Submitted by Renata Lopes (renatasil82@gmail.com) on 2016-09-30T12:15:44Z No. of bitstreams: 1 eduardorochabenini.pdf: 1168119 bytes, checksum: eec639077f0a0e84dc2d80e8493f7b02 (MD5) / Approved for entry into archive by Diamantino Mayra (mayra.diamantino@ufjf.edu.br) on 2016-09-30T13:53:31Z (GMT) No. of bitstreams: 1 eduardorochabenini.pdf: 1168119 bytes, checksum: eec639077f0a0e84dc2d80e8493f7b02 (MD5) / Made available in DSpace on 2016-09-30T13:53:31Z (GMT). No. of bitstreams: 1 eduardorochabenini.pdf: 1168119 bytes, checksum: eec639077f0a0e84dc2d80e8493f7b02 (MD5) Previous issue date: 2010-04-30 / Essa dissertação tem como objeto de análise o pensamento de Michel Foucault no tocante à problemática que envolve a constituição e o governo dos sujeitos, considerando-se que existe um imbricamento estratégico entre essas duas formas de entendimento sobre os indivíduos. Através de abordagens distintas e experimentações em diferenciados tempos e espaços sociais, Foucault perfaz uma trajetória de crítica da racionalidade do mundo moderno, evidenciando os conjuntos de poder e saber construtores das subjetividades, bem como as transformações e agenciamentos que tornam possíveis o governo dos corpos e das mentes desses sujeitos. Esse exercício, aqui, se desenvolve em três movimentos. No primeiro momento, a partir das configurações da arqueologia do saber, são balizados os trabalhos que constituem uma crítica ao positivismo, no que tangem à loucura e ao saber médico, e a crítica à existência de uma transcendentalidade humana. Num segundo movimento, pela argumentação da genealogia do poder, pensar-se-á a constituição do sujeito moderno e as práticas de disciplina e controle desempenhadas sobre os corpos e as mentes de cada indivíduo e das populações. No cerne dessas problematizações, está a tomada da vida pelas instâncias do poder. Ainda nesse momento, são refletidas as formas possíveis e extensões para a atualidade do biopoder, da biopolítica e da governamentalidade como tecnologias de formação e governo das condutas desses sujeitos. Por último, num terceiro movimento, diante dos regimes de verdade atuantes, têm-se as noções de estilística da existência e as formas cabíveis de resistência e liberdade como um caminho lateral para a compreensão da constituição e do governo dos sujeitos pelo viés de uma ética de si que reposiciona a vida enquanto ato político. / This paper's aim is to analyze Michel Foucault's thought regarding the constitution and the control of the subjects, taking into account that there is a connection among these two forms of individual's understanding. Through different approaches and the assessment in different times and social spaces, Foucault creates a path of criticism about the modern world's rationality, revealing the sets of power and knowledge that constitute subjectivities and the changes as well as ways of control over the subject's bodies and minds. Within this, our analysis develops in three movements. Firstly, from the arqueology of knowledge, it will be assessed the works that comprise all the criticism about positivism related to insanity, to the doctor's knowledge and the criticism about the human transcendentalism. Secondly, through the genealogy of power, this paper will assess the constitution of modern subject and the practices of discipline and control over the bodies and minds of each individual and the population. At the core of this assessment, lays the life's control by the power claims. This paper will also reflects about the extension of current biopower, biopolitics and the governmentality as technologies of formation and control of these subject's behavior. Finally, taking into account the regimes of truths, there are the notions of the existence stylistic and the ways of applicable resistance and freedom as a lateral path to the comprehension of the formation and control of the subjects through a subject's ethic that relocate life as a political act.

The aim of this thesis is to study how self presentations and reflexive writing work as displaying identity in the school context. In the curriculum from 1994 and the current curriculum (GY11) for the Swedish upper secondary school, identity making is central in how the subject Swedish  is defined. It is through language and different media the student will strengthen her individual and cultural identity. The material consist of students’ texts, inspirational texts and an assignment from the national test 2008 in the subject Swedish from upper secondary school. I examine how these texts provide a context for the student's own self presentation. I see this as a situation of interaction between the school as an institution and students’ writing. The study is discourse analytical where self presentations produced within the school are linked to a societal and historical context, based on theories on reflexivity and modernity, communication and enterprise culture and individualization/subjectivity and power. The methodological tools are primarily drawn from Systemic Functional Grammar and Narrative analysis. The results indictate a clear interaction when it comes to content as well as form between self presentation / life story and the construction of the assignment and the inspirational texts that the school provides. The discursive practice has great impact on the students’ own stories about themselves, and shows how the students handle the the discursive framework and the prerequisite provided from the school. The study's main contribution to school and writing research is to show how this is carried out.

Our research object consists of a discursive analysis of filmic materiality "The Lord of the Rings: the ring society" (2001), part of the trilogy (literary / cinematic), the celebrated author J. R. R. Tolkien, under the direction of Peter Jackson. We propose to understand the production of meanings from the examination of the motion picture film, under French guidance Discourse Analysis. Besides the theoretical basis of that area of knowledge, we look at the relations of power, surveillance, control, discipline, according to Foucault's postulates. Then our primary goal is to analyze the (re)actualization of some myths by cinema, a disseminator support ideologies. And as it is a verbal-visual materiality, also have studied the relationship between characters, the environments in which they are, the colors used to compose the scenography, reflecting on the (re)interpretation of the ring as an object of desire, a symbol of power. In order to realize that analysis, we used Orlandi's (1984) proposed, according to which there is a need to circumscribe the object of analysis. In this sense, we made five cuts on the whole discourse: the discourse of / on the myth (the Tower of Babel, the ideal of lost heaven, the Saint Graal), the Christian discourse, the discourse of / about the woman, on the power of surveillance; the nature discourse, in order to build our research corpus. From these cuts, we examine some images (PÊCHEUX, 1999) and discursive sequences. In these terms, the analysis consists of an interrelation between the analytical tool (the cutouts, their (de)superficiality, images, discursive sequences) and a theoretical tool. The last one is based on Barthes (2007), Bernardet (1985), Campbell (1990), Cassirer (1972), Charaudeau (2007), Foucault (1997, 2003, 2007, 2009, 2010, 2011, 2012, 2013), Gregolin (2007), Nazario (2005), Orlandi (1984, 2002, 2012), Pêcheux (1997, 1999), Tressider (2003). As the result of analysis, we observed how values and beliefs are reconstructed, reinterpreted by the cinema. We still emphasize how some situations are (re) placed, providing the inculcation of certain existential human condition (in the fields of religion, nature); constituting a microphysics of power. We note, finally, the movement of the senses, of the discourses. / O nosso objeto de pesquisa consiste em uma análise discursiva da materialidade fílmica “O senhor dos anéis: a sociedade do anel” (2001), integrante da trilogia (literária/ fílmica), do célebre autor J. R. R. Tolkien, sob a direção de Peter Jackson. Propomos compreender as produções de sentidos provenientes do exame dessa película cinematográfica, à luz da Análise do Discurso de orientação francesa. Além do aporte teórico dessa área do saber, atentamos para as relações de poder, de vigilância, de controle, de disciplina, consoante os postulados foucaultianos. Nosso objetivo principal, então, é analisar a reatualização de alguns mitos pelo cinema, um suporte veiculador de ideologias. E, como se trata de uma materialidade verbo-visual, estudamos igualmente a relação entre os/as personagens, os ambientes em que se encontram, as cores utilizadas para compor a cenografia, refletindo sobre a ressignificação do anel como objeto de desejo, símbolo de poder. Para realizarmos essa análise, empregamos a proposta de Orlandi (1984), segundo a qual há necessidade de delimitarmos o objeto de análise. Nesse sentido, efetuamos cinco recortes sobre o todo discursivo: o discurso do/sobre o mito (a Torre de Babel, o ideal do paraíso perdido; o santo Graal), o discurso cristão, o discurso do/sobre a mulher, o discurso do/sobre o poder, da vigilância; o discurso do/sobre a natureza, a fim de construirmos o nosso corpus de pesquisa. A partir desses recortes, examinamos algumas imagens (PÊCHEUX, 1999) e sequências discursivas. Nesses termos, a análise consiste em uma inter-relação entre o dispositivo analítico (os recortes, a sua de-superficialização, as imagens, as sequências discursivas) e um dispositivo teórico. Este último tem como base Barthes (2007), Bernardet (1985), Campbell (1990), Cassirer (1972), Charaudeau (2007), Foucault (1997, 2003, 2007, 2009, 2010, 2011, 2012, 2013), Gregolin (2007), Nazario (2005), Orlandi (1984, 2002, 2012), Pêcheux (1997, 1999), Tressider (2003). Como resultado das análises, verificamos o modo como valores e crenças são reconstruídos, ressignificados por esse / nesse filme. Ressaltamos ainda a forma como algumas situações são (re)colocadas, propiciando a inculcação de determinadas condições humanas existenciais (nos âmbitos da religião, da natureza); constituindo uma microfísica do poder. Constatamos, enfim, a movência dos sentidos, dos discursos.

O tema proficiência tem sido bastante discutido em estudos na área de Linguística Aplicada, em função do `poder que os exames internacionais exercem na sociedade, servindo como instrumento destinado a atestar um `saber legitimado sobre o conhecimento do examinado e, consequentemente, como mecanismo de seleção e exclusão. Esta pesquisa objetiva fornecer subsídios aos professores de línguas, no que tange ao funcionamento e ao formato de exames de proficiência comunicativos/discursivos, como o Certificado de Proficiência em Língua Portuguesa para Estrangeiros (CELPE-BRAS); além de propiciar problematizações acerca da dicotomia existente entre teoria e prática. Para tal, propomo-nos a analisar a proposta comunicativa/discursiva CELPE-BRAS, à luz de alguns conceitos da Análise do Discurso de Língua Francesa (ADF), na interface com conceitos foucaultianos, atentando para o modo como a relação poder-saber incide nas práticas discursivo-pedagógicas, a fim de observarmos como o professor se subjetiva diante dessa proposta comunicativa/discursiva e quais as transformações que incidem em seu fazer docente. Partimos da hipótese de que há um regime de verdade (dos cursos e técnicas) que engendra os exames comunicativos/discursivos e que foge ao alcance dos professores/avaliadores que, possivelmente, ainda adotam uma abordagem tradicional para preparar/avaliar os candidatos sem que, na maioria das vezes, notem tais incoerências/contradições. Para responder aos nossos questionamentos, apresentamos, primeiramente, algumas especificidades e aspectos da nova proposta do referido exame para, posteriormente, contrapô-las aos depoimentos de professores de Português para estrangeiros, atuantes na Colômbia e no Brasil. A análise empreendida nos permitiu vislumbrar, sobretudo através dos mecanismos de denegação e confissão, a heterogeneidade de vozes presentes no intradiscurso dos pesquisados (sujeitos camaleônicos), vozes essas que também ecoam no Manual e na grade de correção do exame e que apontam para resquícios de uma prática tradicional/estruturalista de avaliar, o que não poderia deixar de ser, pois não temos, enquanto sujeitos de linguagem, meios de silenciar nossa memória discursiva que é evocada nas práticas discursivas. Observou-se, também, que o referido exame exerce um poder na preparação e/ou realização das aulas (efeito retroativo) e também na sociedade, servindo para classificar, selecionar e `descartar candidatos. De modo geral, os sujeitos pesquisados reproduzem a proposta do exame analisado, reproduzindo-a em seu dizer-fazer, a fim de que seu saber seja sacramentado e legitimado. Concluímos que, para que o professor se torne, de fato, discursivista, tal como propõe o exame analisado, considerado como ideal na contemporaneidade, é mister que ele consiga adentrar outras discursividades, singularizando a proposta do exame. / Language proficiency has been discussed in a number of Applied Linguistics studies due to the `power international exams have over society as a whole, being used as a tool that demonstrates a legitimate `knowledge on the examinees knowledge and, consequently, as a selection and exclusion method. This research seeks not only to provide support for language teachers on the features and format of communicative/discursive proficiency exams, such as the Certificado de Proficiência em Língua Portuguesa para Estrangeiros (CELPE-BRAS), but also to promote problematization on the dichotomy between theory and practice. To do so, we propose to analyze the CELPE-BRAS communicative/discursive proposal, based on French Discourse Analysis and its interfaces with foucaultian concepts, paying careful attention to the way the knowledge-power relation incurs in the discursive-pedagogical practices. By doing so, we intend to observe how teachers subjectify themselves when facing this communicative/discursive proposal and which changes occur in their teaching. Our hypothesis is that there is a (courses and techniques) truth regimen that engenders the communicative/discursive exams that is out of teachers and evaluators reach that may still follow a traditional/structural approach to prepare/evaluate candidates, many times, without even noticing such incoherence. In order to find answers to these questions, first we present some specificities and aspects of the new proposal of the exam and then confront them with the sayings of Portuguese for foreigners teachers who work in Colombia and in Brazil. The analysis performed let us notice, especially by means of the denegation and confession mechanisms, the heterogeneity of voices present in the subjects intradiscourse (chameleonic subjects). These voices also echo in the manual and correction criteria and point to reminiscences of a traditional/structural evaluation practice, which is expected since, as language subjects, there is no way to silence our discursive memory evoked in discursive practices. It was also observed that the exam has a power over the class preparation and/or delivery (washback retroactive effect) and in society, being used to classify, select, and `discard candidates. On the whole, the subjects stick to the exam proposal, reproducing it in their classes, so as their knowledge is sacred and legitimated. We concluded that for the teacher to become discursivist, as the exam proposes, considered as ideal in the contemporaneity, they must access other discursivities that mobilize their practice, thus singularize the exam proposal.

Macht, Wissen, Teilhabe – diese Begriffe sind für die Entwicklung von Sammlungsinstitutionen im 21. Jahrhundert zentral. Wie können Museen und Bibliotheken ihre Rolle als Vermittler, Bewahrer und Produzenten von kulturellem Wissen neu denken? Welche Rolle spielen ihre Besucherinnen und Besucher? Wer kann in einer globalisierten und digitalen Welt Deutungsmacht ausüben? Die Beiträge aus Wissenschaft und Praxis reflektieren aus unterschiedlichen Perspektiven, wie sich Museen und Bibliotheken in diesem Spannungsfeld positionieren. So befassen sich Karl-Siegbert Rehberg, Horst Bredekamp, Lambert Wiesing und Wolfgang Ullrich grundlegend mit Praktiken des Sammelns, Zeigens und Ausstellens. Ursula Rao, Stefanie Mauksch und Sarah Fründt gehen auf die besondere Rolle von Ethnologischen Museen ein, während Susanne Wernsing und Cindy Denner aus kuratorischer Perspektive neue Wege der Wissensproduktion in Ausstellungen beschreiben.

Due to developments in visual technology, teachers and students are exposed to an increasing number of images in their everyday life, which also finds its way into the classroom. This study aims to contribute to further understanding of how knowledge and positions are constructed in visual meetings in the classroom by problematizing the discursive practice of visual art education in upper secondary school.  The study investigates how art teachers construct positions when talking about their choices of images for teaching and what kind of knowledge thereby is constructed as valuable. The study also analyzes how art teachers and students construct positions in visual meetings in the classroom and what kind of knowledge thereby is constructed as valuable.   The study is theoretically framed by theories and concepts in visual culture and Foucauldian discourse analysis. The concept visual meetings refers to how art teachers and students interact and make meaning when using images that the art teachers have chosen. The perspective of discourse analysis involves that classroom interactions are seen as expressions of knowledge and power in general and of prevailing views on visual art education in particular.  Data production is carried out through ethnography, which involves interviews with two art teachers and observations of eleven lessons in visual art classes at two upper secondary schools.  The results show that a dominating overall school discourse regulates how the art teachers and students are constructed as active/adult/experienced and passive/child/unexperienced subjects. One of the classroom practices is shown to prioritize position and knowledge constructions related to production of aesthetically pleasing images. The other classroom practice is shown to prioritize position and knowledge constructions related to image interpretation in terms of understanding cultures and contexts. Both classroom practices also show that despite the art teachers’ stated intentions in constructing independent and critically examining positions for the students, looking practices are formed in the classrooms that do not allow such positions for the students to any great extent.  The study concludes that the dominating discourses in these two classroom practices reveal régimes of truth that regulate what kind of knowledge constructions that are valued within these two examples of visual art education.

19th century America is shaped greatly by territorial expansion into NativeAmerican lands. A famous painting which represents this process is called AmericanProgress by John Gast. This study argues that the display of power between the settlersand the Native Americans in the painting mirrors the dominant discourse on 19th centurywestward expansion. So, the analysis is concerned with how the settlers are constructed,how the Natives are displayed and how this results in a power hierarchy. These findingsare then compared to 19th century discourse on the westward movement. The analysis isguided by the methodological tool of Foucauldian discourse analysis. The analytical stepsare informed by the two American Studies scholars Angela Miller and Martin Christadler.The research is based on pragmatism with a leaning towards constructivism. This studyfinds that American Progress contrasts civilisation and nature in similar ways as thisdichotomy is established in the discourse of the 19th century. Westward expansion in thepainting and in 19th century discourse is justified by constructing the Natives as godlessand the settlers as godly. The difference in brightness in American Progress supports thedichotomies of civilisation and nature as well as godliness and godlessness.

This research regarding power/knowledge abuse within the church was conducted within the postmodern social construction discourse and in the context of narrative therapy, feminist theology and practical theology. It presents a chronicle of five individuals who experienced abuse within their congregations. It reflects on the co-authoring journey of these five individuals personally and within the context of the narrative group. As part of the narrative group they came to re-author their lives around what they had experienced regarding abuse within their churches. Together they challenged those dominant structures that are so often hidden just below `sacred' tradition. In conclusion the five individuals experienced a renaissance within themselves and their personal theology of God and His dealings within the church. This renaissance has led them to seek out others who have experienced this form of abuse and to give them the hope that they discovered together. / Practical Theology / M. Th. (Practical Theology - with specialisation in Pastoral Therapy)

Ce mémoire propose une analyse critique du discours de l’enregistrement sonore à domicile (home recording). Dans la foulée des propos mettant de l’avant l’ «accessibilité» et la «démocratisation» de l’enregistrement sonore, ce mémoire analyse les relations de savoir/pouvoir produites et légitimées par le discours, ce qu’elles permettent et contraignent, autorisent et excluent. Le corpus à l’étude est issu de la presse musicale ainsi que de forums de discussion en ligne relevant de sites spécialisés. Les méthodes utilisées sont inspirées de l’approche du discours développées par Michel Foucault et de ce que Johnson et. al. (2004) appellent l’interprétation critique. L’analyse met en évidence les deux principaux sujets du discours de l’enregistrement sonore à la maison : les professionnels de l’enregistrement et les «pros» de l’enregistrement à domicile, deux groupes constitués d’hommes financièrement aisés. Les règles qui régissent l’enregistrement à domicile semblent reprendre, en les adaptant, celles régissant les studios professionnels. Ce mémoire suggère que la «démocratisation» telle qu'énoncée dans ce discours articule l'«accessibilité contemporaine» à certains savoirs et certaines technologies à des exclusions singulières – comme des femmes et des personnes de moyens limités – qui rendent ce discours possible. Être dans le vrai, dans ce discours, c’est échanger, argumenter, discuter et prescrire des façons de faire et de dire qui font des studios professionnels l’espace des normes et des légitimités. Mots clés: enregistrement, musique, maison, domicile, studio, démocratisation, technologie, l'analyse du discours, relations de pouvoir/savoir, Michel Foucault. / This thesis proposes a critical analysis of the discourse of home recording. It aims to question home recording's will to truth by investigating what makes its statements possible, or what is the system of rules that authorize certain things to be said within the discourse. Driven by enunciations regarding home recording's "accessibility" and "democratization", this thesis analyzes the power/knowledge relations that have been produced and legitimized within the discourse, as well as what they enable and constrain, allow and exclude. Music magazines and Internet discussion forums form the corpus of this thesis. The methods used in this research are inspired by Michel Foucault's theory and method of discourse and by the approach known as critical interpretation (Johnson et al., 2004). This thesis' analysis shows that the government in home recording seems to be exerted by two main subjects: recording professionals and home recording "pros", who are overall characterized as well-off men. Moreover, the rules of home recording seem to be a replication and an adaptation to the home environment of the organizing principles of professional studios. This thesis suggests that "democratization" as enunciated and produced within and by the discourse of home recording articulates the discursive notion of a "contemporary accessibility" in terms of technology and knowledge to the exclusions – such as that of women and people of limited means – that make this discourse possible. These exclusions are legitimized through what is considered the "truth" within the discourse, as well as the norms and regulations established within it, which in turn follow the logic of the professional studio. Keywords: home, recording, studios, democratization, technology, discourse analysis, power/knowledge relations, Michel Foucault.

<p>Pat Barker’s fictional account of the Great War, The Regeneration Trilogy, completed in 1995, is considered to be her most important work to date and has captured the imagination of the reading public as well as attracting considerable scholarly attention. Although the trilogy appears to be written in the realistic style of the traditional historical novel, Barker approaches the past with certain preoccupations from 1990s Britain and rewrites the past as seen through these contemporary lenses. Consequently, the trilogy illustrates not only how the past returns to haunt the present, but also how the present reciprocally haunts perceptions of the past. The haunting quality of the trilogy is developed through an extensive, intricate pattern of intertextuality. This reciprocal haunting at times breaks the realistic framework of the narrative, giving rise to anachronisms.</p><p>This study offers a reading of trauma, class, gender and psychology as thematic areas where intertexts are activated, allowing Barker to revise and re-accentuate stories of the past. Drawing on Michel Foucault’s concept of discourse and Mikhail Bakhtin’s notion of dialogue, it focuses on the trilogy as an interactive link in an intertextual chain of communication about the Great War. Received versions of history are confirmed, expanded on and sometimes questioned. What is innovative about the trilogy is how Barker incorporates discursive formations not only from the Great War period, but from the whole twentieth century. The Great War is regenerated and transformed as it passes from one dialogic context to another. My reading shows that the trilogy presents social structures from different historical epochs through dialogism and diachronicity, making the present-day matrices of power and knowledge that continue to surround, determine and limit people’s lives highly visible. The Regeneration Trilogy regenerates the past, simultaneously confirming Barker’s claim that the historical novel can also be “a backdoor into the present”.</p>