré. Le premier chapitre est consacré à l’approfondissement de la conception du rythme propre au cinéaste, au cours duquel on remarque ses positions contradictoires à l’égard du montage et de la réalisation du thème du temps. Les chapitres suivants s’appliquent à explorer l’organisation du temps, de l’espace et de la figure, en analysant les images de ses films : il s’agit d’éclairer la dimension rythmique inhérente à la réalisation du temps, de l’espace, et de la figure de manière plastique. Ces cheminements d’analyse nous conduisent à conclure que la dimension plastique de l’image chez Tarkovski est issue de son penchant pour le monde virtuel, le monde du rêve. Le parti pris essentiel de cette thèse suppose dans cette organisation du monde virtuel du rêve une convergence entre l’acte organisateur de l’image et son produit, entre la poïétique et la poétique, entre la plastique et la rythmique. C’est en cela que la plastique est étroitement en rapport avec la rythmique dans le cinéma de Tarkovski. / The expression of "plastic rhythm in cinema" is generally considered as metaphorical, so that it is difficult to apply it to the cinema. This thesis aims to clarify that the question of plastic rhythm is not indifferent to the visual organization in the art of film. It is the cinema of Andrei Tarkovsky that leads us to approach the rhetoric of "plastic rhythm in cinema". The rhythm is for Andrei Tarkovsky defined as the temporal intensity within a shot and through the shots: his importance on the shot allows us to think of rhythm as sculpted in the plastic dimension of the framed space. The first chapter is dedicated to the deepening of his comprehension of rhythm, where we notice his contradictory positions towards the montage and the realization of the theme of time. In the following chapters we investigate the organization of time, space, and figure, by analyzing images of his film: our analysis aims to illuminate the rhythmic dimension inherent to the realization of time, space, and figure in plastic form. These progressions of analysis lead us to conclude that the plastic dimension of the images of Tarkovsky is established by his inclination for the virtual world, the realm of dreams. The essential bias of this thesis assumes in this organization of the virtual world of dreams a convergence between the act of organizing the image and its product, between the poïetic and the poetic, between the plastic and the rhythmic. That is where the plastic is closely related to the rhythmic in the cinema of Tarkovsky.

Mellanchefens organisatoriska roll har transformerats sedan Burns först utforskade mellanchefsrollen och sedan slutet av 1900-talet har rollen förändrats och tilldelats fleråtaganden än tidigare. En studie från Previa belyser mellanchefsrollens ökade sjukskrivningar och vittnar om att positionen i mitten av organisationer har blivit en utsatt arbetsbefattning att disponera över i dagens moderna samhälle. Följande kvalitativa studie syftar till att utforska hur mellanchefsrollen upplevs av olika chefspositioner inom organisationer och belysa problematiken kring rollkonflikterna som uppstår på mellanchefspositioner ur ett nytt perspektiv. Studiens empiriska material utgår frånelva chefsintervjuer från tre matrisorganisationer. För att bearbeta studiens material har vi använt oss av en abduktiv metod där vi under studiens gång har arbetat genom hermeneutiken och pendlat mellan empiri och teori för att skapa förståelse. I studien försöker vi inte definiera mellanchefsrollen ur några exakta riktlinjer utan studien utforskar rollen i en föränderlig praktik. Vi har inte som avsikt med studien att presentera någon form av absolut sanning gällande mellanchefsrollen utan vi vill snarare förmedla olika poänger om mellanchefsrollens arbetssituation som förhoppningsvis leder till en djupare reflektion tills studiens läsare. I studien bearbetar vi fram mellanchefsrollens komplexitetgenom differentierade chefers kunskaper, perspektiv och berättelser om det vardagligaarbetet. Studiens resultat framhäver att mellanchefsrollen upplevs olika beroende på vilken chefsposition rollen upplevs av. Framförallt skiljer sig övre chefers perspektiv gentemot linjechefernas perspektiv på vad rollen finns till för i organisationer och vilka interna intressenter som mellanchefsrollen ska tillfredsställa. / The organizational role of the middle manager has been transformed since Burns first explored the role of middle manager, since the end of the 20th century the role continues to change and increasingly more tasks than before have been added to its role. A study from Previa highlights the middle managers role's increased sick leave and indicates that the organization's mid-level position has become a vulnerable job role to command of, in today's modern society. The following qualitative study aims to explore how the role of middle manager is experienced by different managerial positions within organizations hierarchy and from a new perspective shed light on the problems surrounding the role conflicts that arise in middle manager positions. The empirical data is based on eleven conducted managerial semistructured interviews from three organizations. To process the study's material, we’ve applied an abductive method where we throughout the course of the study worked through hermeneutics and thus altered between empiricism and theory to produce an understanding. In this study we don’t aim to define the middle manager role from any exact guidelines, but the study explores the role in a changing practice. Furthermore, this study doesn’t intend to present any form of absolute truth regarding the middle manager role, but rather we want to convey different perspectives about the middle manager role's work situation. Hopefully this will subsequently lead to a deeper reflection for the readers. Through the differentiated managers' knowledge, perspectives and stories about everyday work we managed to understand and process the complexity of the middle manager role. In conclusion, the results concludes that the perception of the middle manager's role varies, depending on which managerial position is being addressed. Above all, there is a conspicuous difference between the senior executives’ perspectives and the line managers' perspectives on the middle managers function within the organization and which internal stakeholders the middle manager role ought to satisfy.