Ma thèse a pour objet l’étude des couleurs du mobilier d’apparat en bronze dans le monde gréco-romain, produit entre le IIe s. av. n. è. et le IIe s. de n. è. en Méditerranée. Elle place au cœur de sa démarche historique la caractérisation des couleurs, leur analyse technique et l’étude de leurs valeurs symboliques, associées à des contextes de production et de réception précis. Redonner en effet aux couleurs toute leur place dans l’ameublement de luxe en bronze, en conduire l’étude typologique, iconographique et technique, les replacer dans leur contexte de réception permet de comprendre non seulement l’impact visuel recherché par le maître de maison, mais aussi et surtout leurs valeurs spécifiques dans l’élaboration du discours des élites à destination de leurs semblables et des autres classes de la société. Pour identifier et comprendre cette polychromie, une démarche interdisciplinaire combinant des méthodologies archéologiques, archéométriques et sociologiques a été appliquée. 538 pièces de mobilier en bronze à décors polychromes sont ainsi recensées et réparties dans diverses catégories. Ces multiples données sont réunies et mises en relation grâce à la création et l’utilisation d’une base de données relationnelle nommée « Iris ». La convergence de ces méthodes et de ces angles d’attaque du matériel étudié vise à un seul but : apprécier la valeur des couleurs et des autres traitements de surface de ces objets de luxe d’inspiration grecque dans le processus général d’acculturation des populations et provinces romaines au modèle gréco-romain, un modèle défini par Paul Veyne comme propre à un Empire où « la culture y était hellénique et le pouvoir était romain ». / My thesis aims to study the colours of bronze ceremonial furniture produced by the Greco-Roman world between the 2nd century BCE and the 2nd century CE in the Mediterranean. The main objective is to characterize of colours, their technical properties, and symbolic values associated with specific production and reception contexts.Consequently, by using archaeological contexts, techno-typological and iconographic studies, the objective of this research is to characterize the specificity and originality of the use and visual impact of bronze in the elaboration of the discourse of the Greco-Roman elite, owner of this ostentatious furniture; this discourse is also aimed at this elite as other classes of Roman society.My thesis explores as much the history of techniques as that of arts and mentalities. It combines archaeological, archaeometric, and sociological methodologies for an interdisciplinary approach. 538 pieces of bronze furniture with polychrome decorations are identified and divided into different categories. Furthermore, these multiple data are also collected and linked through the creation and use of a relational database named “Iris”.The convergence of these methods has a single purpose: to appreciate the significance of colours and to investigate other surface treatments on Greek inspired luxury furnishings. The gradual acculturation of “the Greek world” as a result of Roman expansion is evident in a study of this furniture, its colours, and other treatments using the same historical perspective as defined by Paul Veyne as: an Empire where “la culture y était hellénique et le pouvoir était romain”.

La recherche d’espaces dépouillés est l’un des grands marqueurs de l’évolution de la scénographie au XXe siècle. De même que pour les arts plastiques, cette tension vers le vide est associée à la redéfinition des formes dans leur mutation moderne et postmoderne. Plateaux nus et espaces vides constituent deux modalités particulières de cette recherche de l’épure. Le plateau nu débarrasse la scène du décor et de son appareil illusionniste et resserre la représentation sur la présence d’un acteur et l’écoute du texte. D’abord solution pratique, rupture avec un théâtre commercial et bourgeois, le plateau nu est ancré dans une conception éthique du théâtre. Cette première partie de l’étude se fonde sur les espaces de Jacques Copeau, Jean Vilar, Antoine Vitez et Christian Schiaretti. L’espace vide, étudié à travers le travail de Peter Brook, Claude Régy, Joël Pommerat et Nacera Belaza cherche à construire un ailleurs. Cette étude propose d’étudier le succès contemporain des esthétiques scéniques du vide et du dépouillement. Aujourd’hui, le plateau nu est devenu un patrimoine, portant en lui les valeurs du théâtre public et s’associant implicitement à une célébration de ses pionniers, Jacques Copeau et Jean Vilar. L’espace vide, vu à travers les traditions orientales se charge d’une spiritualité, et est aussi perçu comme l’au-delà mental de la représentation. Espaces vides et plateaux nus, s’ils ont pu naître de contraintes économiques sont aujourd’hui devenus des espaces luxueux. / The research of concise spaces is one of the marks of the scenography evolution on the 20th century. As in the visual arts, this mouvement towards to the void is associated with a redefinition of the forms in their modern and postmodern mutations. Naked stages and empty spaces constitute two particular modalities of research of an uncluttered style. The naked stage removes the scenery and the scenic illusion from the stage to focus its representation on the actor and the text. Starting as a practical solution and rupture with commercial and bourgeois theater, the naked stage is anchored in an ethical conception of theater. This first part of this study is based on the spaces according to Jacques Copeau, Jean Vilar, Antoine Vitez and Christian Schiaretti. The empty space seeks to find new horizons, examined through the concepts of space by Peter Brook, Claude Régy, Joël Pommerat and Nacera Belaza. This study proposes to examine the contemporary success of aesthetic scenics based on void and bareness. The naked stage has become nowadays a heritage, carrying values of public theater, and being implicitly associated with a celebration of its pioneers Jacques Copeau and Jean Vilar. Seen throughout eastern traditions, the empty stage is filled with spirituality and thus becomes a mental hereafter of the representation. Initially consequence of an economical imposition, naked stages and empty spaces have become luxurious spaces nowadays.

Cette thèse se présente comme une fouille archéologique consistant à décortiquer l’objet dans notre société actuelle à partir d’une réalisation plastique. En effet cette thèse s’articule autour d’une pratique artistique. C’est cette pratique qui a ainsi déterminé les champs de recherche à suivre. Le protocole de cette installation consiste, dans un premier temps, à demander à des femmes-artistes de me prêter un objet issu de leur quotidien et pour lequel elles ont nourri un besoin ou un attachement particulier, de sorte que cet objet devienne un miroir capable de refléter leur personnalité. Dans un deuxième temps, je filme un témoignage que me livrent ces mêmes personnes au sujet de l’objet choisi, et dans lequel elles justifient leur choix en précisant la nature du lien qui les unit à celui-ci. Ensuite, ces objets sont moulés par mes soins. En ce sens, cette démarche de ne présenter que leurs moulages et non ces objets tels qu’ils sont, contribue à rendre l’intimité que représentent ces objets, et à faire de ces symboles de la vie quotidienne de chacune des protagonistes, et donc, d’acteurs ou plutôt actrices de notre société moderne, de simples matériaux voués à un oubli certain, sauf à les envisager à l’aune d’une certaine archéologie du présent. C’est ainsi que je prends le parti des objets. Un parti pris théorique et pratique. Dans le sens où je me place du côté des objets pour observer le monde, un parti pris qui traduit une opinion argumentée de l’objet dans tous ses états : l’objet dans l’art, l’objet anthropologique, l’objet comme trace de nous-mêmes et pour finir l’objet archéologique. / This thesis presents itself as an archaeological excavation consisting of the dissection of the object in our present society from a plastic realization. Indeed this thesis is articulated around an artistic practice. It is this practice that has determined the fields of research to be followed. The protocol of this installation consists, initially, in asking women artists to lend me an object from their daily lives and for which they have nourished a particular need or attachment, so that this object becomes a mirror capable To reflect their personality. In a second step, I film a testimony given to me by these same people about the chosen object, and in which they justify their choice by specifying the nature of the bond that unites them to it. Then, these objects are molded by me. In this sense, this process of presenting only their moldings and not those objects as they are, helps to make the intimacy represented by these objects, and to make these symbols of the daily life of each of the protagonists, and thus , Actors or rather actors of our modern society, materials devoted to a certain forgetfulness, except to consider them by the yardstick of an archeology of the present.This is how I take the side of objects. A theoretical and practical bias. In the sense that I place myself on the side of objects to observe the world, a bias that translates an argued opinion of the object in all its states: the object in art, the anthropological object, the object as Trace of ourselves and to finish the archaeological object.

MENDES, Maria das Dores Nogueira. O duro aço da voz: investimento vocal, cenografia e ethos em canções do Pessoal do Ceará. 2013. 339f. – Tese (Doutorado) – 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 2014-06-06T16:40:52Z No. of bitstreams: 1 2013_tese_mdnmendes.pdf: 3709889 bytes, checksum: a59f7e7beda9e87a406d04a71c6a0dbf (MD5) / Approved for entry into archive by Márcia Araújo(marcia_m_bezerra@yahoo.com.br) on 2014-06-06T17:27:23Z (GMT) No. of bitstreams: 1 2013_tese_mdnmendes.pdf: 3709889 bytes, checksum: a59f7e7beda9e87a406d04a71c6a0dbf (MD5) / Made available in DSpace on 2014-06-06T17:27:23Z (GMT). No. of bitstreams: 1 2013_tese_mdnmendes.pdf: 3709889 bytes, checksum: a59f7e7beda9e87a406d04a71c6a0dbf (MD5) Previous issue date: 2013 / In this research, we analyzed how vocal investment in relation to its reference in scenography collaborates with building the ethos of positioning "Pessoal do Ceará" in Brazil. Our theoretical support is Discourse Analysis from French line, as delineated by Dominique Maingueneau (1996a/b, 1997, 2000, 2001, 2004, 2005, 2006a, 2006b, 2008, 2010), which proposes the more general concepts of positioning and investment, applied by Costa (2001, 2011) to Brazilian literary musical discourse. To get to the vocal characterization investment of "Pessoal do Ceara”, we resorted to reference these voices in the scenery of the songs, the statements from journalists and artists, the academic research (COSTA, 2001, 2011; CASTRO, 2008) and the concepts of the phonoaudiological area (BELHAU; PONTES, 1989). It was still necessary to adapt concepts of interdiscourse and metadiscourse to analysis of the song vocal dimension, which resulted in the concepts of "intervocalidade contitutiva", "intervocalidade mostrada" and "metavocalidade." Furthermore, we analyzed the construction of ethos in the articulation of vocal investment with its scenography reference, noting how this concept contributes to the definition of “Pessoal do Ceará.” Thus we achieved the following conclusions, respectively in these plans, vocal, verbal and vocoverbal of the songs. The nasal vocal quality and bass sound of singer Belchior and metal vocal qualities and treble sound of singer Fagner, as well the use of vocal resources that emphasize such qualities, among which respectively emphasize of the vowel sound elongation in Belchior and rasping sound in Ednardo and Fagner, produce an effect of strangeness. In Fagner’s voice, also contributes for the production this strangeness the fact of such elongation is often accompanied by vibrato and still be frequent the use of high intensity in the syllables "unstressed" ending the musical phrases, and can also be heard, sometimes, an aspiration. In scenery, this vocal "strange" investment of the enunciation is referenced by the figure of the "knife", the "scream", the representation of its production by the vocal cords of steel and the disqualification of the other song that it has the opposite characteristics to those. Therefore, the articulation of these two dimensions, it is concluded that there is reciprocity between the "what" it is sung and "how" it is sung. Thus, the strangeness of the song and what is said about him are essential parts in the construction of the controversial and aggressive ethos of “Pessoal” positioning of Ceará, already identified by Costa (2001). / Nesta pesquisa, analisamos como o investimento vocal, em relação com a sua referência nas cenografias, colabora com a construção do ethos do posicionamento “Pessoal do Ceará” no discurso literomusical brasileiro. Nosso suporte teórico é o da Análise do Discurso de linha francesa, conforme delineada por Dominique Maingueneau (1996a/b, 1997, 2000, 2001, 2004, 2005, 2006a, 2006b, 2008, 2010a/b), que propõe os conceitos mais gerais de posicionamento e investimento, aplicados por Costa (2001, 2011) ao discurso literomusical brasileiro. Para chegarmos à caracterização do investimento vocal do “Pessoal do Ceará”, recorremos à referência dessas vozes nas cenografias das canções, às declarações dos artistas a jornalistas, às pesquisas acadêmicas (COSTA, 2001, 2011; CASTRO, 2008) e a conceitos da área fonoaudiológica (BELHAU; PONTES, 1989). Foi necessário ainda adaptar os conceitos de interdiscurso e metadiscurso à análise da dimensão vocal da canção, o que resultou nos conceitos de “intervocalidade contitutiva”, “intervocalidade mostrada” e “metavocalidade”. Além disso, analisamos a construção do ethos na articulação do investimento vocal com a sua referência na cenografia, observando como esse conceito contribui para a definição do Pessoal do Ceará. Desse modo chegamos as seguintes conclusões, respectivamente nos planos, vocal, verbal e vocoverbal das canções. A qualidade vocal anasalada e grave de Belchior e as qualidades vocais metálicas e agudas de Fagner bem como o emprego de recursos vocais que enfatizam tais qualidades, dentre os quais destacamos respectivamente os alongamentos de sons vocálicos em Belchior e de sons rascantes em Ednardo e Fagner produzem um efeito de estranheza. Em Fagner, contribuem ainda para esse estranhamento o fato de tais alongamentos serem frequentemente acompanhados por vibrato e ainda ser frequente o uso de intensidade forte nas sílabas “átonas” que terminam as frases musicais, podendo-se ouvir também, por vezes, uma aspiração. Nas cenografias, esse investimento vocal “estranho” da enunciação é referenciado pela figura da “faca”, do “berro”, pela representação da sua produção por cordas vocais de aço e pela desqualificação do canto do outro que possui características opostas a essas. Portanto, pela articulação dessas duas dimensões, conclui-se que há uma reciprocidade entre o “que” é cantado e o “como” é cantado. Desse modo, a estranheza do canto e o que é dito sobre ele são partes essenciais na construção do ethos polêmico e agressivo do posicionamento Pessoal do Ceará, já identificado por Costa (2001).

Cette étude dégage les enjeux littéraires et linguistiques de l'actualisation des paramètres énonciatifs dans les discours de Rabelais et de Montaigne. Les textes considérés construisent des scénographies particulières à travers lesquelles les auteurs se mettent en scène. Les données linguistiques de cette configuration discursive sont examinées suivant la problématique des modalités du rapport à soi au discours et aux lecteurs. A cet effet, la réflexion met un accent sur l'étude des unités déictiques qui actualisent les données de la situation d'énonciation. Elle articule, de plus, le contenu textuel et le contexte socio-historique de production des œuvres. Une telle approche de Rabelais et de Montaigne, tout en éclairant des aspects de la subjectivité à la Renaissance. / This study shows literary and linguistic stakes of the realization of enumerative parameters in Rabelais' and Montaigne's works. These texts build particular scenographies by which the authors portray themselves. The linguistic factors of this discursive configuration are examined according to issues of connection modalities with oneself, with the discourse and with the readers. To that purpose, the analysis stresses the study of deictic units which actualize situation of utterance. Moreover, it connects textual content to the historical context. Such an approch reveals the whole complexity of author's figure in Rabelais' and Montaigne's discourses and considers some aspects of subjectivity in the Renaissance.

Made available in DSpace on 2016-06-02T20:25:07Z (GMT). No. of bitstreams: 1 3453.pdf: 716412 bytes, checksum: 8ddd4f67e6e039c74b17ad1533e9ad78 (MD5) Previous issue date: 2011-02-25 / Universidade Federal de Minas Gerais / In Brazil, between 1964 and 1985, it was settled in the state s power a dictatorial regime led by the military that has restricted many civil and human rights of individuals or institutions that maintained political and ideological position against this repressive government. Although constrict by institutional censorship, artistic expressions of several kinds have not ceased entirely. There was resistance. Thus, given the importance of these art manifestation during the period as an attempt of escaping from the imposition of discursive silence, between them, literary manifestations, there are some studies which the goal is to reflect on the historical conditions that the works, by chance, carry with them: a background that covers the works; or studies in which structural, regulatory or styles made: an esthetic form that compose them. These researches are given in various theoretical lines, connected to literary theories, or linked to social theories. From another theory viewpoint, our objective with this thesis is to try to analyze what were the conditions of possibility of discursive enunciation, of a collection of short stories, published in Brazil during the historic period referred, analyzing it as an enunciative device of communication basically in two possibilities: a paratopic creation and scenography. For this, we took Cadeiras Proibidas by Ignacio de Loyola Brandão, for analysis, and from the assumptions listed, take it to a set of hypotheses, from authorial position in a literary field to the linguistic-discursive forms in scenography, in which the tales are engendered, making the text of the work its own regulation context. Therefore, mobilizing discursive analytical categories, especially those done by Dominique Maingueneau, but with nuances of other theorists of discourse analysis of French orientation, and try to answer these hypotheses and work analysis. / No Brasil, entre 1964 e 1985, liderado por militares, instalou-se no poder do Estado um regime ditatorial que cerceou muitos direitos civis e humanos de indivíduos ou instituições que mantiveram posicionamento político-ideológico contra esse governo repressivo. Embora restritas por censuras institucionais, as manifestações artísticas de diversas ordens não cessaram totalmente. Houve resistência. Assim, dada a importância dessas manifestações artísticas durante o período como uma das tentativas de escapar à imposição do silêncio discursivo e, entre elas, as manifestações literárias, existem alguns estudos cujo objetivo é refletir sobre as condições históricas que as obras, porventura, carregam consigo: um pano de fundo que recobre o conteúdo dessas obras; ou, então, estudos cujo objetivo é refletir as propriedades estruturais, normativas ou de estilos empreendidos: uma forma estética que as compõe. Essas pesquisas se dão em diversas linhas teóricas, sejam ligadas a teorias literárias, sejam ligadas a teorias sociais. De outro mirante teórico, nosso objetivo com esta dissertação é tentar analisar quais foram as condições de possibilidade enunciativo-discursivas de uma coletânea de contos, publicada no Brasil durante o período histórico referido, analisando-a como um dispositivo enunciativo de comunicação em duas possibilidades basicamente: a criação paratópica e a cenografia. Para tanto, tomamos Cadeiras proibidas, do escritor brasileiro Ignácio de Loyola Brandão, como material de análise para, a partir das premissas elencadas, levá-lo a um conjunto de hipóteses que vão desde o posicionamento autoral em um campo literário até as formas linguístico-discursivas da cenografia, com a qual os contos estão engendrados, fazendo dos textos da obra a própria gestão do contexto. Dessa forma, mobilizando categorias analíticas discursivas, sobretudo as forjadas por Dominique Maingueneau, porém com matizes de outros teóricos da análise do discurso de orientação francesa, tentaremos responder a essas hipóteses e análises do trabalho.

Made available in DSpace on 2016-06-02T20:25:15Z (GMT). No. of bitstreams: 1 4762.pdf: 1449239 bytes, checksum: 0d0fc51f7a33134ecee81d45330bd6cc (MD5) Previous issue date: 2012-04-04 / According to the census that was made in Brazil in 2000, around 5.800.000 people have some degree of hearing loss or deafness. Among them, the numbers of deaf people who don t hear anything, classified as incapable of hearing and that use the sign language to communicate was 176.067 people. Our research aims to analyze the images discursively that the official documents compose about this important part of society that can not hear. To do this, we will consider the lexical choices made, through words or statements, when those document refer to the deaf. It was mobilized the notion of Imaginary Formation, which will be used to analyze the build images from the self image and the deaf people, subject of the discourse. We still propose to analyze these documents as genre of discourse, as it was such proposed by Mikail Bakhtin (1997), because we believe that if we ignore the peculiarities of the genre that we will be led to formalism and abstraction, to disregard the historicity of the study and the relation between language and life. From this notion, we will also discuss the scenographies permeating these documents, in order to understand the tone of the discourse. To compose the corpus, some laws or decrees were chosen dealing with several issues about deaf cause such as: the sign language, their accessibility to media, theaters, public institutions, education and health, among others. These documents produced by government departments have a normative nature that aims to regulate specific actions for these subjects, especially about the guarantee of their rights. From this perspective, we will take as theoretical and methodological focus the Discourse Analysis of French orientation and the Dialogical Analysis of Discourse, through Michel Pêcheux, Dominique Maingueneau and Mikail Bakhtin studies. / De acordo com o censo realizado pelo IBGE no Brasil no ano de 2000, em torno de 5.800.000 pessoas possuem algum grau de deficiência auditiva ou surdez. Dentre essas, o número de surdos profundos, recenseados como incapazes de ouvir e que se valem da língua de sinais para se comunicar era de 176.067 pessoas. Nossa pesquisa tem como objetivo analisar discursivamente as imagens que os documentos oficiais constroem a respeito dessa parcela importante da sociedade desprovida de audição. Para isso, consideraremos as escolhas lexicais feitas, seja por meio de palavras ou por meio de enunciados, na maneira de se referir ao surdo. Foi mobilizado o conceito de formação imaginária, por meio do qual analisaremos as imagens construídas a partir da imagem de si e dos surdos, objeto do discurso. Propomo-nos, ainda, analisar esses documentos enquanto gênero do discurso, tal qual proposto por Mikail Bakhtin (1997), pois corroboramos a ideia de que, ao ignorar as particularidades de gênero que assinalam a variedade do discurso leva-se ao formalismo e à abstração, desconsideramos a historicidade do estudo e a relação entre a língua e a vida. A partir disso, levantaremos também as cenografias que permeiam esses documentos, a fim de compreendermos o tom desse discurso. Para compor o corpus, foram selecionados leis ou decretos que lidam com as diversas questões sobre a causa do surdo, a saber: a língua de sinais, sua acessibilidade aos meios de comunicação, a teatros, instituições públicas, o acesso à educação, à saúde, dentre outros. Tais documentos produzidos por instâncias governamentais possuem um caráter de normatização que objetivam regular as ações específicas para esses sujeitos, sobretudo quanto a garantia de seus direitos. Nessa perspectiva, tomamos como enfoque teórico metodológico a Análise do Discurso de orientação francesa e a Análise Dialógica do Discurso por meio dos estudos de Michel Pêcheux, Dominique Maingueneau e Mikail Bakhtin.

Submitted by Valquíria Barbieri (kikibarbi@hotmail.com) on 2017-06-09T21:32:13Z No. of bitstreams: 1 DISS_2014_Rosineide Maria da Conceição.pdf: 1996699 bytes, checksum: b695bc159db12ef115e1fd95ea0e1052 (MD5) / Approved for entry into archive by Jordan (jordanbiblio@gmail.com) on 2017-06-10T16:37:09Z (GMT) No. of bitstreams: 1 DISS_2014_Rosineide Maria da Conceição.pdf: 1996699 bytes, checksum: b695bc159db12ef115e1fd95ea0e1052 (MD5) / Made available in DSpace on 2017-06-10T16:37:09Z (GMT). No. of bitstreams: 1 DISS_2014_Rosineide Maria da Conceição.pdf: 1996699 bytes, checksum: b695bc159db12ef115e1fd95ea0e1052 (MD5) Previous issue date: 2014-09-30 / Este estudo foi desenvolvido no âmbito do Programa de Mestrado em Estudos de Linguagem, na Linha de Pesquisa “Práticas textuais e discursivas: múltiplas abordagens”. Buscou desenredar o(s) discurso(s) que permearam a campanha a prefeito de Cuiabá em 2012, tal como fora veiculada no Horário Gratuito de Propaganda Eleitoral pela televisão aberta (doravante HGPE/TV), no segundo turno, disputado por Mauro Mendes, filiado ao Partido Socialista Brasileiro (PSB) e Ludio Cabral, filiado ao Partido dos Trabalhadores (PT). Teve por objetivo: apreender as relações interdiscursivas que permearam as propagandas do HGPE/TV; compreender como as propagandas políticas se construíram como cenas de enunciação (cena englobante, cena genérica e cenografia); compreender de que modo o ethos do enunciador participa da construção da cenografia; discutir especificidades do debate político no HGPE/TV. Tais objetivos não esgotaram as possibilidades de estudo que tal objeto oferecia, mas é o que se apresentava como passível de realização no momento. Foi uma pesquisa arquivista, com a diferença de que se pôde observar o arquivo em se fazendo, uma vez que se acompanhou, dia a dia, o que o HGPE/TV levava ao ar para a população cuiabana, em meio a que estavam os eleitores que poderiam fazer um ou outro candidato vitorioso. O estudo foi balizado pela Análise de Discurso (AD) da vertente francesa, utilizando os seguintes conceitos: interdiscurso, polêmica, cenas de enunciação (cena englobante, cena genérica e cenografia) e ethos. Os conceitos explorados na dissertação foram tratados, principalmente, na companhia de Dominique Maingueneau, um analista de discurso da escola francesa que tem mostrado a fecundidade desse paradigma interpretativo na leitura de qualquer tipo de enunciado, incluindo os enunciados multimodais como são os enunciados do HGPE/TV. A análise mostrou a polêmica em torno do “alinhamento”, um argumento de campanha reivindicado pelo candidato do PT e rebatido pelo do PSB, bem como em torno da “competência administrativa”, reivindicado pelo candidato do PSB e rebatido pelo do PT. / This study was conducted within the scope of the Master Program in Language Studies, in the Research Line “Textual and discursive practices: multiple approaches”. It sought to disentangle the discourse(s) which permeated the campaign for mayor of Cuiabá in 2012, as it is made public in the Free-time Political Propaganda on television (hereinafter HGPE/TV), in the second round, disputed by Mauro Mendes, affiliated to the Brazilian Socialist Party (PSB) and Ludio Cabral, affiliated to the Workers’ Party (PT). It aimed to: apprehend the interdiscursive relationships which permeated the HGPE/TV advertisements; understand how the political advertisements were crafted as enunciation scenes (enclosing scene, generic scene and scenography); understand how the ethos of the enunciator participates in the construction of the scenography; discuss specificities of the political debate in the HGPE/TV. Such objectives have not exhausted the possibilities of study that this object offered, but it is what was presented as achievable at the time. It was an archival research, with the difference that it was possible to observe the file in the making, by following day by day what was being broadcast by the HGPE/TV to the population of Cuiabá, among those the electors that could make one or the other winning candidate. The study was marked by the Discourse Analysis (DA) of the French strand, using the following concepts: interdiscourse, polemic, enunciation scenes (enclosing scene, generic scene and scenography) and ethos. The concepts explored in the dissertation were addressed mainly in the company of Dominique Maingueneau, a discourse analyst of the French school that has shown the fruitfulness of this interpretative paradigm in the reading of any type of statements, including multimodal statements as are the utterances of the HGPE/TV. The analysis showed the controversy around the “alignment”, an argument of campaign claimed by the PT candidate and rebutted by that of the PSB, as well as in relation to “administrative competence”, claimed by the PSB candidate and rebutted by the PT candidate.

Submitted by Fabiano Vassallo (fabianovassallo2127@gmail.com) on 2018-01-12T18:02:22Z No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) ElirFerrari_TESE_versao_final com fc.pdf: 8172711 bytes, checksum: 5e3acac2597870612956df61afe35001 (MD5) / Approved for entry into archive by Jussara Moore (jussaramoore@id.uff.br) on 2018-01-23T13:06:56Z (GMT) No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) ElirFerrari_TESE_versao_final com fc.pdf: 8172711 bytes, checksum: 5e3acac2597870612956df61afe35001 (MD5) / Made available in DSpace on 2018-01-23T13:06:56Z (GMT). No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) ElirFerrari_TESE_versao_final com fc.pdf: 8172711 bytes, checksum: 5e3acac2597870612956df61afe35001 (MD5) / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / Universidade do Estado do Rio de Janeiro, Rede Sirius - Rede de Bibliotecas UERJ / FREITAS, Elir Ferrari. "Isso é trabalho de mulher!": mídia e memória discursiva de masculinidade em trabalho do lar. 2017. 145 f. Tese (Doutorado em Estudos de Linguagem) – Instituto de Letras, Universidade Federal Fluminense, Niterói, 2017. Nesta tese, propomos uma análise discursiva de comerciais de produtos de limpeza que incluíssem a imagem do homem em atividade de trabalho doméstico. Com o intuito de contribuir para o debate sobre o papel do homem em nossos dias, mais especificamente no que concerne ao trabalho do lar, buscamos entender como os estudos discursivos podem somar na compreensão de que as imagens, veiculadas num mídium (MAINGUENEAU, 2001) audiovisual complexo, são construídas em formações discursivas (FOUCAULT, 2002) que fazem circular ideais de masculinidade. Separamos quatro comerciais que apresentaram o homem como personagem central como guia para o estudo da imagem discursiva de masculinidade. Nosso problema de pesquisa consiste em apresentar opções de análise que permitam demonstrar o quanto a linguagem e o discurso podem validar e corroborar práticas sociais que lhes parecem dissociadas. Para tanto, descrevemos as imagens de masculinidade a partir de seus elementos constitutivos no momento da enunciação, como o etos (MAINGUENEAU, 2001) do homem que surge nos comerciais e a performatividade (AUSTIN, 1962; BUTLER, 1997) que esse etos implica. Os movimentos no cenário e as músicas nos comerciais são tomados como marcadores do espaço e tempo, elementos cuja relação intersemiótica (MAINGUENEAU, 2005a) é constituinte de uma cenografia discursiva (MAINGUENEAU, 2001) dos comerciais e lugar onde o etos se pronuncia. Procuramos descrever o modo de operação dos comerciais a fim de entendermos a dinâmica do gênero ‘comercial’ como fato discursivo e seus efeitos de memória (COURTINE, 2014), memória atualizada pelo etos e pelas imagens (fotos, cenário) (COURTINE, 2013b). Assim, por meio da perspectiva da semântica global, tomamos outras noções que as propostas por Maingueneau (2005a) para nossas análises. O foco na memória discursiva contida no etos nos revelou que as imagens de homem nos comerciais foram pautadas numa performance de hipermasculinidade advinda de uma tradição conservadora em que persiste a dominação masculina (BOURDIEU, 2005) que interditava o trabalho do lar aos homens / FREITAS, Elir Ferrari. "That was women work!": media and discursive memory of masculinity on housework. 2017. 145 f. Tese (Doutorado em Estudos de Linguagem) – Instituto de Letras, Universidade Federal Fluminense, Niterói, 2017. In this thesis, we propose a discursive analysis of commercials of cleaning products that include the image of the man in housework activity. In order to contribute to the debate about the role of man today, more specifically the one concerning the housework, we seek to know how discursive studies can add to the understanding that the images conveyed in a complex audiovisual medium (Maingueneau, 2001) are built in discursive formations (FOUCAULT, 2002) which makes circulate ideals of masculinity. We have gathered four commercials that presented the man as central character as a guide for the study of the discursive image of masculinity. Our research problem is focused on presenting analysis options that allow us to demonstrate how language and discourse can validate and corroborate social practices that seem to be dissociated from them. To do so, we described the images of masculinity from its constituent elements at the moment of enunciation, such as the ethos (MAINGUENEAU, 2001) of the man that appears in the commercials and the performativity (AUSTIN, 1962; BUTLER, 1997) that it implies. The movements in the scenery and the music in the commercials are taken as markers of space and time, elements whose intersemiotic relation (MAINGUENEAU, 2005a) is constituent of a discursive scenography (MAINGUENEAU, 2001) of the commercials and place where the ethos is present. We pursued to reveal the modus operandi of the commercials in order to understand the dynamics of the 'commercial' genre as discursive fact and its effects of memory (COURTINE, 2014), updated by the ethos and the images (photos, scenery) (COURTINE, 2013b). Thus, through the perspective of global semantics, we carry other notions than those proposed by Maingueneau (2005a) for our analysis. The focus on the discursive memory that can be sighted in the ethos revealed to us that the images of man in the commercials were based on a performance of hypermasculinity coming from a conservative tradition in which masculine domination (BOURDIEU, 2005) persists and forbids men from doing the housework

La liaison de la nourriture, de la boisson et du spectaculaire caractérise le théâtre depuis l’antiquité. La présente étude questionne cette relation à partir de la naissance officielle de la mise en scène en France, à la fin du 19e siècle et jusqu’à aujourd’hui. Le point de départ et de repère est la France, pays qui a vu naître et a accueilli toutes les grandes évolutions du théâtre moderne et de la gastronomie. Au fur et à mesure, le champ géographique s’élargit pour inclure d’autres pays européens (Russie, Grande-Bretagne, Suède, Allemagne, Suisse, Italie, Espagne, Grèce) ainsi que les pays de l’Amérique du Sud (Venezuela, Colombie) et les États-Unis. Des pièces, des mises en scène et des performances, qui mettent en avant l’alimentation et la cuisine en tant que pratique d’art ou en tant que lieu, sont réunies et analysées. Quatre axes de la pratique théâtrale sont suivis : la dramaturgie, la mise en scène, la scénographie et le jeu de l’acteur. / Since ancient times, theatre has been characterised by a bond between food, drink and the spectacle. This study provides an account of this relationship from the beginnings of theatre direction in late 19th century France up until the present. Our departure and reference point is France, a country that witnessed and fostered the most important innovations in theatre and gastronomy. Progressively, our area of geographical focus is enlarged to include other European countries (Russia, United Kingdom, Sweden, Germany, Switzerland, Italy, Spain, and Greece) as well as countries from South America (Venezuela, Colombia) and the United States. We have collected and analysed a series of plays, stagings, and performances in which food and drink consumption, cuisine and the kitchen are featured prominently. Four axes in theatre practice have been followed: dramaturgy, theatre direction, scenography and acting.