Thesis (Ph. D.)--University of Missouri-Columbia, 2004. / Typescript. Vita. Page xii is blank. Includes bibliographical references (leaves 200-209). Also available on the Internet.

Thesis (M.A.)--Stony Brook University, 2008. / This official electronic copy is part of the DSpace Stony Brook theses & dissertations collection maintained by the University Libraries, Special Collections & University Archives on behalf of the Stony Brook Graduate School. It is stored in the SUNY Digital Institutional Repository and can be accessed through the website. Presented to the Stony Brook University Graduate School in partial fulfillment of the requirements for the degree of Master of Arts in English; as recommended and accepted by the candidate's degree sponsor, the Dept. of English. Includes bibliographical references (p. 38).

This dissertation examines the imaginative ways in which three postcolonial writers overcome a fractured collective past by creating a double-voiced discourse narrative framework that allows them to envision a reality that might-have-been while acknowledging the presence of dominant discourses that are. Morrison, Condé, and Farah overlap contradictory forms in order to show that narrative boundaries are self-imposed, mythical, and arbitrary. Intersection among these differing narratives in each text creates dialogism--a balance between dominant and counter-discourse. Because the contrasting viewpoints of dominant and counter-discourse both have a historical perspective, Morrison, Condé, and Farah work to retain a delicate intertextual fabric in their novels--a fabric woven from several narratives to create a text that rests paradoxically on the task of revealing the narrative contradictions while also showing that they can't be completely separated from each other as the singular hegemonic voice argues.

Made available in DSpace on 2016-08-29T15:08:43Z (GMT). No. of bitstreams: 1 tese_3453_Dissertação Isaura.pdf: 5466647 bytes, checksum: 3ba2d1907095c75615c3a55f8e015296 (MD5) Previous issue date: 2009-03-23 / Esta dissertação analisa cinco narrativas produzidas por estudantes e Ensino Médio, mobilizando conceitos para uma análise discursiva cujo tema aborda aspectos sobre o problema do autor e da autoria. A escolha do corpus reflete o interesse pela escrita autoral, aquela que apresenta traços singulares. A escrita dos alunos-autores, apesar de terem sido produzidas através de uma instituição escola,revela características de um texto literário. Partindo de uma proposta geral, faz-se uma discussão sobre alteridade, refletindo com Amorim (2004), Bakhtin (1976),Benveniste (1995) e Authier-Revuz (2004). A seguir, discute-se o problema do autor no presente e no passado -, como também as idéias de Barthes (1984), Foucault (1997, 2001, 2006) e Bakhtin (1976, 1981, 1995, 1998, 2003) sobre a questão, que se mostra sob múltiplos aspectos. Na ampla reflexão sobre autoria, destaca-se Bakhtin como o encaminhador teórico do estudo. A análise bakhtiniana das narrativas faz-se através da metodologia indiciária (GINZBURG, 1989), procedimento qualitativo, que se considera adequado para a proposta de análise. Discute-se também os modos de organização do discurso com Charaudeau (2008), assim como a composição dos enunciados como forma arquitetônica (BAKHTIN,1998). Através dos conceitos bakhtinianos de autoria, gêneros e estilo, analisa-se nos textos primeiramente a composição do tema, sua valoração e significação no contexto narrativo (BAKHTIN, 1976, 1995, 1998), para depois discutir a questão do autor e da alteridade na arquitetônica da criação (BAKHTIN, 1981, 1993, 1998,2003). Pergunta-se, então, se traços de autoria puderam ser detectados nas narrativas dos alunos. Pelas análises realizadas, fundamentadas nos conceitos bakhtinianos de criação estética, permite-se afirmar que o trabalho de autoria se fez presente na produção dos alunos.

Dissertação(mestrado)—Universidade de Brasília, Instituto de Letras, 2011. / Submitted by Jadiana Paiva Dantas (jadi@bce.unb.br) on 2011-06-28T23:25:38Z No. of bitstreams: 1 2011_Marcius Fabiani Barbosa de Souza.pdf: 683392 bytes, checksum: d137f27c39c77d1b6fdf5d2711b0916a (MD5) / Approved for entry into archive by Repositorio Gerência(repositorio@bce.unb.br) on 2011-06-30T17:30:18Z (GMT) No. of bitstreams: 1 2011_Marcius Fabiani Barbosa de Souza.pdf: 683392 bytes, checksum: d137f27c39c77d1b6fdf5d2711b0916a (MD5) / Made available in DSpace on 2011-06-30T17:30:18Z (GMT). No. of bitstreams: 1 2011_Marcius Fabiani Barbosa de Souza.pdf: 683392 bytes, checksum: d137f27c39c77d1b6fdf5d2711b0916a (MD5) / Este trabalho investiga a representação da mulher adúltera e do marido traído nos contos do autor paranaense Dalton Trevisan. O trabalho apoiou-se, fundamentalmente, nos conceitos de polifonia e dialogismo, conforme desenvolvidos pelo pensador russo Mikhail Bakhtin. Buscou-se identificar a ocorrência da polifonia e de interações dialógicas nos doze contos estudados, em uma perspectiva tanto intra quanto intertextual, bem como as implicações ideológicas da representação do adultério feminino pelo autor em relação à evolução histórica do sistema patriarcal. _______________________________________________________________________________ ABSTRACT / This work investigates the representation of the adulterous woman and the betrayed husband in the short stories of Brazilian author Dalton Trevisan. The work is based mainly upon the concepts of polyphony and dialogism, both of them developed by Russian theorist Mikhail Bakhtin. One has aimed to identify the occurrence of polyphony and dialogical interactions in 12 selected short stories from both intratextual and intertextual perspectives, as well as the ideological implications of the representation of female adultery in the works of Dalton Trevisan as compared to the historical developments of the patriarchal system.

Submitted by Marcelo Andrade Silva (marcelo.andradesilva@ufpe.br) on 2015-03-06T18:35:03Z No. of bitstreams: 2 Tese de Robson Santos Psicologia Cognitiva Biblioteca 2012 ficha catalografica no final.pdf: 15744491 bytes, checksum: d1412335806c44693bc6ca8aadc0a8dd (MD5) license_rdf: 1232 bytes, checksum: 66e71c371cc565284e70f40736c94386 (MD5) / Made available in DSpace on 2015-03-06T18:35:03Z (GMT). No. of bitstreams: 2 Tese de Robson Santos Psicologia Cognitiva Biblioteca 2012 ficha catalografica no final.pdf: 15744491 bytes, checksum: d1412335806c44693bc6ca8aadc0a8dd (MD5) license_rdf: 1232 bytes, checksum: 66e71c371cc565284e70f40736c94386 (MD5) Previous issue date: 2012-05-25 / CNPq / A presente pesquisa de doutorado teve o objetivo de identificar procedimentos de representação do Self na Internet. Para o alcance desse objetivo, delineamos uma proposta teórico-metodológica cuja matriz está no entrecruzamento das abordagens teóricas de Goffman e Bakhtin, por meio das quais chegamos a identificar as características de permanência e impermanência, estabilidade e mudança compondo um circuito virtual de autorefência a partir do chat e estendendo-se para as redes sociais virtuais (Youtube, Facebook, Orkut, Twitter etc.). A operacionalidade dessa proposta teórica permite ser percebida no desenho metodológico de etnografia virtual que denominamos de Modelo Etnográfico Virtual de Estudo das Representações do Self na Internet (MEVERSI), permitindo gerar dados a partir de vários ambientes virtuais de autoreferencialidade, observando-se o comportamento de mudança e permanência do Self, sob o os princípios da carnavalização bakhtiniana como um princípio estético do mundo no qual o uso das máscaras, dos ambientes públicos e abertos, do predomínio do riso no discurso e expressões em geral bem, como a ênfase no baixo corpóreo (sexualidade, pornografia), dentre outras características. A partir dessa metodologia, a análise nos autoriza a afirmar que as pessoas utilizam formas variadas de representação de si mesmas na Internet, podendo constituir um padrão de continuidade desde o chat até as redes sociais ou apresentar um padrão de mudanças diversas no que diz respeito aos modos de autorepresentação (fotos, desenhos, imagens etc.). Em ambos os casos (de mudança e de permanência da pessoa no seu circuito virtual de autoreferência), os resultados encontrados permitem-nos identificar traços característicos do mesmo Self em sua característica de extensão (Self dialógico), autorizandonos concluir que a representação do Self na Internet atende aos princípios da carnavalização bakhtiniana, uma perspectiva dialógica de investigação.

Made available in DSpace on 2014-06-12T16:29:42Z (GMT). No. of bitstreams: 2 arquivo4447_1.pdf: 715383 bytes, checksum: f2d5da52864a21c87a6e0457c82fdce7 (MD5) license.txt: 1748 bytes, checksum: 8a4605be74aa9ea9d79846c1fba20a33 (MD5) Previous issue date: 2001 / Este trabalho é um estudo de linguagem dos vídeos populares de Pernambuco produzidos na década de 1980. Analisamos dois programas, Quem vê a cara vê a AIDS e A nossa história e a história de Cabo Gato, realizados por grupos distintos e em diferentes processos de produção, para identificar elementos comuns que compõem a materialidade expressiva deles. Trata-se de um estudo interdisciplinar, fundamentado a partir de três categorias de análise do filósofo russo Mikhail Bakhtin: dialogismo, polifonia e carnavalização. De acordo com os dados levantados e analisados na pesquisa, constatamos que os programas foram realizados a partir de dois modelos de produção, videoprocesso e videoproduto, que implicavam um determinado grau de dependência em relação aos movimentos sociais e objetivos específicos quanto ao uso do vídeo numa perspectiva social. Em termos de linguagem, o vídeo popular pernambucano seguiu as tendências da arte contemporânea e mostrou-se essencialmente híbrido, pois a sua materialidade expressiva se constitui a partir do diálogo e da contaminação entre o erudito, o massivo e o popular. Constatamos, também, que a produção de vídeos populares, em Pernambuco, surgiu da iniciativa de setores médios da população, mais ou menos articulados com os movimentos sociais. Ao mesmo tempo em que procurava dar visibilidade positiva às lutas populares, então pouco divulgadas nos mass media, os grupos de realizadores também revelaram aspectos do cotidiano e da cultura dos setores menos favorecidos da população, contribuindo para o fortalecimento de identidades locais e o crescimento da auto-estima

Does the phenomenon of carnivalesque challenge hegemony and inspire social change? Mikhail Bakhtin coined the term “carnivalesque” to describe the concept of Carnival. During Carnival, social norms were overturned and ignored in favor of a chaotic atmosphere, briefly breaking down the boundaries between class, gender, and other hegemonic perspectives. Modern Carnivals, such as the Rio Carnival, still contain a semblance of the carnivalesque, as well as other holidays that celebrate the grotesque and macabre, like that of the Day of the Dead. The LGBT Pride Parade can also be seen as a modern Carnival, for it focuses heavily on sexual and gender identities that have been suppressed in most of the world. When celebrating these carnivalesque events, one can dress up and change their identity to something less tolerated in an oppressive hegemony. For example, some participants may cross-dress or act in less traditional ways, while others will dress in ways that mock the social standards of royalty or religion. Many of these identities challenged the status quo of society and slowly became accepted. This thesis explores the role the carnivalesque has in celebrating alternative identities and its use as a rhetorical tool for inspiring social change, as well as examine how Carnival uses dialogic language. The methods of exploring this topic include reading Bakhtin’s texts on language and rhetoric, analyzing other sources that also explore language and carnivalesque elements, and considering the history of Carnival and its influence on people and society.

This dissertation is an examination of the ways English teachers may be complicit in reproducing an abstinence-based sex education discourse in their own classroom practices and discussions of literature. Working from disciplinary research in sex education, sociology, English education, anthropology, and public health, I explore English teachers\' experiences in negotiating the effects of, reactions to, and expectations for discussing sexuality, intimacy, and gender in a school community. Using feminist positioning theory and Bakhtin\'s concepts of dialogism and ventriloquism, I explore how teachers approach, grapple with, contribute to, and leverage dominant institutional discourses in their practices, thereby mediating knowledge, possibilities for conversations, and institutional norms. An amalgam of teaching philosophies, methodologies, and political ideologies underscores teachers\' voicing patterns and discursive positions, helping to further inform an understanding of how contentious social issues are negotiated in the classroom. The agentic discursive positions teachers take up provide insights into teachers as mediating agents within institutional discourses, but not necessarily as change agents of institutional norms. / Ph. D.

This thesis employs the concept of 'voice' in order to explore the variety of dialogic relationships between men and women in seven Shakespeare plays. Here, 'voice' is defined as an ideological position held by a character and voices within a dialogical relationship test dominant social ideas. In doing so, the aim is to explore how employing a linguistic approach allows us to develop a more nuanced perspective towards women and female voices in Shakespeare. Taking the early modern tradition of an all-male-cast into consideration, this project acknowledges the tension between the idea of embodiment and voice; however, it argues that even though there is no biological female body of the Shakespearean stage, there is a female voice. Dialogism, of course, derives from the work of the Russian theorist Mikhail Bakhtin. These 'voices' are analysed in the context of a theoretical framework informed by his writings on the novel, which are also increasingly being used to make sense of drama in line with Bakhtin's own awareness of a nascent dialogism in Shakespearean drama. 'Polyphony', in particular, assumes a separation between the author's and the characters' points of view. Thus, this project considers Shakespeare's texts as dialogic and his plays as a dialogue of voices, in which the characters have the capacity to hold dialogical relationships where no voice holds more importance than any other. This is significant because these conflicting voices are what make the Shakespearean text different from those in which a single voice is heard - that of the author, for example. As this study talks about an oppressive authoritative/patriarchal language, a dialogic approach unlocks the languages of the others which it tries to marginalise and silence. The research reveals a complex relationship between space, time and voice. More precisely, the carnivalesque becomes visible in Shakespeare's use of innovative discursive devices, such as 'active parody', 'Menippean dialogue' and 'Socratic dialogue', which suggests a multi-toned and ambiguous female voice; a voice that has the capacity to covertly and overtly oppose and challenge social ideologies surrounding gender. The thesis offers new perspectives on the presentation of women and speech. Importantly, it offers a more sophisticated and complex Bakhtinian framework for looking at carnival in Shakespeare. Additionally, a linguistic model of analysis also develops current scholarly use of Bakhtin's concept of carnival. Rather than viewing carnival as simply a time-space of betwixt and between, this project looks at carnival in the context of language (the carnivalesque). More specifically, it reveals how Shakespeare¿s female figures find pockets of carnivalesque space in everyday existence through dialogue. Thus, suggesting that emancipation is not limited to an allocated time or space, rather, it can also be achieved through language.