The main aim of this thesis is to examine discourse functions of tense and aspect in Setswana narrative texts. We are going to show that tense and aspect have distinct but related roles to play in Setswana in general and in narrative in particular and that this distinction and relationship become crystal clear in discourse in general. The field of tense and aspect has not yet been fully explored in Setswana let alone in the Bantu languages south of the Sahara. Moreover, the function of tense and aspect in discourse appears to be taboo in grammatical studies. If successfully carried out, this thesis would therefore be a contribution to the existing research in Bantu languages and theoretical issues in general. In realizing this aim, this work is structured in the following way. The first chapter provides the aim and scope of the investigation, chapter 2 reviews literature on tense and aspect with a view to showing the need for and to delimiting the topic. Chapter 3 provides the theoretical framework and chapter 4 and 5 are concerned with the application of data from D. P. S. Monyaise’s narrative texts. Chapter 6 provides the concluding remarks. / Linguistics / D. Litt. et Phil. (Linguistics)

As a result of a historically anchored relationship between the Swedish state and the sports movement, gender equality has been a prioritized area of interest in Swedish sports since the 1970s. Despite long-term work in this field, research indicates a notable gap between what is said and done at the central level and locally. Research also indicates attitude problems; gender equality is often seen as an insignificant or unnecessary issue. This thesis seeks to relate to and analyze this development. Answers are sought via male sport coaches and leaders. This approach is motivated by the fact that gender equality-related sport research in Sweden seldom focuses on men and masculinities. At the same time men have been overrepresented as power holders and decision makers, and gender equality has consequently been constructed as a women’s issue. By means of a post-structural discourse analysis, the aim is to investigate constructions of gender equality in interviews with 47 leaders selected from seven sports. How is gender equality constructed in terms of meanings of and standpoints in relation to the concept, and which discourses set the frames for these constructions? Which subject positions are articulated? Results show that gender equality is given many different meanings in the interviews and that these meanings are produced in line with three discourses: a women’s rights discourse (semi-essentialism, structural feminism, a quantitative and qualitative support for women’s sport), a gender critical discourse (constructionism, structural feminism, “women can”, deconstructions of femininities) and a liberal discourse (“sport for all”, individualism, gender neutrality). Furthermore, four subject positions are distinguished: the skeptic, the cynic, the women rightist and the norm critic position. When the results are related to the production of gender equality policies four aspects are discussed, 1) relations between discourses (the discourses generate contradictory interpretations of sport, subjectivity, gender and equality), 2) men and gender equality, 3) the relatively substantial lack of interest in gender equality in the interviews and 4) sport and pluralism. One conclusion in the thesis is that the women’s rights discourse dominates and that the liberal discourse is marginalized in the interviews. Further, it is suggested that an elaboration and a more frequent practice of the gender critical discourse could be useful in the development of the gender equality project in Swedish sport. / Forskningslinjen Fritid

Mémoire numérisé par la Division de la gestion de documents et des archives de l'Université de Montréal.

John Baldessari’s Blasted Allegories (1977-1978) represent a concerted reconsideration of the most active and critical pursuits of the 1960s and ‘70s, including structuralism, post-structuralism, systems-based art, constraint-based approaches to composition, chance, and allegory. Thirty-five of the sixty-some Blasted Allegories are designated here as “later” works in the series because they share formal and structural characteristics; they present arrangements of colored photographs on neutral matte board. Although the later Blasted Allegories initially appear as colorful sentences, the close readings undertaken in this dissertation reveal that these pieces have been generated by the imposition of individual sets of constraints on a combinatorial system. In addition, many of these works appropriate structural models from cultural anthropologist Claude Lévi-Strauss, narratologist A. J. Greimas, and grammarian Noam Chomsky; even though they subsume the rules implied by these structural models, they undergo a post-structural critique wherein fixed relationships are destabilized by word play, homophones, rhyme, and the imposition of such additional operations as algorithms. This dissertation demonstrates how Baldessari solicits art as an experience of cognitive construction, pleasure, and protracted play with the possibilities of meaning. His crypto-narratives take readers along the cognitive spiral theorized by psychologist Jean Piaget that begin with sensory perceptions, expand into operational understandings of these works as products of a combinatory system, and can be built into logical and mathematical apprehensions of the resultant texts. Like many of the embedded models, Piaget’s spiral is counterbalanced in this series by the conflation of vying cultural models into a cacophony of signification. Baldessari’s texts play with readers’ proclivities to search for meaning. The artist solicits protracted interactions from viewer/readers, who are able to discern multiple, simultaneous readings and thus relinquish an ensconced approach toward art as a synthesis of embedded cultural models. Baldessari’s series engages conceptions of allegory as a procedure, a condition of the text, and a hedge against reductive, overarching interpretations. Working in a Duchampian vein, Baldessari posits the components of new syntaxes for art that return readers to these pieces, where variable interactions between readers and these heteroglossic texts ressemble open systems that can unsettle artist-imposed significations.

The thesis deals with the question of interpretation of narrative works of fiction in regard to what the text refers to (what is usually termed reference). On the work of three differently focused authors (Frege, Ortega y Gasset, Shklovsky) it studies reference pushed aside as a thing unimportant or even impossible in art. Structuralism, developing mainly in France after 1960, supplants these questions with exploring the literalness of literary works and their inner relations, allowing narratology to arise. Subsequently, Paul Ricoeur aims for the synthesis of structuralism and hermeneutics. Approaching literary work as discourse, he distinguishes the "what" and "what about" of works, following Frege's distinction between sense and reference (meaning), while reference of a work is not descriptive. In Time and Narrative he uses the term refiguration instead of reference and emphasizes the temporal aspect of literary work and its reception. The thesis is closed with a brief interpretation of Budapest, a novel by Chico Buarque (2003).

A kind of poetry that tries to understand contemporary social and philosophical issues as much as behaviors by rewriting in a poetic language the video artwork of some of the main representatives of modernism and postmodernism. Such poetry is deprived of confessional hues, any personal reference has to be ascribed to a mirroring effect by which the single person empathically absorbs and projects what is conveyed, be it stemming directly from the historical time of the artwork's making and inherited, or alive at the time of its actual viewing. By following a restructuring process started at the beginning of the twentieth century, the writing analyzes possible ways to outline developments or to underline breaking points. Poetry is seen as an active medium within the formation of societies characterized as it is by its highly introspective power, not restricted to the individual but open to all beings perceived as members of one entity.

Cette thèse traite de la période durant laquelle les Cahiers du Cinéma ont appliqué une lecture idéologique aux films populaires. Elle met en exergue les débats et les différentes théories critiques développées autour de la représentation de l’histoire des luttes populaires au sein du cinéma français, italien et américain de 1973 à 1978. Ce travail analyse les articles parus dans la revue à partir de la prise en charge de la rédaction par Serge Daney et Serge Toubiana. Le changement qui intervient alors au sein de la revue est indissociable d’un désir de retour à une critique renouant avec le cinéma après une période marquée par l’engagement politique de la rédaction depuis 1968. Les retrouvailles avec cette critique filmique encore empreinte de militantisme passent par une lecture des intentions idéologiques que recouvrirait le cinéma populaire. Les films sont appréhendés par la revue tels des moyens pour la classe bourgeoise de rendre naturelle sa conception du monde, de la société et de l’Histoire. C’est aux côtés des philosophes Michel Foucault, Jacques Rancière et de l’historien Marc Ferro que les critiques des Cahiers vont affiner une approche historiographique de la représentation des masses populaires au cinéma. De la France de Charles de Gaulle au programme socialiste de François Mitterrand en passant par l’arrivée au pouvoir de Valéry Giscard d’Estaing, la rédaction des Cahiers du Cinéma focalise son analyse sur les mutations et les ruptures qui caractérisent les gouvernements se succédant. Ce travail revient sur les différentes lectures que les critiques développent à l’endroit du découpage de films historiques et documentaires traitant de mouvements révolutionnaires tels que mai 68, sur les films ayant recours à des images d’archives, sur la décontextualisation politique du discours tenu par le militantisme ainsi que sur la fonction sociale et historique que les critiques des Cahiers du Cinéma ont théorisée en s’appuyant sur des films tels que Moi, Pierre Rivière..., Le petit Marcel, Milestones ou encore Jonas qui aura 25 ans en l’an 2000. / This thesis concerns the period in which the Cahiers du Cinéma applied an ideological reading to popular film. It highlights the debates and various critical theories concerning social struggles within French, Italian and American cinema from 1973 until 1978. This work analyses the articles published in the Cahiers after Serge Daney and Serge Toubiana began managing the magazine. The changes which then occurred showed an intrinsic desire to revive film criticism after a period marked by the political commitments of the editorial staff (dating back to 1968). This merging of film criticism with a militant approach was achieved through a reading of the ideological intentions hidden within popular cinema. Film was understood by the magazine as a way for the bourgeois class to normalize its conception of the world, society and history. Along with the philosophers Michel Foucault, Jacques Rancière and the historian Marc Ferro, the critics of the Cahiers would go on to refine a historiographical approach of the representation of the working-class masses. From Charles de Gaulle’s France to Valéry Giscard d’Estaing’s election and to François Mitterrand’s socialist program, the editorial staff of the Cahiers du Cinéma focused its analysis on the transformations and fractures which characterized successive governments. This work reflects on the different readings that the critics developed, regarding the editing of historical and documentary films which recorded revolutionary movements like the May 1968 events. It also looks at the way films resorted to archive images, and the political decontextualization of the militant discourse, as well as the social and historical function that the critics of the Cahiers du Cinéma theorized, drawing from films such as Moi, Pierre Rivière..., Le petit Marcel, Milestones or Jonas qui aura 25 ans en l’an 2000.

Esta dissertação de mestrado propõe analisar a seguinte questão: saber em que medida o habitus mostra ser um conceito relevante para as principais teorias sobre o conhecimento científico e tentar detectar quais são os fatores prováveis de sua omissão nas pesquisas em filosofia da ciência. No intuito de estudar a concepção de habitus científico e seus desdobramentos na história da filosofia, selecionei cinco pensadores consagrados que tratam do tema: Inicio com Aristóteles e sua teoria da hexis demonstrativa, passo ao estudo da negação do habitus científico na filosofia de Descartes; estudo a seguir, a posição de Hume que atribuía ao hábito à possibilidade de justificação do conhecimento científico; passo então pelas críticas de Kant à teoria humeana do hábito e, por fim, analiso as teorias contemporâneas sobre o conceito de habitus na sociologia da ciência de Pierre Bourdieu. / This master dissertation proposes to analyzes the following question: In what measure the concept of habitus is relevant the main theories of scientific knowledge and try to detect which are probable factors involved in its omission from philosophy of science´s researches. In order to study the conception of scientific habitus and its developments in the history of philosophy, I selected five philosophers which treat: I begin with Aristotle and its theorie of demonstrative hexis; I pass to the study of Descartes denial of a scientific habitus; I study Hume position, that attributed to habitus the possibility of justifying scientific knowledge; I pass through Kant´s critiques Hume´s of habit and finally I analyse the contemporary theories about the concept of habitus in Pierre Bourdieu\'s sociology of science.

Esta tese busca analisar a história da geografia crítica na França e nos Estados Unidos, principalmente através da concepção de estrutura. A partir de uma compreensão preliminar dos geógrafos anarquistas do século XIX, seguimos para a análise do marxismo e do debate sobre o materialismo geográfico entre geopolíticos e intérpretes do pensamento marxiano na geografia. Após a limitação da possibilidade histórica do desenvolvimento de uma geografia de esquerda na Alemanha, nos voltamos para a análise da geografia francesa que interage com o marxismo devido à resistência ao nazismo e à necessidade de emancipar-se de algumas concepções do pensamento vidaliano. Acompanhamos, então, o rico desenvolvimento da geografia de esquerda como as análises de geografia urbana e econômica, assim como a introdução da temática do subdesenvolvimento. A geografia de esquerda desacelera-se com a crise do marxismo e a ascensão da nova geografia. Contudo, pouco tempo depois, o descrédito da geografia quantitativa, o contexto mundial de lutas revolucionárias e os eventos de maio de 68 fazem surgir a geografia crítica. No caso francês, exploramos as relações entre a geografia de esquerda e o surgimento da geografia crítica; para os Estados Unidos, tentamos demonstrar como alguns de seus desenvolvimentos originam-se da nova geografia quantitativa. Através do estruturalismo althusseriano e os intelectuais que o atacaram, surge o processo de transformação epistemológica e de instituicionalização em que geógrafos outrora marginalizados começam a integrar a academia e desfrutar de um grande capital cultural. No entanto, a institucionalização representa a normatização e a desradicalização. A ascensão do pós-modernismo conjuntamente ao esmorecimento do marxismo em âmbito internacional faz com que o projeto da geografia crítica altere-se profundamente, abrindo precedentes para a consolidação cada vez mais intensa do pós-estruturalismo no final da década de 1980. / This thesis analyzes the history of critical geography in France and the United States, primarily through the conception of the structure. Our approach will preliminary understand the nineteenth-century anarchist geographers followed by the analysis of marxisms rise and geographical materialism debate among geopoliticals and interpreters of Marxian thought in geography. After the impossibility to develop a left geography in Germany, we turn to the analysis of French geography interacts with marxism tied to the resistance to nazism and the need to emancipate itself from some conceptions of Vidal de la Blache thought. We see the rich development of left geography in his urban and economic analysis, as well in introducting the theme of underdevelopment. The left geography decelerates with the crisis of marxism and the rise of new geography. However, shortly after the discrediting of quantitative geography, the global context of revolutionary struggles and the events of May 68 give rise to critical geography. In the french case, we explore the relations between the left geography and the emergence of critical geography, and explaning about United States we tried to demonstrate how some of their new developments came from quantitative geography. Through the althusserian structuralism and his criticals is possible to see the epistemological and institutional transformations in which geographers formerly marginalized begin to integrate the university and enjoy a great cultural capital. However, institutionalization is normalization and deradicalization. The insurgency of postmodernism with the demise internationally marxism makes changes in critical geography setting precedents for increasingly consolidation of post-structuralism in the late 1980s.

Made available in DSpace on 2016-04-28T19:33:36Z (GMT). No. of bitstreams: 1 Maria Francisca Ferreira Trujillo.pdf: 490631 bytes, checksum: 943d3b70dd6dda2f592134203530578f (MD5) Previous issue date: 2012-10-10 / This research, imprint structuralist, entitled diachronic study of prepositions com, em, por and per, in Portuguese texts of the XIV to the XX century, aims to investigate and describe the prepositions com, em, por and per in the Portuguese language, spelling and its amendments senses under the historical perspective. It is historical and descriptive research that is based on analysis of historical grammars and texts from the fourteenth century to the twentieth. The corpus of archaic texts from fourteenth and fifteenth centuries, drawn from the collections of Jose J. Nunes (1959) and J. L. Vasconcellos (1959). The texts from the sixteenth to the eighteenth were consulted in the National Digital Library of Lisbon. To represent the nineteenth and twentieth centuries chose varied literary works of Brazilian writers, preferring prose and, as the literary genre, seeks to vary between tales, auto, novels etc., In order to diversify styles, while that were selected authors who represent a form as close to the standard level of language (the language with little spontaneous reproduction without regional variation, for this is not the object of our study). Initially are compared every two centuries between them, and finally, compares the data with the twentieth century, aiming to verify the occurrence of changes in spelling and meanings in these prepositional connectives. Anchored on the assumption that, on the basis of the linguistic system of Portuguese prepositional connectives occupy important role, justified the development of such a survey. As a result, it is believed that the prepositions themselves carry some degree of meaning that make them, in the Portuguese language, basic elements that accompany the diachrony of language without changing its form or function / Esta pesquisa, de cunho estruturalista, intitulada Estudo diacrônico das preposições com, em, por e per em textos portugueses do século XIV ao XX, objetiva investigar e descrever as preposições com, em, por e per na língua portuguesa, suas alterações de grafia e sentidos sob a perspectiva histórica. Trata-se de pesquisa histórico-descritiva que tem como base de análise gramáticas históricas e textos do século XIV ao XX. O corpus é constituído de textos arcaicos dos séculos XIV e XV, retirados das coletâneas de José J. Nunes (1959) e J. L. de Vasconcellos (1959). Os textos dos séculos XVI ao XVIII foram consultados na Biblioteca Nacional Digital de Lisboa. Para representar os séculos XIX e XX escolhemos obras literárias variadas de escritores brasileiros, dando preferência à prosa e, quanto ao gênero literário, procura-se variar entre contos, auto, romances etc., com o intuito de diversificar estilos, ao mesmo tempo em que foram selecionados autores que representam uma forma o mais próximo possível do nível padrão da língua (com pouca reprodução da língua espontânea e sem variante regional, por não ser este o objeto do nosso estudo). São comparadas, inicialmente, cada dois séculos entre si e, por último, comparam-se os dados com o século XX, objetivando verificar as ocorrências de alterações de grafia e sentidos nesses conectivos preposicionais. Ancora-se na hipótese de que, na base do sistema linguístico do idioma português os conectivos preposicionais ocupam papel relevante, justifica-se o desenvolvimento de uma pesquisa dessa natureza. Como resultados, julga-se que as preposições carregam em si algum grau de significação que as tornam, na língua portuguesa, elementos de base que acompanham a diacronia da língua sem mudar sua função ou forma