Thèse (doctorale)--Université Paris 13, 1999. / Includes bibliographical references (p. [245]-269).

Thesis (M.A.)--Baylor University, 2006. / Includes bibliographical references (p. 65-66).

Orientador(a): Luciane de Paula / Banca: Marina Célia Mendonça / Banca: Ekaterina Vólkova Américo / Banca: Grenissa Bonvino Stafuzza / Banca: Valdemir Miotello / Resumo: Diário do hospício e O cemitério dos vivos são textos escritos por Lima Barreto durante sua segunda internação no Hospício Nacional de Alienados, e a partir dela, no Rio de Janeiro, entre 25 de dezembro de 1919 e 2 de fevereiro de 1920. O primeiro é tido como anotações para a elaboração do segundo, um romance inacabado, cujo processo de produção foi interrompido pela morte do autor (1/11/1922). O objetivo geral desta pesquisa é analisar a constituição de vozes sociais sobre a loucura e a psiquiatria - por meio das relações dialógicas, do discurso bivocal (polêmicas aberta e velada) e do autor - no diálogo entre Diário do hospício, O cemitério dos vivos, de Lima Barreto, outros enunciados e outras vozes sociais. Os objetivos específicos são: 1) identificar as vozes sociais com as quais dialoga Lima Barreto no processo de constituição dos enunciados que integram o corpus de pesquisa e descrever como se estabelece o diálogo entre esses enunciados limabarretianos; 2) examinar a bivocalidade polêmica no diálogo entre Diário do hospício e O cemitério dos vivos, no que diz respeito: i) à polêmica aberta estabelecida entre esses enunciados e os discursos da ciência psiquiátrica de sua época; e ii) à polêmica velada entre a fala limabarretiana e outras falas literárias do início do século XX; 3) perscrutar, ao compreendermos o autor como posição de autor, autor-criador/atividade de autor, autor puro e posicionamento de autor, os movimentos desses diálogos no processo de constituição a... (Resumo completo, clicar acesso eletrônico abaixo) / Abstract: Diário do hospício and O cemitério dos vivos are texts written by Lima Barreto during his second admission in Hospício Nacional de Alienados,, and from there respectively, in Rio de Janeiro, between December 25, 1919 and February 2, 1920. The first is taken as annotations to development of the second, an unfinished novel, whose production was interrupted by the death of the author (1/11/1922). The overall objective of this research is to analyze the constitution of social voices about madness and psychiatry - through dialogical relations, polemical double-voiced discourse and the author-creator - in the dialogue between Diário do hospício and O cemitério dos vivos, works of Lima Barreto. The specific objectives are: 1) identify the social voices with which Lima Barreto dialogues in the process of formation of statements that make up the corpus of this research and describe how the dialogue between these limabarretianos statements is established; 2) examine the polemical double-voiced in the dialogue between Diário do hospício and O cemitério dos vivos, regarding to: i) the open polemic established between these statements and speeches of psychiatric science of his day; and ii) the veiled polemic between limabarretiana speech and other literary discourse of the early twentieth century, through his utterances; 3) search, to understand the author as an author's position, author-creator/ author's activity, pure author and author's positioning, the movements of these dialogues on... (Complete abstract click electronic access below) / Doutor

FundaÃÃo Cearense de Apoio ao Desenvolvimento Cientifico e TecnolÃgico / As constantes disputas pelo fazer-se ver, atreladas Ãs dinÃmicas econÃmicas, sociais e polÃticas por que passam as sociedades, tÃm apresentado aos movimentos sociais a necessidade de repensar prÃticas diante da tarefa de mobilizar. Em tempos de aÃÃes que se dÃo de modo articulado em rede, a comunicaÃÃo à em potencial uma chave para o entendimento de problemas relativos à visibilidade e representaÃÃo, bem como à capacidade ou nÃo de dialogar diante das diferenÃas. Assim, esta pesquisa à o produto de um processo de investigaÃÃo que se propÃs a compreender em que medida o diÃlogo figura como tÃtica para a construÃÃo de relaÃÃes entre os movimentos sociais articulados em rede, mais especificamente entre o MST e outros sujeitos integrantes da Rede JustiÃa nos Trilhos. LanÃada como campanha internacional, a rede à uma articulaÃÃo de movimentos sociais, associaÃÃes e cidadÃos que visa cobrar da Vale uma justa compensaÃÃo pelos danos causados ao meio ambiente e Ãs populaÃÃes que vivem nas Ãreas atravessadas pela Estrada de Ferro dos CarajÃs. Dentre os municÃpios dos estados do Parà e MaranhÃo atravessados pela ferrovia, està AÃailÃndia, tido pela articulaÃÃo como emblemÃtico devido à profunda degradaÃÃo e aos problemas enfrentados por suas comunidades. Fazendo-se uso da cartografia como mÃtodo de pesquisa-intervenÃÃo, esse municÃpio à o espaÃo de realizaÃÃo de duas experiÃncias de campo que culminarÃo nas reflexÃes sobre trÃs importantes categorias teÃricas de anÃlise: o espaÃo, o dialogismo e a rede. / The constants struggles to be seen, associated to economic, social and political dynamics, have shown to social movements the need to rethink practices face the task of mobilizing. In times of actions that occur in an articulated network, communication may be a key to the understanding of issues related to visibility and representation, and related to ability to dialogue or not on the differences. Therefore, this research is the product of an investigation that purports to understand how far dialogue appears as tactic to build relationships between social movements that are articulated in a network, more specifically between Movimento dos trabalhadores Rurais Sem Terra (MST) organization and and other members of Rede JustiÃa nos Trilhos articulation. Launched as international campaign, this network is a articulation of social movements, associations and citizens that aims to charge from Vale a fair compensation for the damages caused to the environment and to populations living in areas traversed by Estrada de Ferro dos CarajÃs. Among the municipalities in the states of Parà and MaranhÃo crossed by railroad is AÃailÃndia, is taken by the articulation as an emblematic due to deep degradation and the problems faced by their communities. Making use of cartography as a method of intervention research, in AÃailÃndia were conducted two field experiments that will culminate in reflections on three major theoretical categories of analysis: space, dialogism and network.

Les études d’opinion se contentent généralement de mesurer une opinion, une réponse considérée comme l’attitude dusujet. Pourtant, si on nous pose la question, nous sommes capables de donner plusieurs opinions, plusieurs réponses que nous avons intériorisées lors de nos interactions avec autrui, dans un répertoire de réponses (Moscovici, 1970). Ce faisant, nous assumons l’attitude d’Autrui (Mead, 1934) qui médiatise ainsi notre rapport à l’objet (Moscovici, 1984) : chaque prise de position est le résultat d’un dialogue interne entretenu par le sujet avec autrui et ses réponses (Marková, 2005). Notre objectif dans cette thèse est d’inventer une méthode permettant d’appréhender ce répertoire de réponses.Nous avons testé ainsi un paradigme qui va nous permettre d’observer, dans nos deux premières études, la multiplicité deréponses dont nous disposons dans notre répertoire, ainsi que leur caractère partagé et cohérent. Une troisième étude, appuyée sur cette méthode, nous a permis de constater que le niveau d’élaboration des répertoires de réponses est lié à l’implication de l’individu vis-à-vis de l’objet. Nous avons également pu observer le développement d’un répertoire de réponses, lors d’une étude de terrain menée, sur deux ans, dans un groupe restreint qui découvrait une nouvelle technologie. De façon générale, cette thèse apporte sa contribution à l’écriture de la grammaire du répertoire de réponses en présentant un paradigme qui souligne le caractère multiple de l’opinion. / Opinion surveys usually settle for measuring opinion, an answer considered to be the participant’s attitude toward the subject. Yet when further questioned, we are able to give several opinions, several answers, that we have internalized from our interactions with others, into a repertoire of responses (Moscovici, 1970). In doing so, we assume the attitude of others (Mead, 1934) thus mediating our relationship to the object (Moscovici, 1984): each position is the result of an internal dialogue, maintained by the subject with others and their responses (Markova, 2005). Our goal in this thesis is to invent a method to understand this repertoire of responses. Thus, in our first two studies, we tested a paradigm that allows us to observe, the multiplicity of responses that are available in our repertoire, as well as their shared and coherent nature. A thirdstudy based on this method, enabled us to observe that the degree of development of the repertoire of responses is related to the involvement of the individual in regard to the object. We were also able to observe the development of a repertoire of responses in a field study lasting over two years, in a small group who discovered a new technology. Generally, this thesis contributes to writing the grammar of the repertoire of responses by presenting a paradigm that emphasizes the varied nature of opinion.

“The LGBTQIA+ community”, like all social groupings, is moulded by dialectical forces: inclusivity/exclusivity, belonging/non-belonging, sameness/difference. Literature on it is riddled with dichotomous conflicts over (dis)identification and (anti)relationality in theory, lived experiences, and political mobilisation. Dominant discourses tend to overlook intersectional complexities therein, focus on labels over interactions, and reiterate a framing of the LGBTQIA+ as inherently vulnerable. The gaps point to a need for a more open and reparative investigation that creates space for exploring and (re)negotiating the assumed coalition. This study investigated what diverse groups of queer-identified individuals experienced when sharing their lived accounts of “sameness and difference” with others. Twenty-one people each participated in one of four focus groups and in a follow-up interview were invited to reflect on their experience. Decolonial Intersectional Narrative Analysis (Boonzaier, 2019) and a Bakhtinian-dialogical analysis (Grossen & Salazar Orvig, 2011) were used to inspect the “what” and the “how” of the group dialogues, respectively. Participants recounted significant experiences of sameness and difference that both foregrounded and transcended their particular intersectional identities. Moments/relationships of being treated as more an object than a full subject, due to divergence from certain monoglossic gendered/sexed/sexual norms (both intra- and extra-communally), were conarrated as keys to ongoing queer abjection. Participants expressed that dialoguing in this particular setting was an experience of coming-out-of-isolation, intersubjective learning, and strengthening senses of self and community. Future research and activism are encouraged to invest in accessible open dialogue as a site itself for LGBTQIA+ community-building in South Africa and beyond.

Yes / Within the still-dominant medical discourse on dementia, disorders of language (such as dysphasia, aphasia, and perseveration) feature prominently among diagnostic criteria. In this view, changes in ability to produce coherent speech or understand the speech of others are considered to be a direct and inevitable result of neuropathology. Whilst an alternative psychosocial account of communicative challenges in dementia exists, emphasis here is placed largely on the need to compensate for deficits in the language or comprehension of the diagnosed individual and on his or her social positioning by ‘healthy others’. Rather less emphasis has been placed to date people with dementia as social actors who create meaning and draw on contextual clues in order to give shape to their interactions. In this article we draw on Mikhail Bakhtin’s concepts of the carnivalesque, heteroglossia, polyphony and dialogism to analyse a series of interactions involving people with dementia in day and residential care environments. Two main findings are foregrounded. The first, consistent with previous studies, is that many of the communicative challenges faced by people with dementia arise from the social environments in which they find themselves. The second is that the utterances of people with dementia in the face of these social challenges show many of the hallmarks of cultural resistance identified by Bakhtin.

Based on dialogical theory and empirical exploration of surgical operations in a Swedish hospital, this text contributes to the study of critical work practice. In empirical detail, ethnographic investigation and video analysis show that ‘everyday interactivity’, i.e. technical development beyond the control of individual participants, is a ubiquitous phenomenon of surgical work. This research interest can be contrasted to models of human-machine interaction, which describe how a given technology affords or impedes an intended outcome. Conclusions are that there may be fundamentally different ways of describing the regular course of surgery. From so-called ‘designer-oriented‘ perspectives, creative or unexpected results would be seen as emergent signs of design failure. According to dialogical theory, unfolding and multifunctional technical outcomes are necessary in working life. The latter is everything but trivial for research and development. As concrete products of collective practice, workplace technology cannot support individual ‘user experiences’ or workflows. Instead, we may recognise already present, parallel, and ongoing design changes. Thus, the thesis problematise the meaning of teamwork and technology in everyday practice. / Utifrån dialogisk teori, interaktionsanalyser och etnografiska undersökningar av kirurgiska operationer inom olika kirurgiska specialiteter, problematiserar avhandlingen betydelsen av vardagliga och kritiska verksamheter. I empirisk detalj av några fallstudier, tagna ur ett omfattande material av inspelningar och etnografiska data om arbetsplatsen, visar avhandlingens videoanalys att “vardaglig interkreativitet”, det vill säga teknisk utveckling inom och mellan arbetslag, är ett ständigt närvarande fenomen i kirurgisk praktik. Detta ska ses i förhållande till gängse beskrivningar av kritiska verksamheter, vilka i huvudsak handlar om hur givna instruktioner och verktyg stödjer, eller inte stödjer, planerade delmål. Slutsatsen är att det är möjligt att ge helt olika empiriskt grundade beskrivningar av kirurgi. Utifrån så kallade “designerorienterade” ansatser förklaras varje oväntad teknisk användning som tecken på underliggande designproblem. Enligt dialogisk teori framstår istället teknisk pluralism och förändring som nödvändiga delar av verksamheten. Det senare är allt annat än självklart inom området verksamhetsutveckling. Med föränderliga tekniker och tekniska system som grund, blir det inte längre prioriterat att undersöka eller stödja situerade “användarupplevelser”. Istället bör redan befintliga interkreativa design processer och konkreta samkonstruktioner lyftas fram som tekniska förutsättningar för forskning och utveckling. Avhandlingen problematiserar således både hur teamarbete kan förstås och hur teknologi gestaltas i vardagen.

Punctuation is an indispensable element in formal and literary texts as well as everyday writing. Studying punctuation is therefore necessary in order to understand written language. Still, it does not fit easily into descriptions of language as an abstract, given system, composed of lexicon and grammar. Within the framework of Bakhtinian dialogism, however, linguists have started to study languaging as an interactive, situated process, meaningful in concrete, embodied utterances. While many such studies have focused on spoken language, this PhD dissertation is an attempt to study written language from a dialogical perspective. The aim of the study is to explore the functions of punctuation and to integrate the analysis of punctuation into a broader theoretical under­standing of written language. This is achieved through qualitative analyses of three contemporary Swedish novels: DIVA by Monika Fagerholm (1998), Förvandling by Eva Adolfsson (2005) and Fadevår, tack för ljuset! by Fredrik Ekelund (2010). In order to discover the rich meaning of specific instances, linguistic details are studied in relation to different aspects of context: the local co-text of the sentence, paragraph, chapter and novel as a whole, relevant intertextual contexts, and, to some extent, contemporary literary movements and technological developments, etc. In all of the three novels, punctuation is an integrated element of style and characterization, and important thematic aspects of each novel are visible at the level of punctuation. General patterns are also to be seen, the most important of which concern, firstly, how punctuation divides the units of written language, and regulates the relationship between these units, and secondly, how shifts in voice and tone are constructed in the novels with the help of punctuation. Furthermore, punctuation can create visually iconic references. The results have many implications for further research. Punctuation is a necessary and integrated part of written meaning-making and should not be overlooked in text analyses. Moreover, punctuation plays a crucial role in the construction of aspects like viewpoint and discourse presentation, which can no longer be ignored. On the spatial surface of text, writers and readers create complex interplays of voices.

Made available in DSpace on 2015-05-14T12:42:42Z (GMT). No. of bitstreams: 1 arquivototal.pdf: 7492089 bytes, checksum: d1bdc1310d07a5434fab8331f6a6f691 (MD5) Previous issue date: 2012-04-20 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This research presents a history of the São Francisco Typography constructed in lights of orality studies and the dialogic conception of the language postulated by Mikhail Bakhtin, possessing as main objective to compound an oral history of this printer in its inicial days during the decade of 30, up to its conversion in a cultural point in 2005, bringing the subjects to the scene, giving them voices. In this research, we worked with a corpus formed by verbal and non verbal elements: recorded transcriptions and xilographic printings. The research makes na aproach about folhetos , verifying its relationship with other oral systems, describes the process of xylographic printing since the ilustration of the folhetos covers until the dialog with other suports and makes evident men and women very identified with these productions. As a methodology, we went through interviews, audiovisual documents, photographies, notes and xilographic printings. As partial result, we identified people that acquire folhetos memorize them, we also verifyed a great number of xylographic printing and gethered the reporto of experiences so as to show that we work with live culture. / Esta pesquisa apresenta uma história da Tipografia São Francisco construída à luz dos estudos da oralidade (ONG, W.1998), da memória (HALBWACHS, M.2006) e da concepção dialógica da linguagem postulada por (BAKHTIN, M. 1992, 1995, 1997, 2003), possuindo como objetivo central compor uma história da gráfica dos seus primórdios, na década de 30, até sua conversão em Ponto de Cultura em 2005, trazendo os sujeitos para a cena, concedendo-lhes voz. Nesta pesquisa, trabalhou-se com um corpus formado por elementos verbais e não-verbais: gravações transcritas e gravuras xilográficas. A pesquisa realiza uma abordagem sobre folhetos, verificando sua relação com outros sistemas orais, descreve o processo da xilogravura desde a ilustração das capas dos folhetos até o diálogo com outros suportes e evidencia homens e mulheres profundamente identificados com estas produções. Esta história da gráfica narrada através da memória, da oralidade, configura o relato de uma experiência coletiva vivida e compartilhada. Quanto à metodologia, recorreu-se à pesquisa de natureza qualitativa, utilizando, como instrumentos de coleta, entrevistas, registros audiovisuais, fotografias, anotações, gravuras xilográficas. Como resultados, identificamos um público que adquire folhetos, guarda-os memorizados, reunimos relatos de experiências através de memórias vigorosas e verificamos uma intensa produção de xilogravuras, concluindo que se trabalha com cultura viva.