Made available in DSpace on 2016-04-28T19:33:42Z (GMT). No. of bitstreams: 1 Rudney Soares de Souza.pdf: 14308342 bytes, checksum: e193ffc1636bdb91139dc769da810674 (MD5) Previous issue date: 2013-08-20 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This work is based on studies of French Discourse Analysis and aims at analyzing the first four speeches of President Dilma Vana Rousseff, pronounced on her victory in the 2010 presidential elections. The reason that motivated us to do this study was the possibility of understanding the changes in partisan political discourse of Brazil recent history, the moment when lawyers, engineers, former metalworker and only one woman were elected to the highest office of the Federal Republic of Brazil. We understand that a research like this can be useful for a better understanding not only of speech studies, but also the current party-political panorama of Brazil. Our specific objectives were: to identify and examine the construction of scenography and the constitution of discursive ethos; verify the linguistic-discursive strategies and to infer meaning effects created by the interdiscourse enunciator, and, from that route, unveiling the slips and subversions of meaning embodied in president speech and relate them to social and discursive memory. The results of the analysis allowed us to conclude that the emerging enunciator from Dilma Rousseff speech has a discursive ethos of "President of the continuity of Lula government." The life history of the enunciator and its woman condition act on her image ambiguously: sometimes strengthens and sometimes harms. The male social imaginary in policy still influences the discursive ethos legitimized by coenunciator (voter), even a speech with placements built around the premise "first Brazil female president / O presente trabalho fundamenta-se nos estudos da Análise do discurso de linha francesa e tem como objetivo geral analisar os quatro primeiros discursos da presidente Dilma Vana Rousseff, proferidos na ocasião de sua vitória nas eleições presidenciais de 2010. A razão que nos motivou a fazer este estudo foi a possibilidade de entender as mudanças no discurso político-partidário da história recente do Brasil, período em que advogados, engenheiros, exmetalúrgico e apenas uma mulher foram eleitos ao cargo mais alto da República Federativa do Brasil. Entendemos que uma pesquisa como essa possa ser útil para um maior entendimento não só dos estudos sobre discurso, mas também do panorama político-partidário atual do Brasil. Nossos objetivos específicos foram: identificar e examinar a construção da cenografia e a constituição do ethos discursivo; verificar as estratégias linguistico-discursivas e depreender os efeitos de sentido criados no interdiscurso pelo enunciador; e, a partir desse percurso, desvelar os deslizamentos e as subversões de sentido, materializados no discurso da presidente, e relacioná-los com a memória social e discursiva. Os resultados da análise nos permitiram concluir que o enunciador, que emerge nos discursos de Dilma Rousseff, tem um ethos discursivo de presidente da continuidade do governo Lula . O histórico de vida do enunciador e sua condição mulher agem sobre sua imagem de forma ambígua: ora o fortalece, ora o prejudica. O imaginário social masculino, na política, ainda influencia o ethos discursivo, legitimado pelo co-enunciador (eleitor), mesmo num discurso com posicionamentos construídos em torno da premissa primeira mulher presidente do Brasil

À l’origine de cette thèse, une ambition : observer la littérature à travers ses métamorphoses médiatiques, considérer ce qui se joue dans le social pour faire apparaître les représentations du littéraire qui se manifestent dès lors qu’un texte est réédité sous des formes moins académiques que le livre. Saisi par la place occupée par le littéraire dans l’économie symbolique de l’espace public contemporain, notre regard s’est porté sur les pratiques ordinaires de circulation du texte littéraire dans notre quotidien, la « publicité» d’un objet textuel à valeur littéraire en attachant une importance particulière à la scénographie. Nous nous sommes intéressée dans l’espace de la cité à des espaces et des tâches qui participent de notre quotidien : le transport, le commerce, le loisir. Soit trois expériences situées du littéraire : le métro, l’espace marchand et l’espace muséal.Observant les déplacements du littéraire dans l’espace commun, nous avons examiné des situations de communication qui disputent la valeur qu’on reconnaît au littéraire dès lors qu’il se trouve publicisé ailleurs que dans l’espace livresque. Le cadre théorique de cette recherche est l’occasion de réinvestir la notion d’objet littéraire, regardant les régimes discursifs variés de son inscription dans le social à travers la dimension expositive. La partie empirique de cette recherche considère le déploiement de l’espace littéraire et envisage la question de la littérarité in situ dans la polyphonie urbaine. Au travers de ces incarnations scripturales, il s’agit d’étudier les formes d’une autre consommation de l’objet littéraire et les représentations qui s’instituent dans le geste éditorial hors le livre. / At the heart of this dissertation is the objective to observe literature through its « media metamorphoses », with a particular emphasis on the literary representations that appear in the social realm once a text assumes a form less academic than that of a book. Intrigued by the space occupied by literature in the symbolic economy of contemporary public space, we have chosen to question the ordinary circulation practices of literary texts in our everyday lives. Our analysis examines the « publicity » (Habermas) of a textual object invested with literary value, with a focus on scenography. Our principal subjects of analysis are city spaces and tasks that compose our daily routine: transportation, trade, and recreation. These subjects manifest as three situated experiences of literature: the metro, merchandising and museums. Observing the emergence of literature in the common space, we have examined situations of communication that contest the value given to literary objects when they are publicized outside of the traditional « book space ». The theoretical framework of this research is the opportunity to reinvest the notion of the literary object, looking at the varied discursive regimes of its inscription in the social world through the expositive dimension. The empirical part of this research considers the deployment of literary space and envisions the question of literarity in situ in the urban polyphony. Through these scriptural incarnations, the goal is to study the forms of another consumption of the literary object and the representations that are constituted through the editorial gest as it occurs outside of the book.

Cette thèse s’intéresse au Théâtre National de Strasbourg durant la direction de Jean-Pierre Vincent (1975-1983). Dans une approche théorique, ce travail revient sur la remise en question de la décentralisation théâtrale et met en avant le contexte artistique, historique, social et politique qui a poussé Jean-Pierre Vincent et son collectif d’artistes à chercher une nouvelle façon d’aborder le théâtre. Tandis que certains mouvements investissent la rue, tels que le Happening ou le Bread and Puppet Theatre…, certains artistes comme Ariane Mnouchkine et Peter Brook se distinguent par une nouvelle approche expérimentale du théâtre qui met le spectateur au cœur de la recherche. Cette approche théorique nous permet de mieux cerner le contexte dans lequel évolue le TNS. En deuxième partie et en revenant sur cette période récente de l’histoire du TNS, ce travail s’interroge sur les notions de « théâtralité » et de « spectateur » à travers les créations « dans les murs » de Jean-Pierre Vincent et « hors les murs » d’André Engel. En nous concentrant sur les questions scénographiques et esthétiques, nous avons essayé de mettre en avant deux manières différentes et pourtant complémentaires d’interroger les codes théâtraux et, ce faisant, de pratiquer un théâtre profondément subversif et critique conduisant à reconsidérer le statut du spectateur, ainsi que ceux du scénographe et du metteur en scène. / The present thesis work is about the Strasbourg National Theater (TNS) under the direction of Jean-Pierre Vincent (1975-1983). In particular, the first part of the present research focuses, from a theoretical perspective, on issues related to the theatrical decentralization program and highlights the artistic, historic, socio-political context that guided Jean-Pierre Vincent and his collective of artists to consider and pioneer a new theatric approach. While several artistic movements were working on the street like Happening or Bread and Puppet Theatre…, others like Ariane Mnouchkine and Peter Brook were distinguished by a theatrical experimental approach involving the spectator in an innovative way. These theoretical perspectives illustrate the broader context in which TNS evolved. In this second part of this thesis, we investigate and discuss the “theatricality” and “spectator” notions throughout Jean-Pierre Vincent and André Engel creations (“dans les murs” and “hors les murs”). Moreover, by focusing on scenographic and aesthetic choices, we highlight two different, yet complementary, ways of questioning theatrical codes. Specifically, the practice of a subversive and critical theater led to a deep reconsideration of the status of the spectator, as well as those of the scenographer and the director.

Made available in DSpace on 2016-04-28T18:22:21Z (GMT). No. of bitstreams: 1 Rosileia Aparecida Borim.pdf: 1741576 bytes, checksum: 84615f4590f0ea2ace29eb5101304af1 (MD5) Previous issue date: 2011-08-19 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / Impelled by the advent of globalization, particularly since the 90 s, the companies, to survive in a competitive globalized market, developed a new profile of the ideal employee, having the necessary competence, that is, skills and the specific knowledge, to be accepted in the present work market. What is this profile like? What does competence mean? In order to answer this question, we collected the discourses circulating in the segments related to people management, therefore, the magazine MELHOR Gestão de Pessoas , specialized in People Management, published by the Brazilian Association of Human Resources (ABRH). By the theoretical point of view, our research is based on the principles of Dominique Maingueneau in Genèses du discours (1984/2005), in which Maingueneau considers the discourse as a system of global restrictions/coercion, anchored on the principle of primacy of interdiscourse. The present research is also based on the concepts of ethos, scenography, discursive practice and intersemiotic practice. The analyzes have shown the MELHOR - Gestão de Pessoas is in line with a discursive formation which stimulates companies to have employees holding several different characteristics: They have to be bright, flexible, confident, brave, versatile, talented and with a communicative style; they should act with responsibility, commitment and cooperatively; they should be able to face challenges, leader teams; master processes, influence and promote changes and they should have an entrepreneur attitude, strategic view and market view, and also, they should act prudently focusing on the client. In order to assess these competences, assessment procedures and standards were implemented, mainly by computer programs; that promise not only to find the ideal employee, but also to measure , classify and adjust people to the tasks and to the objectives of the company. And it will all be achieved on a time where the term long term does not belong. To dialogue with this discourse, we based on Ergology (1998, 2000, 2010), more precisely on the discussion proposed by Schwartz about what he called the ingredients of competence, an exercise necessary to solve an unsolvable question . That is a counter-discourse to the ongoing hegemonic discourses / Impulsionadas pelo advento da globalização, sobretudo a partir da década de 90, as empresas, para competir e sobreviver no mercado globalizado, passam a idealizar um novo perfil de funcionário que tenha a competência necessária, isto é, aptidões e conhecimentos diferenciados, para se inserir no atual mercado de trabalho. Que perfil é esse? Afinal, o que se entende por competência? Para responder a essa questão, fomos em busca dos discursos que circulam nos setores voltados para a gestão de pessoas, portanto, na revista MELHOR Gestão de Pessoas, publicação especializada em Gestão de Pessoas, mantida pela Associação Brasileira de Recursos Humanos (ABRH). Do ponto de vista teórico, recorremos aos princípios expostos por Dominique Maingueneau em Gênese dos Discursos (1984/2005), obra na qual o autor trata o discurso a partir de um sistema de restrições/coerções globais, ancorado no princípio da primado do interdiscurso sobre o discurso, princípio esse que dá sustentação ao livro; os demais, dentre as quais elegemos o ethos, a cenografia, a prática discursiva e a prática intersemiótica, decorrem dele. As análises mostraram que MELHOR Gestão de Pessoas alinha-se a uma formação discursiva que defende a necessidade das empresas tenham colaboradores que possuam vários e diferentes atributos: sejam brilhantes, flexíveis, confiantes, corajosos, versáteis, talentosos e comunicativos; tenham um modo de agir, caracterizado como responsável, comprometido e cooperativo; possuam capacidade de enfrentar desafios, liderar equipes; dominar processos, influir e promover mudanças e tenham atitude empreendedora, visão estratégica e de mercado, e ainda, saibam agir com prudência e foco no cliente.Para avaliar essas competências, instituíram procedimentos e modelos de avaliação, sobretudo por meio de programas tecnológicos, que prometem não somente encontrar o funcionário ideal , mas também medir , classificar e ajustar as pessoas às tarefas e aos objetivos da empresa. E tudo isso em um tempo no qual não existe longo prazo . Para dialogar com esse discurso, recorremos à Ergologia (1998, 2000, 2010), mais precisamente à discussão proposta por Schwartz para pensar os chamados ingredientes da competência, segundo ele, um exercício necessário para uma questão insolúvel . Posição que se caracteriza como um contradiscurso aos discursos hegemônicos vigentes

Cette thèse explore l’espace communicationnel contemporain à partir de la forme installative. L’enjeu est d’envisager comment dans une société médiatisée où l’exposition est devenue la norme du visible, l’installation parvient à créer ou renégocier dans l’espace social des formes de visibilités. Ces reformulations sensibles proviennent du geste scénographique, tout à la fois processus de création et de représentation, à travers lequel peuvent être circonscrites des « scénographies communicationnelles ». L’installation artistique est l’espace archétypal servant à entreprendre cette réflexion. À partir d’un corpus d’installations artistiques contemporaines, nous analysons les processus par lesquels l’installation conduit à une expérience hétérogène de l’espace tendant favoriser l’immersion du visiteur et le renversement des cadres qui servent à intelligibiliser le réel. Ces processus font de l’installation un espace permettant d’expérimenter le sensible à l’aune d’agencements spatiaux qui en redéfinissent le partage. L’installation peut être conçue comme une forme scénographique constitutive de pratiques et de processus communicationnels tendant s’intercaler entre l’expérience esthétique et l’expérimentation sociale de l’espace. La « communication anthropologique du sensible » favorisée par des dispositifs artistiques de toutes sortes, permet justement d’illustrer comment l’installation, devenue une scène sociale, transforme tout à la fois notre perception et nos modes d’êtres communicationnels. Pour saisir et mettre en perspective ces enjeux à cheval entre les disciplines de la communication et de l’esthétique, cette réflexion prend comme point d’appui l’espace muséal. Le musée, espace scénographié et régime d’exposition matérialisé, permet d’observer comment le paradigme communicationnel intervient dans les pratiques culturelles à travers le rôle que joue l’espace, alors conçu comme une « scène ». L’installation d’abord envisagée dans le milieu typique de l’hétérotopie muséale, sera observée au fil de ses déterritorialisations dans l’espace social, mais aussi à travers des processus circulaires et réflexifs qu’elle provoque sur notre regard. Il s’agit finalement de se demander comment l’installation non plus seulement artistique peut faire lieu de support ou de modèle pour analyser l’espace communicationnel contemporain et plus loin, une hypothétique « société de l’installation ». / This thesis explores the contemporary communicational space on the basis of the installation form. The challenge is to consider how installation manages to create or renegotiate forms of visibilities in a media-orientated society in which exhibitions have become the norm of what is visible. These sensitive reformulations result from the scenography movement, defined as a process of creation and representation through which “communicational scenography” may be contained. The artistic installation is the archetypal space that will be used to undertake this reflection. Using a corpus of contemporary art installations, we will analyse the processes by which installation leads to a heterogeneous experience of space, which typically favours the immersion of the visitor and the reversal of frameworks which serve to make the real world intelligible. These processes make installation a space which allows for experimentation with the sensory experience in relation to spatial layouts which redefine its division. Installation may be appreciated as a form of scenography constituting of communicational processes and practices which tend to insert themselves in between the aesthetic experience and the social experiment of space. The “anthropological communication of the sensible”, promoted by all sorts of artistic devices, illustrates precisely the way in which installation, as a social stage, transforms both our perception and methods of communication. To grasp and put into perspective these issues, which criss-cross between the disciplines of communication and aesthetic, this reflection will focus upon space specifically within the museum. The museum, acting as both a set designed space and a stage of materialised exhibition, makes it possible to observe how the communicational paradigm intervenes in cultural practices through the role played by space, here defined as a “scene”. Initially considered in the typical environment of museum heterotopia, installation will be observed over the course of its derritorialisation in social space, but also through circular and reflexive processes that it may have on our perspective. In the end, it is a question of whether installation, a not only an artistic practice, can act as a medium or a template to analyse the contemporary communicational space and, further still, as a hypothetical “society of installation”.

Depuis la fin des années 1960, la scénographie suscite un intérêt croissant, surtout au théâtre mais aussi dans les autres arts, dans l'exposition, au cinéma, ou encore dans les meetings politiques, etc. En France, le nombre de thèses touchant au sujet a augmenté considérablement depuis 1985, pour atteindre le chiffre de 182 début 2017. Or, sa définition reste pour le moins floue et suscite des débats et des positionnements forts, voire radicaux, surtout quant à sa dépendance au théâtre et à sa qualité d'espace. Il s’avère alors d'un grand intérêt de proposer une approche théorique et scientifique pertinente de la scénographie contemporaine, afin de lui donner une définition claire qui pourrait servir de matériau commun aux théoriciens comme aux praticiens ou encore aux étudiants.La démarche de cette recherche relie l'élaboration d'une théorie systémique de la scénographie, dans un premier temps, avec son itinéraire historique depuis la Grèce antique enrichie de nouvelles traductions des textes de référence, dans un second temps. Elle intègre aussi, comme cas d'expérimentation de la théorie dans un troisième temps, l'analyse d'un corpus particulier qui retrace le mouvement de «déreprésentation» du Courant 0 au XXe siècle. Elle termine enfin son parcours, dans un quatrième temps, avec l'approfondissement des véritables enjeux humains de la théorie à travers le prisme de l'émotion. Un quatrième temps d'expérimentation « en laboratoire », analyse une production pratique. L'approfondissement du rapport humain ménagé par la machine dans l'investissement émotionnel de l'être humain récepteur, rend compte d'une place fondamentale laissée à autrui. Elle termine enfin son parcours, par l'observation de capacités particulières de la machine (attribution d'intégrité et médiation) à travers l'étude d'applications spécifiques (marionnette et exposition). Avec la récurrence de la notion de représentation, c'est la machine à représenter qui se découvre. Elle déborde de loin l'idée d'espace pour se définir comme création et maniement de représentations, d'images et d'imaginaires. Ce qu'on pourrait aussi appeler conception de mise en situation d'image, repose sur une gradation du rapport entre image, usage, support et expérience. Elle crée et structure une idée de rapport. Elle se pose ainsi comme média en conditionnant la relation de l'humain au monde de part son rapport et sa représentation à travers l'émotion. / Since the late sixties, scenography became a trend in France, the majority being for the theater but also featured in art, exhibition, movies, or political summits, etc. In France, the number of Ph. D. theses touching this subject rose exponentially since 1985, and boasting a total of 182 pieces in early 2017. Nevertheless, its definition remains blurred, leading to debates and strong statements, particularly about the inherent dependency to the theatrical domain and its spatial essence. Thus, the goal of this research is to provide an accurate theoretical and scientific approach to contemporary scenography, outlining a clear definition that can serve as common material for professionals, theorists and students.Firstly, this research elaborates upon the concept of a systemic theory of scenography, baring the historical path that scenography went threw since the time of ancient Greece. Secondly it introduces new translations of referential texts. The third point is about a special corpus analysis which traces the movement of the unmaking representation by the Stream 0 (Courant 0) during the XXe century as an experimental case for testing the theory’s validity. The fourth point opens a practical laboratory. The human paradigm is deepened through an emotional investment as the theory’s real life challenge. Lastly, this research studies three special habilities of the machine related to the emotional investment (integrity attribution and mediation) trhough three specific applications (puppetry and exhibition).The prevalence of the notion of representation is what ultimately reveals the representation making machine. It goes far beyond the idea of space to define itself as creation, as well as the manipulation of representations, images and imagination. What could be known as image situation design is based on a gradation of the relationship between image, use, support and experience. The machine orchestrates and structures the idea of a relation ratio. It positions itself then as a tangible medium by conditioning the link between humanity to the world - by its relation and its representation - through emotion.

Thèse numérisée par la Division de la gestion de documents et des archives de l'Université de Montréal

A TALK ABOUT ROLES IN A SETTING (2015) is a performative work by the artist Johan Lundin. A choreographed presentation is performed for 12 participants in a scenography describing public and private environments. The production process and performance of the work is describing how roles and circumstances change when an environment is observed through a perspective where fiction is allowed to be used as methodology to engineer new reality images. Through the terms role and setting this publication is focusing on describing how the visual image of the body and its movement has an influence on how identity and gender is constantly formed in relation to the place's historical, social and cultural contexts. / A TALK ABOUT ROLES IN A SETTING (2015) är ett performativt verk av konstnären Johan Lundin. En koreograferad presentation framförs för 12 deltagare i en scenografi som beskriver offentliga och privata miljöer. Verkets process och framförande skildrar hur roller och förutsättningar ändras när en miljö observeras genom ett perspektiv där fiktion tillåts användas som metodik för att iscensätta nya verklighetsbilder. Genom termerna roll och setting sätts i den här publikationen fokus vid att beskriva hur den visuella bilden av kroppen och dess rörelse har inflytande för hur identitet och genus ständigt formas i relation till platsers historiska, sociala och kulturella sammanhang. / <p>ISBN: 978-91-982605-0-2 (Print) ISBN: 978-91-982605-1-9 (Digital) Print / Tryck: Johan Lundin, Stockholm, 2015</p>

À partir d’un corpus composé d’une quarantaine de tragédies parues en Normandie entre 1566 et 1640, mettant presque toutes en scène des actes de cruauté exercés par des représentants d’altérités exacerbées, ce mémoire de doctorat étudie les particularités scénographiques qui transparaissent dans ces textes, en mettant en évidence la similitude des éléments décrits dans les didascalies internes et dans les rares indications scéniques des œuvres avec les pratiques de l’Hôtel de Bourgogne telles qu’elles sont définies par le Mémoire de Mahelot. Après un rappel des formes et des événements dramatiques joués dans la province, la thèse poursuit par une étude des pratiques éditoriales rouennaises. Une fois établie l’historiographie des guerres de religion et des règnes d’Henri IV et Louis XIII, la thèse observe la manière dont le théâtre normand est contaminé par la production parisienne en voie de normalisation classique, puis disparaît progressivement, ainsi que les scénographies signifiantes qui le caractérisent ou comment leur sens est dévoyé pour célébrer une unité politique, pour laisser place au palais à volonté des drames parisiens. / Based on a corpus composed of about forty tragedies published between 1566 and 1640 in Normandy, most of which staging acts of cruelty carried out by strongly antagonistic protagonists, this doctorate thesis studies the specific stage designs shown out through those texts. Thus throwing into prominence the existing similarities between the components described in the internal stage directions, the few stage indications of the works, and the practices at the hotel de Bourgogne such as defined in the Mémoire de Mahelot. After recalling the shapes and the dramatic events performed in the province, the thesis goes on studying the editorial practices in Rouen. Historiography of wars of religion and Henri IVth and Louis XIIIth reigns once established, it observes how the Norman theatre is being corrupted by the Parisian production on its move to classical normalization, and then gradually vanishes as well as the meaningful stage designs, demonstrating then how their meaning is being perverted in order to celebrate a political unity, to make way for “palais à volonté” in the Parisian dramas.

No description available.