Submitted by admin tede (tede@pucgoias.edu.br) on 2017-10-10T17:37:34Z No. of bitstreams: 1 CIRLENE DA SILVA ANDRADE.pdf: 5123037 bytes, checksum: 20f72988cef29981703a74642a211e86 (MD5) / Made available in DSpace on 2017-10-10T17:37:34Z (GMT). No. of bitstreams: 1 CIRLENE DA SILVA ANDRADE.pdf: 5123037 bytes, checksum: 20f72988cef29981703a74642a211e86 (MD5) Previous issue date: 2011-03-29 / This research has the purpose of demonstrating that, starting from the modernity, the reading acquired new senses, and, in consequence, the reader started to carry out a new function: the one of co-producer of the artistic text. Hole this that is integral part of doing literary of the books corpus of this Dissertation and prominence of the chosen theoretical referential for the analysis of the studied literary works. The Aesthetics of the Reception, when bringing the reader for the scenery of the literary analysis, considers him subject in the process creation of the work of art. The range of senses of the literary text is, then, established starting from the dialogue among author/reader/ text, moment in that he or she understands each other the metaphorical language, the symbols, the intertextualizations, the implicit dialogues etc. As essential elements of the dialogic artistic creation. Being like this, it is considered the character speaker of the art and the importance of the respect to the apprenticeship of the child's psychological development in the choice of the text that will be destined to her, so that, in the action of the reading, get to establish with success the interrelation among the information contained in the textual structure with their life experiences. To work all those aspects, the literary books of Maria de Fátima Gonçalves Lima was used, for they be works of an expressive artistic value, that, for May of the interdiscursivities and of the intertext, it values the speech of the other, allowing to demonstrate, this way, that the language is par excellence dialogic. / Esta pesquisa tem o propósito de demonstrar que, a partir da modernidade, a leitura adquiriu novos sentidos, e, em decorrência, o leitor passou a desempenhar uma nova função: a de coprodutor do texto artístico. Papel este que é parte integrante do fazer literário dos livros corpus desta Dissertação e destaque do referencial teórico escolhido para a análise das obras literárias estudadas. A Estética da Recepção, ao trazer o leitor para o cenário da análise literária, considera-o sujeito no processo de criação da obra de arte. A gama de sentidos do texto literário é, então, estabelecida a partir do diálogo entre autor/leitor/texto, momento em que se entende a linguagem metafórica, os símbolos, as intertextualizações, os diálogos implícitos etc. como elementos essenciais da criação artística dialógica. Sendo assim, considera-se o caráter interlocutor da arte e a importância do respeito ao estágio de desenvolvimento psicológico da criança na escolha do texto que será destinado a ela, para que, no ato da leitura, consiga estabelecer com êxito a inter-relação entre as informações contidas na estrutura textual com suas experiências de vida. Para trabalhar todos esses aspectos, foram utilizados os livros literários de Maria de Fátima Gonçalves Lima, por serem obras de um expressivo valor artístico, que, por meio da interdiscursividade e do intertexto, valoriza o discurso do outro, permitindo demonstrar, desse modo, que a linguagem é por excelência dialógica.

Submitted by Cristiane Chim (cristiane.chim@ucpel.edu.br) on 2018-05-23T12:24:21Z No. of bitstreams: 1 Gustavo Buchweitz Giusti.pdf: 1158237 bytes, checksum: a87b08ee0fc66a0179677401ba4cb53e (MD5) / Made available in DSpace on 2018-05-23T12:24:21Z (GMT). No. of bitstreams: 1 Gustavo Buchweitz Giusti.pdf: 1158237 bytes, checksum: a87b08ee0fc66a0179677401ba4cb53e (MD5) Previous issue date: 2017-10-26 / Technical education in Brazil, Integrated to High school, has always emphasized a content-based methodology, in which, regardless of the technical area of the courses, the concern with technological lagging is a constant concern and debates within the academic community. In order for a course in technology to keep updated with new social and technological demands, new scientific contents are added to the curriculum, offering teachers little classroom time so that they work properly, often resulting in a kind of static training regarding knowledge, making it rigid and repetitive. Aware of this question, the objective of this work is making clear the distinction between this academic training and student education, presenting for doing this the concept of pedagogical modulation. It is a teaching perspective based on Bakhtin and his Circle‟s dialogical conception and some of its contemporary commentators, including, Ponzio, Brait e Sobral. The idea of dialogism of the Bakhtin's Circle will be reflected here from the prism of education, focusing the way students become part of teacher‟s utterances even before they externalize their discourse. This discourse is transposed and mobilized due to the process of didactic transposition that knowledge necessarily suffers until reaching its final addressees. Thus, the thesis consider show the process of didactic transposition (Chevellard) is in an specific case based on the steps necessary to transform scientific knowledge into taught knowledge. In order to evaluate the concept of Pedagogical Modulation, a group of students of an integrated highschool/technical course in Electronics of Federal Sul-rio-grandense Institute were offered this new proposal of construction of the teaching and learning process during a school semester. As a pedagogical support in the process, a learning object was used, namely, the electronic circuits simulation software N.I. Multisim. The results obtained in the academic experience show that, despite being more demanding for the teacher, this way of proceeding is rewarding / O ensino técnico no Brasil, integrado de nível médio, sempre primou por uma metodologia conteudista, em que, independentemente da área técnica dos cursos, a preocupação com o descompasso tecnológico é constantemente fator de preocupações e debates entre a comunidade acadêmica. Para que um curso de tecnologia possa manter-se atualizado frente às novas demandas sociais e tecnológicas, novos conteúdos científicos acabam tendo de ser acrescentados à grade curricular, oferecendo aos professores pouco tempo de sala de aula para que os possam trabalhar adequadamente, o que acarreta muitas vezes uma espécie de treinamento estático frente a um elemento do saber, impondo a este rigidez e repetição. Atento a essa questão, o trabalho visa alertar sobre a distinção entre esse treinamento acadêmico e a formação do aluno, apresentando para isso o conceito de Modulação Pedagógica. Tratase de uma perspectiva docente apoiada na concepção de dialogismo do Círculo de Bakhtin e no diálogo deste com comentadores contemporâneos, entre os quais Ponzio, Brait e Sobral. A ideia de dialogismo do Círculo de Bakhtin será aqui apresentada sob o prisma da educação, na forma de como o aluno se torna parte do enunciado de um professor antes mesmo de ele exteriorizar seu discurso. Esse discurso é transposto e mobilizado mediante o processo de transposição didática que um conhecimento necessariamente sofre até chegar a seu destinatário final. O trabalho considera assim o funcionamento do processo de transposição didática (Chevellard) num caso específico, com base nos passos necessários para transformar o saber científico em saber ensinado. Com o intuito de verificar a produtividade do conceito de Modulação Pedagógica, uma turma de ensino integrado médio/técnico profissionalizante do curso de Eletrônica do Instituto Federal Sulrio-grandense recebeu uma outra alternativa de construção do processo de ensino e aprendizagem durante o período de um semestre letivo. Como suporte pedagógico no processo, utilizou-se como objeto de aprendizagem o software de simulações de circuitos eletrônicos N.I. Multisim. Os resultados obtidos na experiência acadêmica demonstram que apesar de ser mais trabalhoso para o docente, esse modo de proceder se mostra recompensador.

Submitted by Cristiane Chim (cristiane.chim@ucpel.edu.br) on 2018-07-17T20:13:45Z No. of bitstreams: 1 Marice Fiuza Geletkanicz.pdf: 4817811 bytes, checksum: 9944533163eecfbc5c6c30e34190792f (MD5) / Made available in DSpace on 2018-07-17T20:13:45Z (GMT). No. of bitstreams: 1 Marice Fiuza Geletkanicz.pdf: 4817811 bytes, checksum: 9944533163eecfbc5c6c30e34190792f (MD5) Previous issue date: 2017-12-01 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES# / #2075167498588264571# / #600 / As one knows, ―the studies by Bakhtin and the Circle constitute contributions for a theory of language in general and not only for a theory of verbal language, be it oral or written‖ (BRAIT, 2013). So, this work proposes a relation between dance as concrete acts and enunciative projects inspired by Bakhtinian architectonic foundations. The visual nature of this enunciation distinguishes it discursively and gives it an aesthetic status requiring other readings. For talking about visual architectonics, we need, as a starting point, to identify what constitutes the content, the material and the form in dance / dancing. For doing this, this study proposes an analysis of 4 choreographies of belly dance, available in video in the Internet. The work examines aspects related to the ways dancers construct their dance and, by means of social evaluations, reveal and / or denounce enunciative marks. Thus, from the notion of content, one researched how ideological / evaluative factors are implicated in the relation between dancer-creator and dancer-character such as represented in the analysed dances; from the notion of compositional form, we examine for whom dances the body of these dancers on the basis of enunciative marks used for engaging their potential addressee; from the notion of material, we examined what each performance presents as specific in significance and sense. This methodological path enables us to make visible dialogism in visual utterances, to show that distinct voices resound in belly dance is time-space, discarding thus the possibility of talking about a supposed ―belly dance‘s essence‖ inciting, consequently, the suggestion of it being, in these terms, a hybridization. This made us perceive what constitutes dialogical relations in dance and the way they happen therein, allowing us to reach the peculiarities that here interest as another possibility for understanding dance as an aesthetic object and to contribute to Bakthinian studies of visual discourse. / É fato que ―os estudos de Bakhtin e do Círculo constituem contribuições para uma teoria da linguagem em geral e não somente para uma teoria da linguagem verbal, quer oral ou escrita‖ (BRAIT, 2013). Assim, este trabalho propõe uma relação entre dança como ato concreto e projeto enunciativo inspirada pela diretriz arquitetônica bakhtiniana. A natureza visual dessa enunciação a distingue discursivamente e lhe confere seu status estético, requerendo formas outras de leitura. A fim de que se possa falar de uma arquitetônica visual, como ponto de partida, busca-se identificar o que constitui o conteúdo, o material e a forma na dança/no dançar. Para tanto, este estudo propõe a análise de quatro coreografias de dança do ventre, disponíveis em vídeo, via internet. Trata-se, pois, de enfocar aspectos relacionados ao modo como as bailarinas constroem a sua dança e, mediante valorações sociais, revelam e/ou denunciam marcas enunciativas. Portanto, a partir da noção de conteúdo, investiga-se como o aspecto ideológico/valorativo é representado pelas bailarinas-criadoras; a partir da noção de forma composicional, investiga-se para quem elas dançam com base nas marcas enunciativas visuais mobilizadas para envolver seu interlocutor presumido em dado contexto; a partir da noção de forma arquitetônica, investiga-se o que cada uma das apresentações traz como especificidades em termos de significação e sentido. Tal percurso metodológico possibilita evidenciar o dialogismo através do visual, mostrar que diferentes vozes ressoam na dança do ventre através do tempo-espaço, o que ratifica a inviabilidade de se falar de uma ―essência da dança do ventre‖, instigando, consequentemente, a reflexão acerca do que não seria, nesses termos, uma hibridação. Isso conduz à percepção a respeito do que constitui as relações dialógicas na dança e da forma como nela elas se dão, viabilizando chegar às peculiaridades que aqui interessam como uma possibilidade outra de compreender o objeto estético dança e contribuir para os estudos bakhtinianos do visual.

Notre recherche a pour objet des interrogatoires médiatisés par interprète, en tant que pratiques langagières et discursives situées dans un contexte institutionnel donné, à savoir le tribunal. Parmi les divers contextes de nos sociétés contemporaines où les interprètes sont partenaires de l’échange au sein de dialogues effectifs, nous avons ciblé le contexte judiciaire, dont le caractère institutionnel et les enjeux en font un lieu formel et au fonctionnement normé : les interrogatoires s’y déroulant sont des échanges réglés et codés. Nous avons fait alors l’hypothèse que peut fonctionner à double titre la tension qui se crée ainsi entre les normes à l’œuvre au tribunal et la présence de sujets en interaction dont les enjeux et représentations peuvent considérablement différer : elle fonctionne d’une part comme loupe grossissante sur certains phénomènes qui, lorsqu’ils se produisent malgré la normativité ambiante, sembleraient alors relever de ce qui ne peut ne pas se produire en présence d’un interprète ; elle fonctionne d’autre part comme déclencheur d’événements particuliers et uniques propres au contexte, aux personnes concernés, aux enjeux spécifiques liés aux thèmes traités, aux dialogues ponctuels. L’analyse de dialogue que nous pratiquons consiste aussi bien à spécifier préalablement le cadrage externe de l’événement communicatif qu’à décrire comment la situation est perçue et évaluée par les participants à travers l’élaboration conjointe du sens. Notre problématique vise ainsi à dégager la relation existant entre les conventions socio-discursives propres à cette sphère d’activité et certains traits interactionnels et discursifs, engendrés par la participation du "tiers/interprète" à l’interrogatoire. L’approche discursive et dialogique a permis d’entreprendre une démarche analytique prenant en compte : un plan interlocutif, concernant la dynamique compositionnelle des échanges et les rapports de places, dialogal ; un plan énonciatif et dialogique concernant à la fois la présence des sujets dans leurs dires et la façon dont les discours sont élaborés par des mouvements interprétatifs qui peuvent être plus ou moins directement accessibles, notamment à travers ces réaménagements de sens que sont les reformulations inter-linguistiques de l’interprète. Les voix qui parcourent l’espace discursif en le rendant hétérogène peuvent par-là être identifiées. Ces pratiques d’interactions médiatisées peuvent alors être pensées sur un continuum de dispositifs allant des stratégies d’effacement énonciatif que l’interprète met en œuvre - afin de créer des discours objectivés -, aux procédés variés qui l’inscrivent dans le discours d’autrui, jusqu’à la prise en charge de ses propres discours en tant que locuteur/énonciateur à part entière. Enfin, les propriétés qui caractérisent les interrogatoires interprétés dans le contexte du tribunal s’avèrent propres non seulement au genre de discours institutionnel et juridique concerné mais également à la présence du "tiers", apte à influencer l’événement discursif "interrogatoire" à tous les niveaux pris en compte par l’analyse. Il semble alors que cela pourrait permettre d’appréhender ces dialogues comme un type, ou sous-genre, particulier du discours juridique. / Our research focuses on interpreter-mediated examinations as situated oral exchanges and discursive practices in a specific institutional context, i.e. the courtroom. In contemporary societies, among the various situations where interpreters act and dialogue in face-to face interactions, the judiciary context proves to be one of those institutional domains where highly formal and normative practices take place. Examinations are very coded exchanges. Starting from the hypothesis that the tension which develops between laws and norms at work in this frame and the discursive productions by speakers directly dialoguing and interacting, whose representations and goals may consistently differ, may have a double effect on the interpreter-mediated event, we further investigate how : some specific interactional and discourse patterns realize in a such ritualized and normative context, attempting to understand if they are typical of interpreter-mediated interactions in general or of the specific examinations we observe ; and speakers’ identities, institutional roles, their personal goals and the specific themes concerned have an influence on these practices, producing very peculiar and singular patterns of sense-making. Hence, focusing on face-to-face interpreting practices, the dialogical and discourse approach we adopt allows to take into account : from one side, what relates to the dialogal dimension of the interaction, pertaining to a dialogue between two (or more) co-present interlocutors and the definitions of their identities, from what pertains to the dialogical one, having to do with dialogism or dialogicality in the more abstract senses. Given that understanding is related to responding, interpreters are seen as speakers actively involved in dialogue. The ways speakers leave traces of their presence in the utterances they produce, while they’re doing the interacting, and, particularly, the way in which the interpreter’s presence is sensed through thar interlinguistic reformulation of the other’s words which is translation gives access to the way in which sense-making is jointly created in the framework of a highly ritualized activity type such as examinations in the courtroom. In the end, interpreted-mediated examinations may be thought of as changing practices on a more/less continuum, going from : the cases where the interpreter translates as a reporter using the 1st person, using linguistics strategies allowing him/her to assume full responsibility for the words uttered without showing it; to all those cases of variation on the expected pattern which, at different degrees, let emerge his/her presence in the interpreting process; to the production of discourses for which s/he is entirely responsible, acting as a an autonomous speaker. These collectively constructed events may therefore suggest that there is a dynamic relation between expected practices in the discourse context and their actual realization. Interpreter-mediated examinations prove to be per se speech events, namely very specific exchanges with their often hybrid dynamics, within which all interlocutors - including the interpreter – dialogically contribute to understanding and to the creation of meaning.

透過主角兼敘事者奧芙弗雷德 (Offred) 的信件書寫，愛特伍 (Margaret Atwood)《使女故事》(The Handmaid's Tale, 1986) 一書回憶並訴說過往的故事。奧芙弗雷德的敘事打破順時性，呈現了斷裂與曖昧難解的狀況，點出了敘事者對於其所訴說的過去缺乏完整的理解。本論文從創傷敘事的角度分析《使女故事》，試圖探究奧芙弗雷德敘事中缺乏連貫的起因。 本論文分成五章來探討奧芙弗雷德的敘事，以期完整呈現小說中創傷敘事與語言、書信模式所交織成的複雜關係。第一章介紹《使女故事》的梗概與相關評論，並說明本論文所使用的理論架構。第二章以傅柯 (Michel Foucault) 的語言理論，探討語言與權力統治的關係與其在「反烏托邦」(dystopia) 世界中所承擔的角色，進而分析奧芙弗雷德如何一步步地取回了原本被禁用的語言，透過敘事釋放潛藏的溝通慾望。第三章則透過佛洛伊德 (Sigmund Freud) 的創傷理論與後續發展的創傷敘事研究，檢視奧芙弗雷德令人困惑的敘事。第四章藉由巴赫汀 (Mikhail Bakhtin) 的對話論 (dialogism) 分析書信模式在奧芙弗雷德敘事 (narration)／重構 (reconstruction) 中的影響與作用。最後，第五章討論愛特伍在文本末章〈史料〉("Historical Notes") 呈現對書信編輯一角的翻轉，並點出奧芙弗雷德對於敘事的堅持來自於她對於溝通與生存的期望。 / Through the narrator-protagonist Offred's letter-composition, Margaret Atwood's The Handmaid’s Tale (1986) unfolds as Offred recalls her past to tell the story. Offred's narrative is not chronological, but elusive and fragmentary. The scattered narrative fragments indicate Offred's incomplete understanding of the past. The present thesis seeks to explore the intricate cause of Offred’s narrative fragments by reading The Handmaid's Tale as a trauma narrative. To gain a full picture of Offred's trauma narrative, the thesis is divided into five chapters. Chapter I introduces The Handmaid's Tale and its literature reviews and explicates the theoretical approaches used in the thesis. With the introduction of Foucauldian discourse on language, Chapter II focuses on the role of language in relation to power in dystopia. In addition, the chapter illustrates the process of Offred's gradual regaining of the denied language and embarking on her narrative expedition, seeking to communicate. Meanwhile, Chapter III focuses on Offred’s puzzle-like narrative, inspecting her narrative through the lens of the Freudian trauma theory and trauma narrative. Chapter IV analyzes the function of the epistolary form in Offred's reconstruction of the past with the Bakhtinian dialogism. Finally, Chapter V discusses Atwood's revision of the role of the editor demonstrated in the epilogue "Historical Notes" of The Handmaid's Tale and concludes with Offred's longing for communication and survival that propels her act of storytelling.

Research in the fields of Applied Linguistics (AL) and Second Language Studies (SLS) has begun addressing the ways in which second and foreign language (L2) use is a "material" struggle to understand, acquire and author L2 words for one's own creative purposes - particularly in the face of ideologies about language learning and language use (Squires 2008; Suni 2014). This struggle has implications for the subjectivity, agency and ultimate acquisition and use of the target language by L2 users. This dissertation seeks to augment scholarship in this area by demonstrating how material struggle can surface in the process of data collection (a research interview). It presents an analysis of a recorded narrative of an English as a foreign language (EFL) user, who was a second year graduate student enrolled in a university in the southwest US. She was invited by the author -- a native speaker of English -- to tell an oral narrative story in English to a group with whom she met regularly. However, in positioning the EFL subject as "non-native" in the recruitment process, the author as a native speaker failed to anticipate the manner in which her request was interpellative (Althusser 1971[2001]), thus reproducing and subjecting the "non-native" to the ideology and discourses associated with that category and setting into motion a creative authoring of response to this interpellative call. In approaching the analysis from this perspective, this dissertation adopts an approach to oral narrative story analysis that is based on the Bakhtinian-inspired notion of dialogism (Bakhtin 1981, 1986). Dialogism underscores the resultant narrative as a collection of utterances poised to respond to the request to "tell a story," while simultaneously addressing the ideology and discourses associated with this request. Additionally, the analysis explores the dialogic nature of the narrative from the standpoint of "tellability" (Norrick 2005; Ochs and Capps 2001), thus highlighting aspects of the narrative that render this tale of friendship, an extramarital affair and a friend "in hatred" meaningful in the context of its telling. Guided by an interest in Bakhtinian dialogism and driven by a concern for narrative tellability, three differing, yet complimentary, analyses of the narrative are explored: 1) genre, register and vague ("vaguely gendered") language, 2) face work, framing and cooperation and 3) gossip, stance and the representation of speech and voice. These analyses likewise uncover three themes that underlie the narrative context of the tale. These themes are: the backgrounding of nativeness and foregrounding of gender, the simultaneous and ambiguous struggle for solidarity and power, and the display of personal style through moral stance in the presentation of a continuous self over time and place. The implication of this work for future research and assessment in AL and SLS is addressed.

Denna uppsats behandlar bloggverktyget i undervisningssyfte. Syftet är att undersöka hur ett urval av svensklärare i grundskolans senare år på olika sätt resonerar kring användandet av bloggverktyget i skrivundervisningen. För att uppnå detta syfte har fem stycken lärare intervjuats vid personliga möten genom halvstrukturerade intervjuformer. Dessa lärare uppvisade en varierad syn på så väl själva bloggverktyget som dess användningsområde. Majoriteten av dessa lärare ställer sig huvudsakligen positiva till bloggverktyget som helhet, men belyser också vissa kritiska aspekter så som elevernas trygghet, skrivutveckling och hur ett integrerande av elevernas fritid i skolan kan uppfattas av dem. Undersökningens resultat överensstämmer i mångt och mycket med forskningslitteraturen. Elevernas motviation till skrivning och att de skriver mycket på sin fritid belyses. Likaså skolans ansvar att anpassa undervisningen till det samhälle den verkar i och är skapare av. Den svenska skolan som genomsyras av ett sociokulturellt lärandeperspektiv bör kunna utgå ifrån elevernas vardag och fritid för att ett dialogiskt klassrum ska kunna skapas. Därmed är bloggen ett utmärkt verktyg och redskap för undervisningen genom sin mångfacetterade utformning som ger möjlighet till att arbeta med kamratrespons och skrivprocessen på ett gynnsamt sätt.

This is a study of the emergence of William Wordsworth’s literary reputation during his lifetime. It is constructed as a variety of biography, organized chronologically in order to attempt a fuller sense of the negotiation of public image and reputation that went on between Wordsworth and his audiences. Mikhail Bakhtin’s notion of dialogism structures the study as a series of “conversations,” interconnected and moving outward from self, to intimate group or coterie, to public, reviewers, and culture at large. The coterie and members of it have a large part to play in Wordsworth’s emerging style. The evidence drawn upon for each “conversation” moves from biography to letters to published poems and prose works to published reviews of those works, again roughly describing a movement outward from self to coterie to culture at large. The “conversations” appeal to two or more different kinds of audience, however, because of a “multi-voiced” feature of Wordsworth’s published collections, especially noticeable in the critical success of the sonnet form. Further, members of the coterie, notably Coleridge, later emerge as important interpreters, advocates, and critics themselves, adding to the critical success of William Wordsworth in the larger cultural conversation. Ultimately, Wordsworth is recognized for his contribution – a triumph of his confidence in his own style, as well as the education of a new kind of reader that now engages with Wordsworth’s poetry at a level of intimacy that makes the reader feel like a member of the coterie.

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.

This project aims to develop and explore questions of theatre as public discourse and the representation of England and Englishness in contemporary British theatre during the period 2000-2010. I present a dual focus in this practice-led research process, creating an original creative work, Albion Unbound, alongside an academic thesis. I describe the relationship between play and thesis as ‘dialogic’ with reference to the work of Mikhail Bakhtin. His ideas on language, subjectivity and authorship offer an insightful perspective upon the theory and practice of theatre-making, but Bakhtin himself makes a concerted claim for drama’s inherent monologism, generically incapable of developing genuine dialogic relations between its constituent voices. Chapter One explores the ‘case against drama’ and identifies the different senses of theatrical dialogism which emerge in critical response. Chapter Two considers Bakhtin’s work around carnival, the grotesque and the history of laughter, framed within a debate about the ‘politics of form’ in the theatrical representation of madness and mental illness. A key division emerges between political, discursive theatre and experimental theatre, as I question the boundaries of Bakhtin’s ideas. Chapter Three questions the nature of political theatre and its British traditions via Janelle Reinelt and Gerald Hewitt’s claim that David Edgar represents the ‘model’ political playwright engaged in theatre as ‘public discourse’. I focus upon three-thematically linked of Edgar’s plays, Destiny, Playing with Fire and Testing the Echo to engage questions of the ‘state-of-the-nation’ play and Edgar’s varied formal strategies employed in constructing his dramatic worlds and the political discourse he seeks with an audience. Chapter Four extends this debate to question the alleged ‘return of the political’ in new writing between 2000-2010 and specifically a body of plays which engage issues of nation and identity – those plays contemporaneous to Albion Unbound. Chapter Five provides a reflexive conclusion, elaborating upon the creative, collaborative process of making Albion Unbound, accounting for its successes and failures as a piece of contemporary theatre. I also reflect upon the relationship of theory and practice the project has developed, the dialogic relationship between thesis and play. Chapter Six is the play itself, as it was performed.