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

Orientador: Anna Christina Bentes da Silva / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem / Made available in DSpace on 2018-08-11T19:57:49Z (GMT). No. of bitstreams: 1 UniversidadeEstadualdeCampinas.InstitutodeEstudosdaLinguagem.ProgramadePos-GraduacaoemLinguistica_D.pdf: 1214202 bytes, checksum: 1f78545b7945ce1c93433a3243a738f0 (MD5) Previous issue date: 2008 / Resumo: Este trabalho é desenvolvido no campo da lingüística textual e tem a sua fundamentação baseada, ainda, em teorias das ciências sociais, nas áreas da história social e da sociologia da comunicação. Teve por objetivo analisar algumas formas de ocorrência da intertextualidade temática, por meio do estudo da centração tópica, e da polifonia, a partir do entendimento dos processos de produção e edição do discurso reportado, no sub-gênero telejornal, um dos principais integrantes da variada gama de gêneros da TV. O objeto da análise é constituído por telejornais veiculados no horário nobre da televisão brasileira: o jornal Cultura Noite, da TV Cultura e o Jornal Nacional, da TV Globo. Mais especificamente, o universo da pesquisa é formado por cinco edições de cada um dos telejornais, das respectivas emissoras, exibidos entre os dias 07/05/07 e 11/05/07. A questão norteadora indaga em que medida os procedimentos de definição do foco relevante da notícia, bem como a mobilização das vozes sociais enunciadas para a construção do gênero telejornal, estão ligados aos modelos público e privado de televisão. Em princípio, partimos da hipótese de que as respectivas funções sociais de cada uma dessas emissoras tivessem uma influência mais significativa, no modo pelo qual ocorre o estabelecimento de relações intertextuais, de natureza temática, e polifônicas. A análise dos telejornais, tanto no seu recorte sincrônico, por meio do estudo comparativo de tópicos abordados em edições do mesmo dia, quanto no recorte diacrônico, por meio do estudo da enunciação polifônica, bem como da organização tópica, ao longo da semana, possibilita concluir que tais interferências ocorrem com maior evidência no nível macro-estrutural destes gêneros. É, portanto, no nível textual discursivo que se encontra a força geradora dos diferentes modos de se constituir gêneros telejornalísticos que, entendidos como prática social, encontram-se relacionados aos seus contextos de produção, não sendo deles, porém, de todo dependentes para construírem uma identidade. / Abstract: This paper has its axis in the field of textual linguistics, having its basis also set on theories of the social sciences, specifically in the subfields of social history and communication sociology. It aims at assessing a variety of different possible occurrences of theme intertext relationships through a deeper look onto concepts as topic centration and polyphony, by the means of comprehending the processes of producing and editing the reported discourse in the TV News broadcasting genre. The object of such analysis embraces specifically prime time Brazilian tv news: TV Cultura's jornal Cultura Noite and TV Globo's Jornal Nacional. This study comprises five subsequent presentations of each of the object programs, namely those broadcasted from May 07th, 07 to May 11th, 07. This study revolves around and issue: the connection between the private and public established standards of tv producing and both the process of definition of what's relevant for the news and the mobilization of the enunciated social voices. At first we hypothesized each of these tv stations' social roles would significantly influence the entanglements of how intertext relationships - thematic by nature - are developed, as well as the polyphonic relationships. Analyzing the tv news programs - either synchronically, through a comparative assessment of the issues presented in their respective editions on single different days; or diachronically, by the means of studying their distinct polyphonic enunciation and topic ordering during the entire week - one can conclude such interferences occur more evidently at the level of the macro-structure of these genres. It's therefore within the discursive textual level that the resides the boosting power that generates the most diverse tv news genres. And as far as their social roles are concerned, such genres can be said to be related to their respective production contexts, although the genres are not thoroughly dependent on their social roles when it comes to building their own identity. / Doutorado / Doutor em Linguística

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.

The classic slave narrative recounted a fugitive slave’s personal story condemning slavery and hence working towards abolition. The neo-slave narrative underlines the slave’s historical legacy by unveiling the past through foregrounding African Atlantic experiences in an attempt to create a critical historiography of the Black Atlantic. The neo-slave narrative is a genre that emerged following World War II and presents us with a dialogue combining the history of 1970 - 2000. In this thesis I seek to explore how the contemporary counter-part of the classic slave narrative draws, reflects or diverges from the general conventions of its predecessor. I argue that by scrutinizing our notion of truth, the neo-slave narrative remains a relevant, important witness to the history of slavery as well as to today’s still racialized society. The historiographic metafiction of the neo-slave narrative rewrites history with the goal of digesting the past and ultimately leading to future reconciliation.

Polish composer Hanna Kulenty (1961- ) is considered a doyen among twenty-first century composers. Her compositions span over 30 years and comprise a wide range of works including solo instrumental works, operas, small and large chamber works, orchestral works and film scores. She experiments and incorporates various post-tonal era elements and devices into her compositions, often creating permanent tension and extreme emotional intensity. This study provides a detailed biography of Kulenty, a brief discussion pertaining to the development of music during the tonal and post-tonal eras and investigates Kulenty's approach to key musical traits (including melody, rhythm and harmony) in the selected string ensemble works in order to determine her musical idiom. Furthermore, this study serves as an essential reference for Kulenty's string quartets and quintet composed between 1984 and 2013. A style transformation pertaining to the selected string ensemble works is discussed. In her early compositions, Kulenty made use of 'polyphony of arches' comprising layers of arches within a large arch structure. Her more recent contributions make use of a single arch moving through different time dimensions, referred to as 'polyphony of time dimensions'. Ultimately, this study serves as a primary foundation for researchers who wish to investigate and discuss any stylistic aspects of the composer's oeuvre. / Mini Dissertation (MMus)--University of Pretoria, 2017. / Music / MMus / Unrestricted

This essay aims to explore the identities of a selection of female characters in Earl Lovelace’s novel Salt. My research questions are the following: How are the selected characters’ hybrid identities constructed? What role do different circumstances play in the formation of the characters’ identities? How do polyphony, mimicry and the carnivalesque affect their identities? Although the examined women are assumed to conform to similar gender norms, I argue that there is no common female role in Salt. This is demonstrated by the characters’ hybrid identities, which combine divergent characteristics. The method used in the analysis is close reading formulated by Greenham. My analysis reveals that the concept of carnivalesque influences the identities of all the examined characters. It results in a performative, creative power that makes the women discover and redefine their selves. However, it occurs in different ways for each character. Moreover, the characters’ identities are highly polyphonic and complex, with contrastive traits completing each other. To a lesser extent, the analysed women’s identities show traits of postcolonial mimicry, which may be seen as a repetitive and imitative attitude.

No description available.

No description available.

Cette recherche, en lien avec mes activités de pianiste, compositrice et chef d’orchestre, porte sur l’élaboration de l’œuvre de jazz symphonique. Le jazz symphonique a représenté un hybride musical et un terrain de recherche autour de l’espace sonore de l'orchestre. Il a été à bien des égards un précurseur dans l’exploration des possibilités pour créer une musique dans laquelle les approches et les préoccupations jazz et savantes entraient dans une dialectique productive. Le geste d’écriture qu'il a privilégié intègre alors la palette instrumentale comme un révélateur fondamental des structures musicales. Le compositeur élabore un processus musical qui permet au matériau de s’exprimer, de déployer ses potentialités expressives et perceptives par l’appréhension de l’espace orchestral. Identifier et comprendre les stratégies d’écoute que le compositeur destine à l’auditeur et la manière dont il potentialise la signification des éléments constitutifs de l’œuvre représentent un des principaux enjeux de la recherche. / This research relates to my pursuits as a pianist, composer and conductor, and concerns the development of the art of symphonic jazz. Symphonic jazz has represented a musical hybrid and a field of research around the soundscape of the orchestra. In many ways, it has been a forerunner in exploring the possibilities for creating music in which jazz and scholarly approaches and inquiries had entered into a productive dialectic. Hence the favoured approach to writing now integrates a variety of instruments as a fundamental revealer of musical structures. The composer creates a musical process that allows the material to express itself and spread its expressive and perceptive potential through comprehension of the orchestral space. Identifying and understanding the composer’s listening strategies for the listener, as well as the way he increases the meaning of the elements constituting the work is one of the main subjects of research.

L’œuvre d’Annie Ernaux, bien que l’écriture soit « plate », est un bel exemple de l’écriture polyphonique où différentes voix interviennent. Afin de mettre à jour ces différentes voix qui s’opèrent dans son œuvre, nous avons mené notre analyse en deux parties. Dans un premier temps, nous avons fait une analyse énonciative des instances énonciatrices en essayant de distinguer les différents actants de l’énonciation selon diverses analyses qui ont été développées jusqu’à présent : les instances émettrices d’une part (l’énonciateur, le locuteur et le narrateur) et les instances réceptrices d’autre part (le lecteur, l’interlocuteur et le narrataire). Dans un second temps, nous avons tenté de mettre au jour les différentes voix qui s’y font entendre à travers les diverses formes de la représentation de la parole d’autrui dans le discours telles que les formes monologales / monologiques, dialogales / dialogiques et polyphoniques, ainsi que les diverses formes de discours rapportés, de modalisation et d’utilisation des marques typographiques dans le but de retrouver les voix socio-culturelles dans son œuvre. / Despite her “flat” writing, the work of Annie Ernaux is an appropriate example of polyphonic writing in which different voices intervene. In order to reveal these different voices operating in her work we have undertaken a two-step analysis. First, we have analysed the enunciative instances in an attempt to make a distinction between the different actants of enunciation: senders (the enunciator, the locutor and the narrator) on the one hand and the receptors (the reader, the interlocutor and the narratee) on the other. Second, we have tried to put forth the different voices which can be heard by means of various forms of representation of the other’s parole in discourse in order to find the socio-cultural voices in her work. Such forms include the monological, dialogical and polyphonic forms, as well as various forms of reported speech, modalisation and the use of typographical icons.