Yes / We investigate the effect of territorial stigmatisation on ontological security through a qualitative case-study of Bradford politics during the 2015 General Election. Territorial stigmatisation and ontological security are important constructs in political geography but there is relatively little research on how territorial stigmatisation effects ontological security in everyday lived experience – in this case, the lived experience of political contests. We conducted thirty in-depth interviews, generated three themes and present and analyse these three themes in the form of three ‘created dialogues’ as outlined by Sullivan (2012), with a smaller sample of ten out of thirty of our participants. Drawing on Bakhtin’s (1981) concept of ‘chronotope’ we identity three key effects of territorial stigmatisation on ontological security: i) A negative reputation of ‘parallel societies’ has the potential to create double meanings for the inhabitants of that society; ii) Local reputation enhances ontological security through linking particular places to particular personalities but potentially decreases ontological security for a district as a whole; iii) Everyday lived experiences sometimes acquire charged emotional symbolic significance, which could encourage the reflexive side of ontological security. Our findings went through a positive member-checking process with five of the participants. / Research Development Fund Publication Prize Award winner, October 2018.

This dissertation argues that the interpretive framework from which Fontane's Effi Briest is commonly approached limits discussion to metropolitan core culture and fails to address Fontane's path-breaking accomplishment. After outlining limitations of some prominent approaches to Effi Briest in chapter one, my next four chapters explore alternative reading strategies that instead situate the novel in the imperial context of the new German state inflected by transnational relations and problematize the tendency to see Germany as a space territorially and culturally homogenized and stable. Chapter two reads the novel through Foucault's notion of heterotopia to demonstrate Fontane's heterotopic strategies as a counter-model to the monolithic mapping of novelistic space. In chapters three and four I use Bakhtin's chronotopic strategies to show how Fontane "fuses together" fictional time and space into a productive force for depicting society in motion and change. I demonstrate how this "spatial turn" breaks with the traditional time-paradigm and opens up space for polyphony and dialogism. Chapter five discusses Fontane's Wanderungen contrapuntally to draw attention to Fontane's counter-strategies, which break with the master narrative in favor of small-scale ones, to show their relevance for Effi Briest. The rest of my dissertation focuses on the novel's Eastern Pomeranian/Kessin-based chapters. Chapter six addresses the spatial arrangement of Hinterpommern from the viewpoint of the ruling elites. Chapter seven treats Kessin as a hybridized "third space" that both resists the dominant and represents an unstable and ambiguous alternative to paralyzing dichotomies of opposites. I also look into Hinterpommern as a contested space between Germans and Poles - and their competing claims over the Kasubians, inhabitants of the strategically important Baltic area. In chapter eight I show how the Polish margins impinge on Fontane's fictional representation of Prussia and are articulated in both the content and structure of Effi Briest. In chapter nine I discuss Fontane's representation of Polish/Slavic-hyphenated characters in terms of their different responses/resistance to anti-Slav/Polish prejudices and measures. In revealing the creative and transformative powers of margins this dissertation models alternative ways of approaching canonical writers and contributes to the transnationalization of German studies in particular and cultural studies in general.

A une période où la Norvège cherchait à affirmer son identité, les auteurs du romantisme national comme Wergeland, Bjørnson ou Ibsen ont largement puisé dans une tradition qui faisait du paysan (bonde) le représentant le plus typique de l’Histoire nationale. Ils ont toutefois instrumentalisé cet héritage culturel, tout comme les auteurs de la génération suivante, Hamsun ou Olav Duun, et l’importance qu’ils ont accordée à la nature invite à considérer celle-ci comme la « matrice » des œuvres de cette époque. Une lecture chronotopique inspirée de Bakhtine permet de mettre en évidence cette mise en scène du passé et de la nature. L’illusion d’authenticité historique cache un travail d’écriture novateur qui ouvre des perspectives vers un monde imaginaire et apporte un réconfort face à la mort. / At a time when Norway was trying to assert its identity, authors of national romanticism such as Wergeland, Bjørnson or Ibsen widely took their inspiration from a tradition which made the peasant (bonde) the most representative icon of national History. They however manipulated this cultural heritage, as have authors from the next generation such as Hamsun or Olav Duun. The predominant role these authors attributed to nature brings us to consider nature as the “matrix” for the works of that time. A chronotopic analysis inspired by Bakhtine brings into perspective this staging of the past and of nature. The illusion of historical authenticity hides a creative exercise on writing that opens to an imaginary world and brings a spiritual relief to those facing death.

A obra inicial de Lídia Jorge, O dia dos prodígios, por meio de um riquíssimo conjunto de imagens e metáforas, constrói ficcionalmente o que seria, na visão de sua autora, a realidade socioeconômica e política de uma parcela significativa da população portuguesa a do Portugal agrário, de pensamento medievalizado e medievalizante, absorto em seu próprio cotidiano e, também por isso, distante das transformações vividas pelo restante do país. Para isso, a escritora cria um ambiente tempo e espaço que carrega marcas ideológicas nas imagens que o constituem, o que caracteriza, assim, o procedimento a que Mikhail Bakhtin deu o nome de cronotopo. Dessa forma, o propósito central desse estudo é identificar, no romance, os elementos espaciais que representem ideologicamente Portugal através dos tempos, com ênfase no pensamento português no contexto da Revolução dos Cravos, e quais traços dessa ideologia são alegorizados por esses elementos cronotópicos, na crença de que, ao identificá-los e compreendê-los, será possível perceber a existência de diferentes graus de importância que teriam sido atribuídos à insurreição de abril de 1974, em diferentes contextos. É também objetivo dessa dissertação descrever os procedimentos narrativos empregados por Lídia Jorge a fim de representar cronotopicamente a sociedade rural portuguesa, uma vez que a geração de prosadores de ficção pós-1974 pautou seu trabalho não só pelo resgate da identidade nacional envolta em brumas ideológicas desde o século XVI , mas também pela ruptura com a estética literária herdada do salazarismo , estética essa tributária da tradição cultural portuguesa, cujos valores mantiveram-se quase intactos ao longo dos séculos. / Lidia Jorges first novel, O dia dos prodígios, brings out a rich set of imagery and metaphors which builds in fiction what would be the authors point of view on the socioeconomic and political reality of a very meaningful part of the Portuguese society the one that lives in and from the countryside, whose ideas are quite medieval, and who spends life locked into their own sight of view, far from all the changes faced by their country. In order to do so, the writer builds a setting time and space which carries ideological signals in the imagery that constitutes it, what leads to the concept of chronotope, as defined by Mikhail Bakhtin. Thus, the main purpose of this study is to identify the elements that represent Portugal ideologically throughout time, in the novel, with emphasis on the Portuguese thought in the context of the Revolução dos Cravos (the revolution that ended the dictatorship in which Portugal had been submerged until 1974), and which aspects of this ideology are metaphorically represented through chronotope procedures, once it is believed that it will be possible to notice the existence of different ways of perception of the Revolução, in different contexts, by identifying and comprehending those chronotopic constructions. It is also an aim of this paper to describe the narrative procedures used by Lidia Jorge in order to represent chronotopically the rural Portuguese society, once the post-1974 generation of writers made a point not only in recreating Portugals identity but also in breaking the ties with the literary procedures inherited from the cultural Portuguese tradition, kept alive by Salazars dictatorship.

Made available in DSpace on 2016-04-28T18:22:16Z (GMT). No. of bitstreams: 1 Denisia Moraes dos Santos.pdf: 7541046 bytes, checksum: 0c089d70072ef9c180ac1306635d90a7 (MD5) Previous issue date: 2011-04-08 / Secretaria da Educação do Estado de São Paulo / This thesis aims to investigate, from the standpoint of Dialogic Discourse Analysis, the process of making sense in Brazilian Recipes Guide, winner text of the Cultural Contest Nestlé Journey Through Literature (1999). With the theme Literature and life in 500 years of Brazil , this edition has challenges students and teachers to produce a literary intertext, viewing the topic of "literary journey," they make a tour through five works of the classical tradition of Brazilian literature ─ Cronistas do Descobrimento, with texts by Pero Vaz de Caminha, Hans Staden, O cortiço by Aluísio Azevedo, Dom Casmurro by Machado de Assis , Fogo morto by José Lins do Rego and Sentimento do mundo, by Carlos Drummond de Andrade. Among the school production winners of the first contest edition we selected Brazilian Recipes Guide to be our study object due to this text presents a particularity: this work does not only presents the journey as part of the organizing center of the space-time relations in the narrative, as we could note in the other two productions, but it also brings a hybrid composition (cooking recipe and poetical recipe). We shall also examine the literary path that moved in 1999, more than six thousand schools, public and private, making the high school students jumping out from the position of poor reading condition students to students able to sign their own texts. It constitutes, therefore, the corpus of this research, the texts Brazilian Recipes Guide and Nestlé Journey Through Literature Guide (Pedagogical Dossier). To understand the process of making sense in Brazilian Recipes Guide, we seek theoretical support in the study of M. Bakhtin, entitled "Forms of time and chronotope in the novel: essays in historical poetics." The choice of this theoretical approach is justified by observing the space of narrative Brazilian Recipes Guide of some features of the nature of cronotopos (neologism meaning "time-space") examined by Bakhtin. Find explanations for the process of making sense in Brazilian Recipes Guide into three categories chronotopic, observed in the study of Bakhtin, chronotope of metamorphosis, chronotope of the road and chronotope of the author and reader. Regarding the process of making sense of the text, the analysis of Brazilian Recipes Guide showed that authors and readers play active roles in the construction of meaning, and the repertoire of literary nature of both the relevant aspect of the relationship that develops between set out in the same narrative space. The Nestlé Journey Through Literature Guide favored the transformation of young readers with low incomes in the assessment of critical reading for readers and authors of literary texts. Showed the Brazilian students and interdiscursive intertextual dialogue that runs through "literary journey / Esta dissertação tem por objetivo compreender, sob o ponto de vista da Análise Dialógica do Discurso, o processo de construção dos sentidos em Guia de receitas brasileiras ─ texto premiado na primeira edição do Concurso Cultural Viagem Nestlé pela Literatura (1999). Com o tema A literatura e a vida nos 500 anos de Brasil , essa edição desafiou alunos e professores a produzir um intertexto literário-cultural, utilizando cinco obras da literatura brasileira ─ Cronistas do Descobrimento, com textos de Pero Vaz de Caminha e Hans Staden, O Cortiço, de Aluísio Azevedo, Dom Casmurro, de Machado de Assis, Fogo Morto, de José Lins do Rego e Sentimento do Mundo, de Carlos Drummond de Andrade. Dentre os textos vencedores na primeira edição do concurso, selecionamos Guia de receitas brasileiras para nosso objeto de estudo, em razão de esse texto apresentar uma particularidade: essa produção escolar não apenas oferece o elemento temático viagem como centro organizador das relações espaço-temporais na narrativa, conforme observamos nas outras duas produções, mas traz também uma composição híbrida (receita culinária e receita poética). Examinamos, também, o roteiro literário que movimentou, em 1999, mais de seis mil escolas, públicas e privadas, fazendo o aluno do Ensino Médio saltar da posição de estudante sem interesse pela leitura para leitor com condição de assinar o próprio texto. Constituem, assim, o corpus desta pesquisa, o texto Guia de receitas brasileiras e o Guia Viagem Nestlé pela Literatura (Caderno Roteiro Cultural Caderno Pedagógico do concurso). Para compreender o processo de construção dos sentidos em Guia de receitas brasileiras, buscamos apoio teórico no estudo de M. Bakhtin, intitulado Formas de tempo e do cronotopo no romance: ensaios de poética histórica . A escolha desse recorte teórico se justifica por observarmos no espaço da narrativa de Guia de receitas brasileiras algumas características próximas da natureza dos cronotopos (neologismo que significa tempo-espaço ) examinados por Bakhtin. Encontramos explicações para o processo de construção dos sentidos em Guia de receitas brasileiras em três categorias cronotópicas, observadas no estudo de Bakhtin: cronotopo da metamorfose, cronotopo da estrada e cronotopo do autor e do leitor. No que diz respeito ao processo de construção dos sentidos do texto, a análise de Guia de receitas brasileiras mostrou que autores e leitores desempenham papéis ativos na construção de sentidos, sendo o repertório de natureza literária de ambos o aspecto relevante na relação que se cria entre enunciados no mesmo espaço narrativo. O Guia Viagem Nestlé pela Literatura favoreceu a transformação dos jovens leitores com baixo rendimento na avaliação de leitura para leitores críticos e autores de textos literários. Mostrou aos estudantes brasileiros o diálogo intertextual e interdiscursivo que percorre toda viagem literária

Bislang konzentrierten sich die Untersuchungen des westdeutschen Blicks auf Ostdeutschland auf den Zeitraum vor der Wende oder auf Rundfunk- und Fernseh-Medien. Die Gegenwartsliteratur stellt einen weißen Fleck in dieser Frage dar. Anhand des Chronotopos-Konzepts von Michail Bachtin werden in dieser Arbeit daher zeitliche und räumliche Tiefenstrukturen in der Darstellung Ostdeutschlands in den Werken Jan Böttchers und Andreas Maiers herausgearbeitet und mit ihrer Darstellung Westdeutschlands verglichen. Neben grundsätzlichen Unterschieden fallen dabei signifikante Übereinstimmungen auf.

I samband med industrialismens framväxt inrättades institutioner i större skala. Den ökade mängden omhändertagna på institution vid 1800‐talets slut kan förklaras med fler medicinskt diagnostiserade, en ökad utstötning, lägre tolerans för avvikande beteende, läkarintresse för ett nytt revir, låg utskrivningsfrekvens och hospitaliseringseffekter. Antalet vårdplatser inom den psykiatriska vården minskade under 1900‐talets sista hälft. År 1992 tillsatte regeringen den så kallade psykiatriutredningen som slog fast att personer med kronisk psykiatrisk sjukdom utgjorde en grupp i samhället som karaktäriserades av allvarligt handikappade personer som berövats sina medborgerliga rättigheter och som hade få resurser till sitt förfogande. Psykiatrireformens intentioner genomsyras av bland annat begreppen normalisering och autonomi. De psykiskt funktionshindrades levnadsvillkor skall normaliseras för att öka deras möjligheter att leva som andra, vilket betyder att de ska delta i besluten om sin egen vård och behandling. Avhandlingen har sin grund i ett hermeneutiskt perspektiv, det vill säga att människor aldrig kan förstå något helt fördomsfritt eller förutsättningslöst. Förförståelse kan förstås som en form av föraning/förkänsla och första idé om det sökta fenomenet, vilket leder förståelsen i en viss riktning. Perspektivets innebörd är att ingen förståelse kan växa fram förutsättningslöst, dvs. växa fram utan någon på förhand given inställning från forskarens sida. Studiens övergripande syfte är att belysa vårdares attityd till personer med psykiska symtom. Avhandlingen består av fyra delarbeten med såväl kvantitativ som kvalitativ design. Data har insamlats med hjälp av frågeformulär, skattningsskalor samt narrativa intervjuer. Resultatet i delstudie I visar att fyra typologier som upptäckts i en tidigare kvalitativ intervjustudie existerade (god, ond, tokig och osynlig). Delstudie II visar att vårdarnas syn på inneliggande deprimerade patienter i hög grad bestäms av diagnosen. Syftet med delstudie III var att klargöra om patientens och vårdarens bild av patientens historia, nutid och framtid överensstämde med varandra. Resultatet visar på en tydlig skillnad mellan parterna. I delstudie IV var syftet att belysa före detta patienters upplevelser av att vara inlagda på en psykiatrisk avdelning. Studien visar att de tidigare patienternas upplevelser mestadels var negativa och att de kan tolkas som om det under sin sjukhusvistelse varit utsatta för ett subtilt förtryck. För att förstå vårdarnas syn på den drabbade personen kommer resultatet i studien att tolkas utifrån en teoretisk referensram inspirerad av den franske filosofen Michael Foucaults och den ryske filosofen Mikhail Bakhtins texter. Tolkningen visar att vårdarna har en tendens att undvika “annanhet” (otherness) och därigenom se patienten enbart som en karaktär, en typologi. Härigenom kommer patienten att placeras i ett ”ingenmansland”, i en kontext där han/hon inte tillhör vårdargemenskapen samtidigt som kontakten med den gamla privata gemenskapen upphör. Genom att se patienten som ett enskilt fall undviker vårdarna att se det lidande som finns i ”rummet” och därigenom blir det ”rum” som skapas till en ”isvärld” som inte är livsbejakande och därför ohälsosam för patienten. Att förändra vårdarnas attityder är en långvarig samhällelig process som kräver inte bara resurser i form av utbildning och handledning utan kanske främst utrymme för kontinuerlig diskussion och debatt. Grunden för förändringen finns redan idag i psykiatrireformens ideala normaliseringsbegrepp. Kravet är dock att politiker och tjänstemän inom vård och omsorg börjar leva upp till lagens intentioner. Detta kräver dock att synen på en person med psykisk sjukdom psykiskt handikapp måste ändras på samma sätt som till exempel synen på homosexuella ändrats från att de varit marginaliserade och levt i ett utanförskap, till att bli sedda som fullvärdiga samhällsmedborgare. För att bryta det strukturella maktmönstret behövs en total samhällelig attitydförändring. Endast en politisk förändring är inte tillräcklig.

The main aim of the dissertation is to examine the importance of the moment in relation to human experience and to the narrative in the writings of Stig Dagerman (1923-1954), primarily the novels Ormen (The Snake, 1945), De dömdas ö (The Island of the Doomed, 1946), Bränt barn (A Burnt Child, 1948), Bröllopsbesvär (Wedding Worries, 1949), the short stories "Den hängdes träd" (The Hanging Tree, 1945) and "De röda vagnarna" (The Red Wagons, 1946). The dissertation shows the moment as being of crucial importance by serving as the point of time for the fictional character’s critical experience. The moment also functions as a structuring principle for the narrative. In this, the discussion is supported by the theories on the chronotope found in the work of Mikhail Bakhtin. With the ideas of Michael Riffaterre as the principal theoretical basis in the study, the reading of the texts focuses on a matrix common to the works discussed. The reading goes from a description of the primarily profane subject matter of the narrative to an understanding of the religious discourse in the works. This interpretation receives additional support in the theories on religious and mystical experiences found in Rudolf Otto. Finally, the dissertation focuses on man’s sensitivity to, and longing for, a transcendental entity or a God in the broadest sense – a longing which manifests itself in different ways in these texts and is set against the human predicament of being. Man’s desperate religious longing for a transcendental entity or a God are ultimately understood as the significance or principle of unity in the texts under discussion.

Between 1969 and 1980 Edvard Radzinskii wrote three ‘historico-political’ plays which were later published as a trilogy entitled ‘Theatre of the Times …’. This thesis attempts to unravel the nature of time in the trilogy and invokes Mikhail Bakhtin’s notion about the forms of time and the chronotope in literary narratives to do that. Bakhtinian concept of the chronotope provides a suitable strategy for reading a trilogy that aims to re-present ‘real’ time, place and human beings. The concept also provides a vantage point from where the trilogy can be read both from within the time-space of its main protagonists and from that of its author, readers, performers and spectators. ¶ Both ‘Dialogues with Socrates' and 'Lunin …’ are structured around the chronotope of the prison which is associated with the chronotope of the acropolis in ‘Dialogues with Socrates’ and with the chronotope of the masked-ball in ‘Lunin …’. In ‘Theatre of the Times of Nero and Seneca’ the circus-theatre functions as the main chronotope. All these chronotopes serve as plot-constitutive devices and provide appropriate space in which the lives and times of the main protagonists can be adequately re-presented. However, the use of the concept of the chronotope in reading the trilogy does not imply that it can be read meaningfully only from within the time-space of its protagonists. The trilogy reconstructs the historical time-space but also engages in a substantial way with contemporary Soviet reality. This is achieved through an interaction between literary and real chronotopes. There is little doubt that most Soviet readers, performers and spectators negotiatied the chronotopes of the prison and the circus-theatre and the motifs of show-trial and execution from within their own time-space, their own historical experience. The thesis discusses a large number of reviews published in Soviet media to show that most critics read the trilogy from within the discourses about positive hero and socialist realism, because of which Socrates and Lunin were also turned into positive heroes. ¶ One of the most intriguing aspect of the three plays is the ‘play within a play’ structure which achieves its maximum potential in the final play of the trilogy where it is combined with the theme of metamorphoses and multiple role playing. The trilogy, like Pirandello’s trilogy about theatre, is able to foreground its own theatricality and explore the role of theatricality and role playing in and outside theatre. In ‘Theatre of the Times of Nero and Seneca’ the boundary between role playing in life and in theatre becomes so blurred that history begins to resemble the writing and staging of a play. ¶ Apart from exploring the nature of theatricality, the trilogy also questions the conventions of its genre. The three plays do not follow the conventional framing devices employed by dramatic texts and foreground the presence of a mediating narrator. This ‘novelisation’, is more evident in ‘Lunin …’ in which the frequent use of verbs in the past tense in the extra-dialogic text can be linked to the presence of a mediating narrator.

Made available in DSpace on 2016-06-02T20:39:20Z (GMT). No. of bitstreams: 1 5975.pdf: 2504157 bytes, checksum: 2613ae01499cab23ac3d351b56a2ab3b (MD5) Previous issue date: 2014-03-25 / Financiadora de Estudos e Projetos / The purpose of this research is to think about the representation of the sertão in contemporary Brazilian cinema , from the analysis of two recent films, O Céu de Suely (Karim Aïnouz, 2006) and Viajo porque preciso, volto porque te amo (Karim Aïnouz; Marcelo Gomes, 2010). To this end , we seek to understand the social implications of the sertão‟s denser moments in the national cinema, establishing a fundamental and necessary link between the present and the past. Furthermore, we investigated the relationship between cinema, state and market in the country in order to define the basis of current production and situate the place occupied by cinema from the Northeast in Cultural Industry, which comprises the filmmakers Karim Aïnouz and Marcelo Gomes . Finally, we turn to the chronotope concept of Mikhail Bakhtin, as analytical axis , to think about the dislocate‟s poetics, the remarkable presence of the road and nomadic individuals in the films analyzed. The aim is to map, dialectically, the forms of time and space in the narratives of O Céu de Suely and Viajo porque preciso, volto porque te amo and in the postmodern sociality of which they are part. / A proposta desta pesquisa é pensar sobre a representação do sertão no cinema nacional contemporâneo, a partir da análise de dois filmes recentes, O Céu de Suely (2006), do cineasta Karim Aïnouz e Viajo porque preciso, volto porque te amo (2010), de Karim Aïnouz e Marcelo Gomes. Para isso, buscamos compreender a implicação social dos momentos mais adensados do sertão na história do cinema nacional, estabelecendo assim, um elo fundamental e necessário entre o presente e o passado. Além disso, investigamos a relação entre cinema, Estado e mercado no país, a fim de definir as bases da produção atual e situar o lugar ocupado na Indústria Cultural pelo cinema a partir do Nordeste , do qual fazem parte os cineastas Karim Aïnouz e Marcelo Gomes. Por fim, recorremos ao conceito de cronotopo, de Mikhail Bakhtin, como eixo analítico, para pensar a poética dos deslocamentos, a presença marcante da estrada e de sujeitos nômades nos filmes analisados. O intuito é mapear, dialeticamente, as formas do tempo e do espaço nas narrativas de O Céu de Suely e Viajo porque preciso, volto porque te amo e na sociabilidade pós-moderna, da qual fazem parte.