This thesis employs the concept of 'voice' in order to explore the variety of dialogic relationships between men and women in seven Shakespeare plays. Here, 'voice' is defined as an ideological position held by a character and voices within a dialogical relationship test dominant social ideas. In doing so, the aim is to explore how employing a linguistic approach allows us to develop a more nuanced perspective towards women and female voices in Shakespeare. Taking the early modern tradition of an all-male-cast into consideration, this project acknowledges the tension between the idea of embodiment and voice; however, it argues that even though there is no biological female body of the Shakespearean stage, there is a female voice. Dialogism, of course, derives from the work of the Russian theorist Mikhail Bakhtin. These 'voices' are analysed in the context of a theoretical framework informed by his writings on the novel, which are also increasingly being used to make sense of drama in line with Bakhtin's own awareness of a nascent dialogism in Shakespearean drama. 'Polyphony', in particular, assumes a separation between the author's and the characters' points of view. Thus, this project considers Shakespeare's texts as dialogic and his plays as a dialogue of voices, in which the characters have the capacity to hold dialogical relationships where no voice holds more importance than any other. This is significant because these conflicting voices are what make the Shakespearean text different from those in which a single voice is heard - that of the author, for example. As this study talks about an oppressive authoritative/patriarchal language, a dialogic approach unlocks the languages of the others which it tries to marginalise and silence. The research reveals a complex relationship between space, time and voice. More precisely, the carnivalesque becomes visible in Shakespeare's use of innovative discursive devices, such as 'active parody', 'Menippean dialogue' and 'Socratic dialogue', which suggests a multi-toned and ambiguous female voice; a voice that has the capacity to covertly and overtly oppose and challenge social ideologies surrounding gender. The thesis offers new perspectives on the presentation of women and speech. Importantly, it offers a more sophisticated and complex Bakhtinian framework for looking at carnival in Shakespeare. Additionally, a linguistic model of analysis also develops current scholarly use of Bakhtin's concept of carnival. Rather than viewing carnival as simply a time-space of betwixt and between, this project looks at carnival in the context of language (the carnivalesque). More specifically, it reveals how Shakespeare¿s female figures find pockets of carnivalesque space in everyday existence through dialogue. Thus, suggesting that emancipation is not limited to an allocated time or space, rather, it can also be achieved through language.

The revisions to the biography of Josquin des Prez that followed new archival discoveries in the late 1990s has encouraged critical reappraisal of much of Josquin’s life and works, especially his periods of service in Milan (mid-1480s), Rome (1489 – ca. 1494/95), and Ferrara (1503-4). Yet the period of his life between his departure from Rome and arrival at Ferrara remains a lacuna as regards both his biographical details and his compositional activities. We can be relatively certain that he lived and worked in the orbit of the French royal court of King Louis XII (r. 1498-1515) during some of this time, although exactly when and in what capacity remains unclear. Alongside the gap in Josquin’s biography lies a gap in our understanding of certain consequential developments in style and genre of European sacred polyphony during these years. Early in the sixteenth century, a new iteration of the motet supplanted the polyphonic mass setting as the most widely-transmitted musical genre. The prolix cantus firmus-based motets on neoclassical devotional texts of the fifteenth century were replaced by more transparent and repetitive settings of liturgical and scriptural texts, rarely integrating a cantus firmus at all. Doubtlessly due to their new accessibility, multi-functionality, and the rise of music printing, these motets began to appear in many sources, often with a composer’s name attached—a distinct shift from the one or two often anonymous extant sources for most motets in the second half of the fifteenth century. It has already been suggested that these trends originated early in the century at the French royal court, where court singer-composers such as Jean Mouton, Antoine de Févin, Denis Prioris, and others appear to have played a central role in the development of this new motet style. Josquin, too, contributed to the genre, as a handful of motets in French court sources from ca. 1505-15 attest. This dissertation investigates these questions that follow: (1) When and in what capacity might Josquin have lived and worked in the orbit of the French royal court? (2) What might he have composed during these years, and how does the stylistic profile of that music compare to the music he had written earlier, in Milan and Rome? (3) How does Josquin’s French-court music relate to the music written by his colleagues and immediate successors there? In approaching the music at hand, I analyze motets by Josquin and his French-court contemporaries through the lens of form. We do not talk much about form in this period, insofar as it lacks the regulated conventions that we typically associate with the term as it applies to music from the eighteenth and nineteenth centuries. Rather, I use the concept of form to describe how Josquin and others organized their motets globally—i.e., in horizontal space from start to finish—vis à vis the texts being set and, when applicable, a long-note cantus firmus. In this dissertation, I demonstrate how Josquin displayed a particular interest in the repetition of text and music—in the form of what I call text-music elements—which manifested itself in various ways for the duration of his career. Second, I examine how Josquin’s particular deployment of this principle manifested itself in the form of literally-repeated paired duos in motets that were circulating at the French royal court in the first decade of the sixteenth century and, as I further argue, were likely composed during his association with the court ca. 1499-1503. Finally, I contextualize these motets of Josquin with those by his peers at the French court chapel, such as Loyset Compere, Jean Mouton, and Antoine de Févin—suggesting that Josquin may have brought to the court an underlying repetitive impulse that led to the coalescence of the consequential “French-court motet.”

This paper argues that polyphony is built on the transaction between voices and experiential truths, where voice and experience constitute each other. From this perspective voice is associated with the plural, transformational character of moment-to-moment experience. This view differs from the prevalent appropriation of polyphony where voice expresses a relatively stable identity (e.g. Hazen 1993) such that many voices (polyphony) may be reduced to many identities. The experiential understanding of polyphony is examined through close inspection of Bakhtin's contextualization of polyphony in carnival, a reading of his work that is largely missing from the organizational literature. This reading is further developed in the context of talk about teamwork in a large healthcare organization. Analysis of this talk reveals three different types of discursive truths that create different kinds of identities and different kinds of possibilities for organizational change: the public, teleological truths of epic discourse; the intimate truths of confession and irony; and the contested truths of the argument and what Bakhtin (1984) calls the microdialogue (or inner conversations with ourselves).

Submitted by Rafael Gueli Tomaz Silva (rafaelgueli@yahoo.com.br) on 2018-09-28T00:08:47Z No. of bitstreams: 1 Dissertação Gueli Final.pdf: 7824195 bytes, checksum: 531b574f7867b6c9a244bd73f27efa1e (MD5) / Approved for entry into archive by Laura Mariane de Andrade null (laura.andrade@ia.unesp.br) on 2018-09-28T19:15:05Z (GMT) No. of bitstreams: 1 silva_rgt_me_ia.pdf: 7824195 bytes, checksum: 531b574f7867b6c9a244bd73f27efa1e (MD5) / Made available in DSpace on 2018-09-28T19:15:05Z (GMT). No. of bitstreams: 1 silva_rgt_me_ia.pdf: 7824195 bytes, checksum: 531b574f7867b6c9a244bd73f27efa1e (MD5) Previous issue date: 2018-07-31 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / O presente trabalho propõe uma abordagem teórica/analítica do conceito e aspectos estruturais de um procedimento explorado por compositores no período barroco conhecido por polifonia latente. Neste período, diversos compositores buscaram expressar uma textura polifônica em uma linha melódica única. Primeiramente, este trabalho consiste em comparar os aspectos estruturais da melodia e polifonia com os da polifonia latente, e em segundo lugar, expor, qualificar e determinar os métodos e estratégias composicionais empregados nas obras analisadas e, assim explicitar aquilo que está latente pela ocultação da multiplicidade de partes em uma linha melódica única, resultando em uma textura polifônica latente. Para o cumprimento dos objetivos propostos adotamos diferentes estudos teóricos, analíticos e históricos, dos quais destacamos Albert Bregman (1994), Alexander Ringer (2001), Allen Forte e Steven Gilbert (1982), Arnold Schoenberg (2001), Ernst Kurth (1991), e Walter Piston (1947), estes autores, entre outros, fundamentaram o desenvolvimento do trabalho e a análise das peças, Presto da Fantasia VII em Mib maior para violino desacompanhado de Telemann, e Allemande da Partita em Lá menor para flauta desacompanhada - BWV 1013 de Bach. Verificamos que a aparente melodia que se apresenta na polifonia latente possui características melódicas e polifônicas diferentes, devido a múltiplas continuidades e unidades que a caracteriza. E que, a organização vertical e horizontal explicita na polifonia está condensada em uma linha melódica única na polifonia latente, se tornando então implícita. No fluir da aparente linha melódica única, percebe-se a atuação de várias vozes sem no entanto elas se sobreporem, pois essa técnica é resultado de uma maneira de utilizar os diversos parâmetros musicais onde a alternância entre as notas que se associam umas às outras permite estabelecer uma relação entre elas. / The present work proposes a theoretical/analytical approach to the concept and structural aspects of a procedure explored by composers in the baroque period known as latent polyphony. In this period, several composers sought to express a polyphonic texture in a single melodic line. First, this work consists of comparing the structural aspects of melody and polyphony with those of latent polyphony, and secondly, exposing, qualifying and determining the compositional methods and strategies employed in the analyzed works and thus explaining what is hidden by the occultation of the multiplicity of parts in a single melodic line, resulting in a latent polyphonic texture. In order to fulfill the proposed objectives, we adopted different theoretical, analytical and historical studies, such as Albert Bregman (1994), Alexander Ringer (2001), Allen Forte and Steven Gilbert (1982), Arnold Schoenberg (2001), Ernst Kurth , and Walter Piston (1947), these authors, among others, founded the development of the work and the analysis of the pieces, Presto of Fantasia VII in Mib major for unaccompanied violin by Telemann, and Allemande of Partita in A minor for unaccompanied flute - BWV 1013 by Bach. We verified that the apparent melody that displays in the latent polyphony has different melodic and polyphonic characteristics, due to the multiple continuities and units that characterizes it. And that, the explicit vertical and horizontal organization in polyphony is condensed into a single melodic line in latent polyphony, thus becoming implicit. In the flow of the apparent single melodic line, we can see the performance of several voices without however overlapping, since this technique is the result of a way of using the various musical parameters where the alternation between the notes that are associated with each other allows to establish a relationship between them.

Este trabalho apresenta a análise do salmo 137. Apontamos quais são os sujeitos falantes neste salmo identificando, então, uma multiplicidade de vozes. Comentaristas e exegetas bíblicos analisam estas vozes sob diferentes perspectivas. Propomos apresentar um paralelo destas interpretações , assim como também analisar o modo como tais vozes estão organizadas no salmo de forma que, mesmo com múltiplos falantes, o poema convirja para um único ponto de vista, formando a unicidade do salmo: o lamento pelo exílio e as possíveis réplicas para a crise instaurada. / This paper presents the analysis of Psalm 137. Pointed out which are the subject identifying speakers in this psalm, then a multiplicity of voices. Biblical exegetes and commentators analyze these voices from different perspectives. We propose a parallel display of these interpretations, as well as examine how these voices are arranged so that in the psalm, even with multiple speakers, the poem converge to a single point of view, forming the unity of the psalm: the lament for the exile and possible replies to the crisis brought.

Made available in DSpace on 2016-03-15T19:46:39Z (GMT). No. of bitstreams: 1 Mirlane Moreira Gomes.pdf: 139607 bytes, checksum: 654aef948ff06dc6c3c9886fb1037075 (MD5) Previous issue date: 2008-02-14 / Fundo Mackenzie de Pesquisa / This research has as main subject the study of the workmanship Grande Sertão: veredas, representative of the Brazilian Modernism and Neomodernism, written for mining author Guimarães Rosa, whose objective is, particularly, the analysis of three feminine figures that are part of this romance, under the point of view of the Analysis of the Speech. In this work, the Analysis of the Speech intends to contribute so that some aspects are observed, what it is of interest for the Literature and the Analysis of the Speech. The workmanship presents twenty women and great it is the importance of the feminine figures for Rosa, however, three of them all constitute the fulcrum of the course of the plot of the romance, for this reason, Diadorim, Otacília and Nhorinhá are the personages chosen for analysis of the speech elements that impersonate them. The proposal theoretical is to demonstrate to the origins and trends of the Analysis of Speech (AD) and, for this, some authors as Maingueneau, Orlandi and Foucault are cited by being representative of current proposals of analysis that place the AD ones as science to interdisciplinary. The dialogism and the polyphony, according to Bakhtin, are concepts presented and analysed in the parts selected for the composition of the corpus. This complete procedure the biggest question of this research that is to demonstrate as the antithesis, the dialogism and the polyphony are resources of great prominence for the Speech Formation of the studied feminine figures. / Esta pesquisa tem como principal o estudo da obra Grande Sertão: veredas, representante do Modernismo e Neomodernismo brasileiros, escrita pelo autor mineiro Guimarães Rosa , cujo objetivo é, particularmente, a análise de três figuras femininas que fazem parte deste romance, sob o ponto de vista da Análise do Discurso. Neste trabalho, a Análise do Discurso pretende contribuir para que alguns aspectos sejam observados, o que é de interesse para a Literatura e para a Análise do Discurso. A obra apresenta vinte mulheres e grande é a importância das figuras femininas para Rosa, porém, três delas constituem o fulcro do andamento do enredo de todo o romance, por esta razão, Diadorim, Otacília e Nhorinhá são as personagens escolhidas para análise dos elementos discursivos que as personificam. A proposta teórica é a de demonstrar as origens e tendências da Análise do Discurso( AD) e, para isso, alguns autores como Maingueneau, Orlandi e Foucault são citados para serem representantes de propostas atuais de análises que colocam a AD como ciência interdisciplinar. O Dialogismo e a Polifonia, segundo Bakhtin, são conceitos apresentados e analisados nas partes selecionadas para a composição do Corpus. Este procedimento completa a maior questão desta pesquisa que é a de demonstrar como a Antítese, o Dialogismo e a Polifonia são recursos de grande destaque para a formação discursiva das figuras femininas estudadas.

MESQUITA, Lívia de Lima. Argumentação/polifonia nas anáforas encapsuladoras. 2011. 163f. – Tese (Doutorado) – Universidade Federal do Ceará, Departamento de Letras Vernáculas, Programa de Pós-graduação em Linguística, Fortaleza (CE), 2011. / Submitted by Márcia Araújo (marcia_m_bezerra@yahoo.com.br) on 2014-08-26T12:32:50Z No. of bitstreams: 1 2011_tese_llmesquita.pdf: 877056 bytes, checksum: b1bb99790dc57052c273abe1e23b2cb0 (MD5) / Approved for entry into archive by Márcia Araújo(marcia_m_bezerra@yahoo.com.br) on 2014-08-26T12:52:44Z (GMT) No. of bitstreams: 1 2011_tese_llmesquita.pdf: 877056 bytes, checksum: b1bb99790dc57052c273abe1e23b2cb0 (MD5) / Made available in DSpace on 2014-08-26T12:52:44Z (GMT). No. of bitstreams: 1 2011_tese_llmesquita.pdf: 877056 bytes, checksum: b1bb99790dc57052c273abe1e23b2cb0 (MD5) Previous issue date: 2011 / The Thesis describes argumentation within encapsulated anaphors based on Semantic Blocks Theory (SBT) (CAREL, 1995; DUCROT & CAREL, 1998) and Polyphony (ANSCOMBRE e DUCROT, 1998; DUCROT e CAREL, 2008) approaches. The study assumes the hypothesis that SBT is an appropriate model to describe argumentative functions of encapsulated anaphors, since it approaches to phenomena as meaning (semantics) and sense (pragmatic) implicated in argumentation within any kind of language in use. Therefore since encapsulated anaphors comprehend doxa and paradox enchaining, the study investigates the argumentative strategy that is interior and ulterior to such expressions linguistic system, by describing their function of utterer’s approximation and distance from the evaluated statements. It argued on the axiological value notion, resulting that the very argumentation, inner to language, updates an axiological value in encapsulated anaphoric expressions, so that both concepts can be gathered in a unique notion for argumentation. Finally, the study took into account that assimilation and utterer’s attitude (assumption, according, opposition) within encapsulated portions can express different leveled evaluative functions. Such attitudes set levels of compromise from utterer in the concerning to the utterance, but all of them are axiological mechanisms. The result for discussions in the research points to the impossibility of describing argumentative functions a priori for encapsulated anaphors, since it is only within text articulation – and more properly within enchaining, target of assimilation of any attitude – that encapsulated anaphors can be dispositive for a polyphonic-argumentative strategy. / Esta Tese descreve a argumentatividade das anáforas encapsuladoras à luz da Teoria dos Blocos Semânticos - TBS (CAREL, 1995; DUCROT e CAREL, 1998) e da Teoria da Polifonia (ANSCOMBRE e DUCROT, 1998; DUCROT e CAREL, 2008). Partimos da hipótese de que a TBS constitui modelo apropriado para descrever as funções argumentativas das anáforas encapsuladoras, uma vez que aborda, em seu âmbito, os fenômenos de significação (semânticos) e de sentido (pragmáticos) envolvidos na argumentação em quaisquer esferas da língua posta em uso. Além disso, tendo em vista a particularização, nas anáforas encapsuladoras, de encadeamentos doxais ou paradoxais, investigamos a estratégia argumentativa interior e ulterior ao sistema linguístico subjacente a essas expressões, descrevendo-lhes a função de aproximação ou afastamento do locutor em relação aos enunciados avaliados. Discutiu-se ainda a noção de valor axiológico, resultando que a própria argumentação, inerente à língua, redunda na atualização de um valor axiológico nas expressões anafóricas encapsuladoras, constituindo os dois conceitos numa só noção de argumentação. Por fim, foi encontrado que a assimilação e as atitudes do locutor (assunção, concordância, oposição), nas porções encapsuladas, podem exprimir funções avaliativas em diferentes níveis. Essas atitudes estabelecem níveis de comprometimento do locutor com o enunciado, mas constituem, todas elas, mecanismos axiológicos. O resultado das ponderações aponta para a inadequação de se descrever funções argumentativas a priori para as anáforas encapsuladoras, visto que é apenas na articulação textual e, mais propriamente, no encadeamento, fruto de assimilação ou de alguma atitude do locutor, que as anáforas encapsuladoras podem ser dispositivo para uma estratégia argumentativo-polifônica.

Como gênero, o dicionário inscreve-se na sociedade entre as obras de autoridade, que servem como referência para a construção dos mais diferentes gêneros. Além disso, encerra um discurso pedagógico, já que, por meio das definições, consulentes partilham do conhecimento detido pelo lexicógrafo. O dicionário é também um gênero múltiplo, formado por diferentes subgêneros, como o verbete e os textos de abertura (prefácio, apresentação, detalhamento). Espécie de colônia, que agrega outros textos, define-se também por suas características formais bem marcadas, como a alfabetação e a composição por verbetes. Múltiplo por sua própria natureza e sujeito ao dialogismo da enunciação, o dicionário é atravessado por muitas vozes e enunciadores, não apenas os próprios redatores, mas também outras obras de referência, técnicas ou de outras línguas. Essas vozes são costuradas pelo dicionarista, figura do discurso que gerencia os enunciados, envoltos na expectativa da neutralidade da descrição isenta. É nosso grande interesse observar em termos práticos quais são as fronteiras entre o discurso aparentemente isento que se pretende que o dicionário tenha e as brechas de onde emergem outras vozes que povoam essa colônia. Para buscá-las, valemo-nos basicamente dos estudos de polifonia de Ducrot, da noção de ethos de Maingueneau e Charaudeau e das formas de modalização que Castilho e Castilho (2002) arrolaram em seu estudo sobre os advérbios na Gramática do português falado, volume II. Por meio da pesquisa reversa com base nos termos modalizadores de Castilho e Castilho no Dicionário Aurélio da língua portuguesa (DALP, 2010) e no Dicionário Houaiss da língua portuguesa (DHLP, 2009), buscamos partir da definição para as entradas, identificando os enunciadores que se mostram ou se escondem, afiançam ou refutam, negam ou afirmam uma proposição. Por meio dessas ocorrências, podemos chegar a enunciados postos e pressupostos e explorar diferentes aspectos da enunciação, desnudando parte das vozes que povoam essa colônia / As a genre, the dictionary relates to other texts of authority which constitute reference to the construction of various kinds of genres. It also conveys a pedagogical discourse since people consulting it share the lexicographers knowledge through the definitions provided by the dictionary. More than that, the dictionary is in itself a multiple genre because it encloses different subgenres like entries and the opening texts (preface, introduction and key to entries). Just like a colony, congregating other texts, the dictionary can also be defined by its formal characteristics like the alphabetical order and the organization in entries. The dictionary is multiple in its own nature and, as such, subject to the dialogism of the enunciation. It is pervaded by many voices and enunciators, not only the authors themselves, but also those of other reference texts, technical or from other languages. They are put together by the lexicographer, figure of the discourse who generates the statements, embedded in the expectation of neutrality that unbiased description demands. Our great interest here is to observe in practical terms the boundaries between the apparent unbiased discourse that should be part of the dictionary, and the gaps through which other voices, part of this colony, arise. In order to achieve this goal and find these gaps, we are going to consider Ducrots studies of polyphony, the notion of ethos from Maingueneau and Charaudeau and also the modalization that Castilho and Castilho (2002) listed on their study on adverbs in Gramática do português falado, volume II. Through the inverse research based on the modalization terms of Castilho e Castilho in the Dicionário Aurélio da lingua portuguesa (DALP, 2010) and in the Dicionário Houaiss da língua portuguesa (DHLP, 2009), we tried to depart from the definition of the entries, identifying the enunciators who show themselves and those who are less explicit; those who assure and those who negate; those who deny and those who affirm an enunciation. Through these occurrences, we can reach propositions which are posed and presupposed and we can explore different aspects of enunciation, unveiling some of the voices which are part of this colony

Submitted by CARLOS HENRIQUE CASCARELLI IAFELICE null (iafelice86@gmail.com) on 2016-02-05T21:11:05Z No. of bitstreams: 1 Dissertação final - HOMOLOGAÇÃO (revisado)_.pdf: 39695923 bytes, checksum: c710a4b98b877ab98bbe802fb7e892fa (MD5) / Approved for entry into archive by Sandra Manzano de Almeida (smanzano@marilia.unesp.br) on 2016-02-12T11:34:58Z (GMT) No. of bitstreams: 1 lafelice_chc_me_ia.pdf: 39695923 bytes, checksum: c710a4b98b877ab98bbe802fb7e892fa (MD5) / Made available in DSpace on 2016-02-12T11:34:58Z (GMT). No. of bitstreams: 1 lafelice_chc_me_ia.pdf: 39695923 bytes, checksum: c710a4b98b877ab98bbe802fb7e892fa (MD5) Previous issue date: 2015-12-14 / Fundamentado a partir de três eixos do conhecimento da polifonia (teórico, prático e especulativo), este trabalho apresenta o ‘conceito das protoformas do cânone’, que consiste em cinco matrizes ou formas-base que sintetizam as variadas manifestações do cânone durante os séculos XIII ao XVI. Para a fundamentação da pesquisa, são considerados primariamente aspectos relacionados à periodicidade motívica em tratados e exemplos musicais do séc. XIII, limitando-se à compreensão do termo como apresentado nos tratados práticos do séc. XVI, propiciando assim, materiais e indícios que apontam as variadas etapas do desenvolvimento e realização do cânone. Ao longo da exposição do estudo, uma série de comentários de excertos diretamente ligados às fontes primárias são apresentados, resultando em uma contribuição teórica às questões terminológicas e conceituais concernentes à sua história. / Based from three axes of polyphony’s knowledge (theoretical, practical and speculative), this work presents the 'concept of the canon’s protoforms', which consists of five matrices or forms-based synthesizing the varied manifestations of the canon during the 13th-16th centuries. In order to support the research, they are considered primarily aspects related to motivic periodicity in treatises and musical examples in 13th century, being limited on understanding of the term as presented in practical treatises in 16th-century, thus providing materials and evidences that link the various stages of development and realization of the canon. Throughout the study’s exposition, a series of excerpts and comments directly related to the primary sources are presented, resulting in a theoretical contribution to the terminological and conceptual issues concerning they history.

Orientador: Rony Farto Pereira / Banca: Marlene Durigan / Banca: Djane Antonucci Correa / Banca: Dagoberto Buim Arena / Banca: Jeane Mari Sant'Ana Spera / Resumo: Este trabalho de pesquisa teve como objetivo analisar o discurso dos Parâmetros Curriculares Nacionais - Ensino Fundamental - 3° e 4° ciclos. Para tanto, discorreu sobre a trajetória do discurso oficial para o ensino da disciplina Língua Portuguesa, focalizando seu contexto histórico de produção, bem como todas as reformas curriculares que antecederam o objeto de análise; analisou o discurso do documento tendo por base as idéias de Bakhtin sobre polifonia e monofonia, levantando as dificuldades de aplicação das propostas nele contidas. Foi feita uma pesquisa de base qualitativa, etnográfica, focalizando o processo pedagógico desenvolvido em sala de aula por vinte e quatro professores atuantes em nove escolas estaduais pertencentes à Diretoria de Ensino da Região de Ourinhos - SP, desde a formulação dos Planos Anuais de Ensino até o resultado visto em sala de aula, por meio das anotações feitas pelos alunos, com a preocupação de perceber a relação existente com os PCN-LP, além de entrevistas com alunos concluintes dos cursos de Letras que formam os futuros professores que atuarão na região. O que motivou a pesquisa foi a inquietação de quem atua dentro da escola e percebe que a qualidade do ensino de língua materna não consegue se efetivar com sucesso. Daí, o interesse em estudar as determinações oficiais e descobrir os nós que atravancam a execução das propostas elaboradas por intelectuais respeitados e que não chegam aos seus sujeitos de direito, alunos e professores. Tentou-se mostrar e avalizar novos direcionamentos que pudessem intervir e reverter o estado caótico em que se encontra o ensino de Língua Portuguesa, no país. Foi intenção da pesquisa deixar uma contribuição aos atuais e futuros professores, além dos dirigentes educacionais, para se procurar caminhos para a efetiva realização do processo ensino-apendizagem da disciplina em questão. / Abstract: This research had as objective to analyze the speech of the Parâmetros Curriculares Nacionais - Ensino Fundamental-3° e 4° ciclos. So that, it discoursed on the trajectory of the official speech for the teaching the discipline Portuguese Language focusing its historical context of production, as well as all the curricular reforms that had preceded the object of analysis; it analyzed the speech of the document having for base the ideas of Bakhtin on polyphony and monophony raising the difficulties of application of the proposals in it contained. It was made a research of qualitative base, ethnographic, focusing the pedagogical process developed in classroom by twenty-four teachers operating in nine state schools pertaining to the Diretoria de Ensino da Região de Ourinhos-SP, since the formularization of the Annual Plans of Teaching until the result seen in classroom, by means of the notes written down by the pupils, with the concern to perceive the existent relation with the PCN-LP, besides interviews with pre - graduate students of Teacher Education Courses that form the future teachers who will work in the region. What motivated the research was the inquietude of who acts inside of school and perceives that the quality of the teaching of mother language does not obtain to accomplish itself successfully. That's why the interest in studying the official determinations and to find out the knots that hinder the execution of the proposals elaborated by respected intellectuals and don't achieve its citizens of right pupils and teachers. It was tried to show and to endorse new directions could interfere and revert the chaotic state in which the teaching of Portuguese Language finds itself in the country. It was intention of the research to leave a contribution to the current and future teachers as well as to the educational controllers to look for ways for the effective... (Complete abstract, click electronic access below) / Doutor