No description available.

Made available in DSpace on 2015-06-03T02:06:57Z (GMT). No. of bitstreams: 1 000469855-Texto+Completo-0.pdf: 1834422 bytes, checksum: 52c5fee048b61d13173700894f59c9f4 (MD5) Previous issue date: 2015 / Based on the concepts postulated by Bakhtin and his Circle (BAKHTIN/ VOLOCHIÍOV, 1929/2010; Bakhtin, 1975/1998, 1979/2011), who understand the word as a polysemic and plurivocal element of the language, this thesis studies the word´s plasticity in order to understand the discursive functioning of the language and, consequently, how the construction of meaning in different discursive genres is made. It is understood that in each and every statement that is being out of communication among individuals, there is an interaction of several voices, wherein the comprehension of a speech leads to another and so forth. It is the analysis of this web of voices, pervaded by the word, that allows one to reach the senses in circulation in the speech. That is, for the understanding of an utterance, it is necessary to observe the voices under interaction in the verbal material, which underline the multi linguistic and dialogical nature of language. The research comprises that the plasticity of the word and the resulting printed mobility it promotes to the genres is subject to various discursive aspects such as shape, enunciation situation (who speaks? To whom? About what? Which enunciation project does it make use of as a basis?), production context, otherness, intonation, reflection / refraction. Thus, this work´s main objective is to analyze aspects that provide word´s plasticity in different genres, and to check the evocation of different valuations and discursive voices that give a meaning to the words, and, consequently to the speech. In order to achieve the overall goal, the following specific objectives are considered: (a) observe how the construction of meaning is based in the plasticity of words; (b) investigate how the words, through different social voices that permeate them, reveal value appreciation and views; (c) check how the words and their meanings resume dialogical relations previously established - reflection -. while concomitantly, lead to new directions - refraction. As for the analysis, genres strip, jokes and records. The strips were removed from the collection of strips produced by the Argentine Quino, entitled All Mafalda. The jokes were taken from an electronic site, called PIADAS. COM. BR. The records were collected from the physical selection process for IFRS substitute teacher - Campus Rio Grande. Regarding the analysis methodology, there was, at first, an individual analysis of each gender considering the discursive function of words, which reflect and refract ideologies and viewpoints, conditioned by various discursive aspects. Soon after, a constitutive dialogical orientation of the analyzed genres took place in order to check the idea that plasticity may be printed by the word, and cross all genres, including those considered more coercive. Therefore, the word is considered in this work as an utterance, endowed with a meaningful intonation as in every enunciation new value guidelines are produced by social and historically situated subjects. This perspective also justifies the thesis guided by this work that the language is plastic because the word is plastic. That is, it is the word, that when expressed by an individual, gets impregnated with expressiveness and gives plasticity to the language. / Partindo dos conceitos postulados por Bakhtin e seu Círculo (BAKHTIN/VOLOCHIÍOV, 1929/2010; BAKHTIN, 1975/1998, 1979/2011), que entendem a palavra como elemento polissêmico e plurivocal da língua, a presente tese estuda a plasticidade da palavra de modo a compreender o funcionamento discursivo da língua e, consequentemente, como ocorre a construção de sentidos em diferentes gêneros discursivos. Entende-se que em todo e qualquer enunciado, que tem existência a partir da interlocução entre sujeitos, há uma interação de diversas vozes, em que a compreensão de uma voz leva à compreensão de outra e assim sucessivamente. É a análise dessa teia de vozes, permeada pela palavra, que permite o alcance dos sentidos em circulação no discurso. Ou seja, para a compreensão de um enunciado, faz-se necessário observar vozes que interagem no material verbal, evidenciando, assim, o caráter plurilinguístico e dialógico da língua. Nesta pesquisa compreende-se que a plasticidade da palavra e a consequente mobilidade impressa por ela aos gêneros está condicionada a diversos aspectos discursivos, tais como forma, situação enunciativa (quem fala? para quem? sobre o que fala? com que projeto enunciativo?), contexto de produção, alteridade, entonação, reflexo/refração. Sendo assim, este trabalho tem como objetivo geral analisar aspectos que propiciem a plasticidade das palavras em diferentes gêneros, verificando a evocação de diferentes valorações e vozes discursivas que imprimem sentidos às palavras e, consequentemente, ao discurso. Com vistas a atingir o objetivo geral, consideram-se os seguintes objetivos específicos: (a) observar como a construção de sentido é pautada na plasticidade das palavras; (b) investigar como as palavras, por meio das diferentes vozes sociais que a permeiam, revelam apreciações valorativas e pontos de vista; (c), verificar como as palavras e suas relações dialógicas retomam sentidos já estabelecidos – reflexo – e, ao mesmo tempo, imprimem, norteiam novos sentidos – refração. Foram selecionados para análise os gêneros tira, piada e ata. As tiras foram retiradas da coletânea de tiras produzidas pelo argentino Quino, intitulada Toda Mafalda. As piadas, por sua vez, foram extraídas de um sítio eletrônico, denominado PIADAS. COM. BR. Já as atas foram coletadas do processo físico de seleção para professor substituto do IFRS – Câmpus Rio Grande. No que tange à metodologia de análise, realizou-se, em um primeiro momento, a análise individual de cada gênero, considerando o funcionamento discursivo das palavras, que refletem e refratam ideologias e pontos de vistas, condicionados por diversos aspectos discursivos. Posteriormente, tratou-se da orientação dialógica constitutiva dos gêneros analisados, a fim de reafirmar a ideia de que a plasticidade é impressa pela palavra e perpassa todos os gêneros, inclusive aqueles considerados mais coercitivos. Considera-se, portanto, a palavra como enunciado, dotada de entonação expressiva, uma vez que, a cada enunciação, novas orientações axiológicas são produzidas por sujeitos sócio-historicamente situados. Essa perspectiva também justifica a tese pautada por este trabalho de que a língua é plástica porque a palavra é plástica. Ou seja, é a palavra que, ao ser enunciada por um sujeito, se impregna de expressividade e confere plasticidade à língua.

Made available in DSpace on 2014-11-20T01:01:16Z (GMT). No. of bitstreams: 1 000462716-Texto+Parcial-0.pdf: 472827 bytes, checksum: c0d919bbcc972b566a7f6c5d4c493099 (MD5) Previous issue date: 2014 / Analysis of the academic and scientific history of speech therapy within the field of voice therapy revealed the predominant presence of three different theoretical conceptions in its foundation: clinical therapy from a more positivist/organicist approach, clinical therapy from a more psychoanalytical perspective, and clinical therapy from within the perspective of Bakhtin’s philosophy, or “intersubjective therapy” (MASINI, 2004). An analysis of the relevant literature published in Brazil revealed the predominance of an organicist social-historical memory in voice therapy, an approach that focuses on the disorder rather than on the subject/patient. This analysis raised questions regarding which theoretical conceptions underlie the work of professors who currently teach voice courses and, principally, those supervising training courses. What kind of speech therapists are being prepared to work in voice therapy: therapists who focus exclusively on the disorder and/or those who recognize the patient in his/her individual complexity? If professors are indeed working with a more organicist conception of clinical therapy, what are the consequences of this type of action in the preparation of students/future speech therapists?Therefore, the principal objective of this study was to observe and analyze aspects related to the training process of a group of undergraduate speech therapy students during supervised practice in the field of voice therapy, with a view towards reflecting on the importance of being attentive, within this learning space, to the constitutive socio-historicity of the subjects participating in it. This was a longitudinal, qualitative study based on Bakhtinian principles as applied to studies in the field of human sciences. The study included filmed recordings of supervised sessions and of some clinical visits, as well as interviews held with a group of female students, two professors and two patients, all of whom participated in a supervised training course for one semester (the second semester of 2011) in an institute of higher education. Of the recordings and observations made, utterances made by one of the professors, a group of female students and one of the patients during a clinical visit were selected and analyzed. Based on this analysis, intertwined voices (of the academic-scientific history of speech therapy, of the professor, of the students, of the patient, etc. ) were found, reflecting more valuations of the organicist/technicist conception throughout the training period analyzed. It was found that the student speech therapists gave little importance to listening to the voices of the patient during therapy, either in their understanding of clinical treatment as a space in which the organicist theory is strengthened or when attempting to observe the subject in a fragmented (biologizing) manner rather than in his/her constitutive complexity. It was found that the student speech therapists gave little importance to listening to the voices of the patient during therapy, since they understood clinical treatment as a space in which the organicist theory is given greater weight; hence they observed the subject in a fragmented (biologizing) manner rather than in his/her constitutive complexity. It is possible that, when incorporated into voice therapy training, the Bakhtinian concepts of discourse and utterance will help improve students understanding of the singularities and complexities involved in each therapeutic process, including those that deal with the biologizing approach of each subject, thus contributing towards rendering clinical visits and supervisions more effective. / Analisando a história acadêmico-científica da Fonoaudiologia na área da clínica da voz, verifica-se a predominância da presença de três diferentes concepções teóricas embasando-a: a clínica estudada por um viés mais positivista/organicista, a clínica com uma perspectiva mais psicanalítica e a clínica compreendida pela filosofia bakhtiniana, nomeada como “clínica da intersubjetividade” (MASINI, 2004). Reconhecendo, por meio de análises de periódicos nacionais, o predomínio de uma memória sócio-histórica organicista no horizonte fonoaudiológico na área da clínica da voz, questiona-se a partir de quais concepções teóricas, nos dias atuais, os professores que ministram as disciplinas em voz e, principalmente, os estágios supervisionados estão trabalhando. Que terapeutas/fonoaudiólogos estão sendo formados para trabalhar na clínica da voz? Aquele que só vê a doença e/ou aquele que percebe o sujeito em sua complexidade?Caso o professor esteja trabalhando com uma concepção mais organicista de clínica, quais as consequências desse tipo de ação na formação dos estudantes/futuros fonoaudiólogos? Nesse sentido, o objetivo principal desta pesquisa é observar e analisar aspectos constituintes do processo de formação de um grupo de alunos de graduação em Fonoaudiologia em um estágio supervisionado na área da voz, visando refletir sobre a importância de se estar atento, nesse espaço de formação, à sócio-historicidade constitutiva dos sujeitos dele participantes. Este estudo é uma pesquisa longitudinal de caráter qualitativo que segue princípios bakhtinianos concernentes à pesquisa no campo das ciências humanas. Foram filmadas supervisões, alguns atendimentos clínicos e realizadas entrevistas com um grupo de alunas, uma professora e duas pacientes que compuseram por um semestre letivo (2011/2) um estágio supervisionado em uma instituição de ensino superior. Das gravações e observações realizadas, foram selecionados e analisados enunciados de uma professora, de um grupo de alunas e de uma paciente em atendimento.A partir das análises, verificou-se um entrecruzamento de vozes (da história acadêmico-científica da Fonoaudiologia, da professora, das estudantes, da paciente etc. ) que refletiu, ao longo das observações e análises, maiores valorações à concepção organicista/tecnicista. Observou-se que o fonoaudiólogo em formação, ao compreender mais a clínica como um espaço em que se amplia a teoria organicista e observar o sujeito de forma fragmentada (biologizante), não em sua complexidade constitutiva, pouco valorizou a escuta das vozes da paciente no processo terapêutico. Pondera-se que a abordagem enunciativo-discursiva bakhtiniana, quando incorporada à formação do aluno na área da voz, pode ajudar o estudante a compreender mais as singularidades e complexidades que envolvem cada processo terapêutico, inclusive as que remetem ao lado biologizante de cada sujeito, contribuindo para a realização de atendimentos clínicos e supervisões mais efetivas.

Made available in DSpace on 2015-04-30T14:06:00Z (GMT). No. of bitstreams: 1 000466609-Texto+Completo-0.pdf: 1179038 bytes, checksum: 5cd6759c8e1a71fe55982083f9205e3a (MD5) Previous issue date: 2015 / Broadcasted in the press, usually via newspaper, the cartoon is a genre whose complexity is set as an interesting object of analysis to observe how the senses are constructed themselves in the discourse. Considering this complexity and based on the Bakhtinian theory, this thesis wants to answer the following question: How is the dialogical construction of senses made, considering the production and reception of the discourse in cartoons that are said to be controversial? The overall objective of this thesis is to analyze how the dialogical construction of the senses happens, considering the enunciative project from the cartoons and the reading of its interlocutors, mainly in those considered to be controversial, thus, cartoons that presented discrepancies between the production and the reception of the senses and that had a repercussion in the media due to a diversity of readings. As specific objectives, we had (a) investigate how the different social voices that go through controversial cartoon engender themselves and reflect and refract senses in the discourse and (b) talk about discourse-response that come out from controversial cartoons. We chose to work with four controversial cartoons and eleven discourse-response from these cartoons, all of them broadcasted on-line between 2011 and 2014, referring to the facts in Brazilian media in between these years. As a theoretical framework, we use the ideas postulated by Mikhail Bakhtin and his Circle, to whom every discourse is dialogic, in other words, the discourse establishes a necessary relation with other discourses, unleashing different senses. Thus, the methodology of analysis is based on the methodological guidance provided in Marxism and Philosophy of Language ([1929] 2009, p. 45). That is to say, the discourse is taken into account from the bond with its socio-historical context, which refers to the need of the analysis to be made from the limits of a particular culture in order to understand the discursive issues engendered in the social spheres from which they emerge. After doing the analysis, we can notice that the discrepancy - between the production and reception of the senses from the controversial cartoons picked - is due to the different valuation by the interlocutors in relation to the project of saying from the cartoon. In addition to that, there seems to be no understanding of what this genre is, which prevents a critical reading. We hope that with the discussions about the constructed senses in the observed discourses, we can contribute with reflections aimed at the teaching of reading and textual production in Portuguese classes, considering the importance of the study of language in use, materialized in different discursive genres. / Veiculada na mídia, geralmente em jornais, a charge é um gênero cuja complexidade se configura como um interessante objeto de análise para se observar como os sentidos se constroem no discurso. Esta dissertação, ponderando tal complexidade e tendo como base a teoria bakhtiniana, visa responder a seguinte questão: Como se dá a construção dialógica de sentidos, considerando a produção e recepção do discurso, em charges tidas como polêmicas? O objetivo geral desta dissertação é analisar como acontece a construção dialógica dos sentidos, considerando o projeto enunciativo das charges e as leituras de seus interlocutores, especificamente naquelas consideradas polêmicas, isto é, charges que apresentaram discrepâncias entre a produção e a recepção dos sentidos e que tiveram repercussão na mídia, devido à diversidade de leituras. Como objetivos específicos, buscamos (a) examinar de que forma diferentes vozes sociais que atravessam charges polêmicas se engendram e refletem e refratam sentidos no discurso e (b) discutir sobre discursos-resposta que emergem a partir das charges polêmicas em questão. Delimitamos como recorte de pesquisa quatro charges polêmicas e onze discursos-resposta dessas charges, todos veiculados em meio digital entre 2011 e 2014, que fizessem referência a fatos divulgados pela mídia brasileira também entre esses anos. No que tange ao embasamento teórico, recorremos às ideias postuladas por Mikhail Bakhtin e seu Círculo, para quem todo discurso é dialógico, isto é, todo discurso estabelece uma necessária relação com outros discursos, desencadeando diferentes sentidos. A metodologia de análise está alicerçada nas orientações metodológicas apresentadas em Marxismo e filosofia da linguagem ([1929] 2009, p. 45). Assim, o discurso é considerado a partir do vínculo com seu contexto sócio-histórico, o que remete à necessidade de as análises serem desenvolvidas a partir dos limites de determinada cultura, de modo a compreender as questões discursivas engendradas às esferas sociais de onde emergem. A partir das análises efetuadas, podemos perceber que a discrepância, entre a produção e a recepção dos sentidos das charges polêmicas selecionadas, dá-se na medida em que há valoração diferente por parte dos interlocutores em relação ao projeto de dizer da charge. Outra consideração é que parece não haver um entendimento do que seja esse gênero, o que inviabiliza realizar uma leitura crítica. Esperamos que, com as discussões em torno dos sentidos construídos nos discursos observados, seja possível contribuir para reflexões voltadas ao ensino de leitura e produção textual nas aulas de língua portuguesa, considerando-se a importância do estudo da linguagem em uso, materializada em diferentes gêneros discursivos.

This dissertation explores the intersection of new media and narrative, as it is presented through a cinematic aesthetic. The narrative language of film is analyzed through the theoretical framework of Bakhtin’s concepts of Heteroglossia, Chronotope, and Dialogism. Bakhtin’s ideas of classifying language act as strong tools for demonstrating how cinematic narrative can inform and alter the perception of its spectators. Lev Manovich’s principles of New Media, specifically Variability, Modularity, and Automation are also utilized to demonstrate how cinema is a constantly evolving paradigm. Chapter one focuses on the theoretical terminology, outlining the conceptual definitions and illustrating their relevance in precise moments of cinema. This chapter introduces the idea that despite the original conception of Bakhtin and Manovich’s deriving from text and digital processes, their concepts are strongly present in contemporary cinema. Chapter two explores Manovich’s concept of variability in the cinematic genre of Noir. The Coen Brother’s Miller’s Crossing illustrates how the use of pastiche and homage has paved the way for the classic Noir genre to evolve into the genre of Neo-Noir. The aesthetic of Miller’s Crossing is examined in great detail to illuminate the comparisons between the variability of both genres. Chapter three also employs a Neo-Noir aesthetic. In Rian Johnson’s film Brick, the language is as much a character as any of the actors on the screen. A detailed reading of film exploring Bakhtin’s Dialogic concepts is established. The narrative of the film is examined with the idea that multiple meanings exist throughout individual units of speech. Chapter four continues the exploration of new media narrative concepts with a Science Fiction and Noir cinematic hybrid in an investigation of Rian Johnson’s film Looper. The basis of this analysis will be focused on fabula time and how the narrative of the film explores time travel, literally and metaphorically. In Looper the concepts of Chronotope and Modularity are both used to illustrate the director’s stylistic use of narrative sequencing to explore the paradoxes of time travel. Chapter five illustrates Manovich’s principles of new media as demonstrated in a biographical music drama. The documentary 20,000 Days on Earth features 24 hours in the life of Noir rock musician Nick Cave. The use of Cave’s music as a basis for the documentarians’ artful biopic creates an interpretive grid for analyzing the views of the artist and the persona that he has created for himself. Representations of diachrony in Cave’s reflective interviews regarding his evolution as an artist are also examined. The goal of this dissertation is to provide academic consideration for theoretical concepts that have not been traditionally applied to the study of cinema. It should be of interest to scholars seeking to supplement their endeavors within the realms of film studies as well as new media. In the interest of nurturing an interdisciplinary space for literary studies to exist and inform other branches of scholarship, the topics of new media and narratology, when applied to cinema establish a juncture between historical linguistics, digital media concepts and film studies.

This thesis examines the genre of epic, and particularly Milton’s Paradise Lost. It argues that it is only in attending to the contextual interactions within Paradise Lost that its full meaning can be comprehended. It demonstrates that the poem not only narrates the Fall, but actively performs its consequences in its thematic and linguistic structures, which continually stress the impossibility of approaching perfect (divine) totality. Chapter one outlines the theoretical response to epic, read as a petrified genre in contrast to the newness, openness and linguistic flexibility of the novel. It then challenges these assumptions through a reading of the invocation to book III of Paradise Lost. The chapter closes by examining seventeenth-century writings on epic, demonstrating that Milton’s contemporaries saw the epic as defined by the possibility of didactic intervention into its context. Chapter two examines the forms of the epic metaphor, which serve as a temporal link between the ‘mythic’ past of epic and contemporary events. It then shows that the nationalistic impulse of epic was a method by which the mythic past of a country was deployed as an exemplary narrative for the present. The chapter closes by considering the ways in which shifts in national conception were mapped onto the epic. Chapter three outlines Paradise Lost’s thematic engagement with the concept of representation. It focuses on the twin images of the music of the spheres and the Tower of Babel, used in Paradise Lost to represent man’s relationship with God. It argues that the poem uses these tropes to explore the linguistic effects of the Fall. Both these images are deployed to suggest that postlapsarian expression is too open and ambiguous to properly portray divinity. Chapter four moves that discussion to a linguistic level, arguing that the poem is characterised by indeterminacy. It argues that Paradise Lost calls into question the possibility of expressing perfect truth in fractured, postlapsarian language. It shows that punning is the mark of fallen creatures in the poem, and suggests that the poem’s own puns exploit this category to linguistically question its own status as representation through performances of ambiguity. The conclusion synthesises these local readings of Paradise Lost into a reading of the poem as a whole. It argues that these individual instances demonstrate the poem’s continual reflexive concern over its theodicean project. By continually expressing ambiguity, at the level of imagery and language, Paradise Lost draws attention to its status as postlapsarian art, and the consequent impossibility of approaching the divine perfection exemplified by the celestial music or prelapsarian language.

This thesis broadly explores river imagery, which undergirds narrative, plot, and character trajectory in Melvin Dixon’s Trouble the Water. In the novel, the Pee Dee River, with its multi-directional flow, reflects the personal journey of the protagonist, Jordan Henry, and figures as a spatialized metaphor by which time and space are organized and articulated. Additionally, this thesis identifies correlations between river imagery and articulations of trauma and trauma recovery in the novel. Ultimately, this thesis argues that via Jordan’s simultaneous geographical and psychological, literal and symbolic journey, the novel offers an African-centered spiritual framework for moving through and healing from trauma.

Undersökningen är gjord med syfte att undersöka några lärares uppfattningar av dialogen mellan lärare och elev i lärandesituationer. Vad som framförallt undersöktes var hur lärarna resonerade kring dialogens karaktär samt vilken roll och betydelse för lärande som lärarna tillskrev dialogens art. Bakomliggande forskning rör dialog ur ett relationellt perspektiv. Ytterligare ett perspektiv som var övergripande för bakomliggande forskning var det av sociokulturellt slag. Metoden för undersökningen var semistrukturerade intervjuer. Vad som framkom genom analysen var att karaktären av dialog i klassrummen inte kan ses som enbart fri eller enbart begränsad. En genuin lärandedialog framträdde. Vidare sågs denna genuina lärandedialog bidra till lärande. Lärarnas inställning i dialogen sågs ha betydelse för dialogens karaktär. Vissa faktorer inom utbildningsverksamheten beskrevs undergräva möjligheterna till denna genuina lärandedialog. Utifrån dessa faktorer kunde upprätthållandet av en sådan genuin karaktär av dialogen beskrivas som en utmaning. Avslutningsvis kvarstod frågorna Hur håller man en tydlig riktning som lärare samtidigt som lärandet ska upplevas meningsfullt för eleverna? och Hur kan skolan som verksamhet arbeta för att möjliggöra dialog som bidrar till ett meningsfullt lärande?

Syftet med denna studie har varit att undersöka språkanvändning och språkideologier i och utanför skolan bland flerspråkiga elever som läser på språkintroduktion. Frågeställningen var 1) Hur porträtterar flerspråkiga elever sin språkanvändning i en skolkontext och vilka språkideologier kan identifieras? 2) Hur porträtterar flerspråkiga elever sin språkanvändning utanför en skolkontext och vilka språkideologier kan identifieras? 3) Vilka skillnader och likheter finns i elevers språkanvändning och språkideologier beroende på kontext? Metoden bestod av att eleverna först färglade två språkporträtt för respektive kontext och sedan genomfördes en semistrukturerad intervju med dem. Materialet bestod av fem språkporträtt och tre transkriberade intervjuer. Resultatet visar att språkanvändning och språkideologier mellan de två kontexterna skilde sig; skolkontexten domineras av svenska i större utsträckning än utanför skolkontexten och skulle kunna härledas till språkhierarkier, en stat – ett språk- ideologin eller standardspråkideologin. Språkanvändning utanför skolkontexter präglas av andra språk än svenska. Ofta lyser svenskan med sin frånvaro. Detta skulle eventuellt kunna härledas till modersmålsideologi. Studiens huvudsakliga slutsats är att en inkludering av elevers flerspråkighet i skolan skulle vara önskvärd. / <p>På grund av den rådande covid-pandemin skedde opponeringen på distans. Därför står adressen och lokalen nedskriven enligt följande: "Digitalt i zoom". </p>

No description available.