La décennie 1960 figure comme une période d’intenses bouleversements dans l’histoire du cinéma japonais. Une nouvelle génération de cinéastes s’impose et se démarque des "grands maîtres" des années 1930 et 1950, tandis que se diversifient les plateformes de production et que les grands studios voient s’effriter leur monopole sur l’industrie des loisirs. L’heure est à la libération sexuelle, à la contestation politique, aux mouvements citoyens contre la pollution industrielle : un climat libertaire propice aux irrévérences, dont le monde cinématographique se fait comptable à travers une série de "scandales". Pourtant cette nouvelle et turbulente jeunesse du cinéma ne saurait s’envisager comme un simple phénomène démographique, malgré ce que certains cinéastes, Nakahira Kô et les tenants d’un éphémère "Taiyôzoku", voudraient faire croire à la fin des années 1950. Pour d’autres, Oshima Nagisa, Yoshida Kijû ou Matsumoto Toshio, le renouvellement passe au contraire par une redéfinition du rôle du cinéaste et de la façon dont il "agit" le monde : aussi est-il plutôt question de "vision du monde". Cette transition se constate d’autant mieux qu’on la rapporte au cinéma d’après-guerre, dont Imai, Naruse, Kurosawa développent des options esthétiques spécifiques, pour bâtir un espace-temps entropique, miné par l’angoisse. Mais l’accès du pays à la prospérité au tournant des années 1960, célébrée en grande pompe par les Jeux Olympiques de Tokyo de 1964, semble dissiper cette angoisse, entraînant les cinéastes de la nouvelle génération vers d’autres modèles théoriques et esthétiques, aptes à rendre compte de la nouvelle société de consommation et de communication de masse. / The years 1960s stand as a time of upheaval in the history of Japanese cinema. A new generation of filmmakers arises, marking its difference from the so-called “great masters” of the 1930s and 1950s. The platforms of movie production diversify, while the great studios lose their domination upon the leisure industry. It is time for sexual freedom, political protests, civil movements against industrial pollution: a climate suitable for audacity and bold behaviors one can notice thoughout the cinematographic world, thanks to various "scandals". Yet that new and boisterous youth shall not be considered as a mere demographic change, whatever may pretend filmmakers such as Nakahira Kô and other upholders of the so-called "Taiyôzoku" at the end of the 1950s. Indeed, for the likes of Oshima Nagisa, Yoshida Kijû and Matsumoto Toshio, that renewal relies on the contrary on a new definition of filmmaking as a way to "enact" the world: thus would it rather be a matter of weltanschauung. Such a transition is obvious when compared to postwar films: for instance, Imai, Naruse or Kurosawa develop specific aesthetic patterns what draw a world of entropy, undermined by anguish. Yet the access to prosperity at the turn of the 1960s, as celebrated by 1964 Tokyo Olympic Games, seems to dissipate such feelings, leading the young generation of filmmakers toward other aesthetic options, able to give account of the new society of mass consumption.

Submitted by Fabiano Vassallo (fabianovassallo2127@gmail.com) on 2017-04-12T14:35:12Z No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Dissertação para Defesa_ChristianoTitoneliSantana-dezembro - Copia.pdf: 4313742 bytes, checksum: f7d5f6616724949b52142c91c09558a6 (MD5) / Approved for entry into archive by Josimara Dias Brumatti (bcgdigital@ndc.uff.br) on 2017-04-13T13:55:40Z (GMT) No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Dissertação para Defesa_ChristianoTitoneliSantana-dezembro - Copia.pdf: 4313742 bytes, checksum: f7d5f6616724949b52142c91c09558a6 (MD5) / Made available in DSpace on 2017-04-13T13:55:40Z (GMT). No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Dissertação para Defesa_ChristianoTitoneliSantana-dezembro - Copia.pdf: 4313742 bytes, checksum: f7d5f6616724949b52142c91c09558a6 (MD5) / Conselho Nacional de Desenvolvimento Científico e Tecnológico / Esta pesquisa busca analisar o sujeito entre línguas que intenta (in)conscientemente empreender a produção textual em língua estrangeira (LE) como possível espaço discursivo. Para tanto, estudamos as possíveis pistas deixadas pelo sujeito, que podem ser figuradas como gesto interpretativo, paráfrase ou lapsos. Tais vestígios serão analisados de modo a estudar a inscrição e a tomada da palavra do sujeito na LE quando contorna o seu “querer-dizer” na LE. Para compreendermos a produção textual na visada discursiva, recorremos à noção de espaço discursivo empreendido por Maingueneau (1989) para dele propormos um deslocamento. Além disso, para estudarmos a noção de tomada da palavra, voltamo-nos a De Nardi (2002) e, a respeito dos lapsos, partimos da perspectiva de Maia (2006). É importante ressaltar que esta pesquisa filia-se ao quadro teórico da Análise do Discurso de linha francesa, fundada por Pêcheux (1969/2010), assim como desenvolvida no Brasil por meio dos trabalhos de Orlandi (2013). A constituição do corpus dá-se da seguinte forma: trata-se de alunos universitários de Letras (Português∕Inglês) de diferentes períodos, que foram solicitados a ler o conto Old Man at the Bridge, de autoria de Hemingway (1963), e a produzir um texto em língua inglesa sobre a representação do personagem idoso no conto levando em consideração o cenário da história. Analisamos se o sujeito, ao produzir a produção textual em LE, tomou a palavra e inaugurou a produção textual como possível espaço discursivo em meio a tensões entre línguas. Durante nossa análise, não houve casos de sujeito-aluno que não conseguisse empreender a produção textual como espaço discursivo, houve fragmentações, rupturas e lapsos em alguns momentos. As produções textuais trabalhadas apontaram para dois níveis: o nível autoral, quando o sujeito consegue administrar os sentidos discursivamente; e o nível parafrástico ou empírico, quando o sujeito rearranja o seu texto, faz recombinações sintáticas, mas continua filiado ao sentido estrito do conto – não ousa jogar com a língua / This research analyzes the subject between languages that tries to (un)consciously undertake the production of texts in foreign language (FL) as a possible discursive space. We studied the possible clues left by the subject, which can be understood as interpretive gesture, paraphrase or lapses. Such clues will be analyzed in order to study the inscription and the subject's word choice in FL. To understand the textual production in the discursive approach, we use the notion of discursive space undertaken by Maingueneau (1989) so we can adapt it to our studies. In addition, to study the notion of “having the floor”, we turn to De Nardi (2002) and about the lapses, we start from the Maia’s perspective (2006). Importantly, this research is affiliated to the theoretical framework of French Discourse Analysis, founded by Pêcheux (1969/2010), as developed in Brazil through the works of Orlandi (2013). The constitution of the corpus takes place as follows: it is university students of Languages (Portuguese / English) from different semesters, which were asked to read the short story, Old Man at the Bridge, by Hemingway (1963), and to produce a text in English on the representation of the elderly character in the short story, taking into account its scenario. We have analyzed the subject, when producing the text in FL, had the floor and opened the textual production as a possible discursive space amid tensions between languages. During our analysis, there were no cases of subject-student who could not undertake the textual production as a discursive space, there were fragmentation, and lapses at times. The textual productions pointed to two levels: the authorial level, when the subject can manage the meanings discursively; and paraphrastic or empirical level, when the subject rearrange his or her text, make syntactic combinations, but he or she is still affiliated with the strict sense of the story - both do not dare to play with the language

<p>The prevalence of social media in political campaigns are changing the face of politics in the United States and abroad. The rapid pace at which this change is occurring demands inquiry into the previously unexplored area of unconventional political campaign messaging practices on social media. Investigation of Donald Trump’s use of tweets as rhetorical strategy in the discursive space of Twitter during the 2016 U.S. presidential campaign revealed a bypass of traditional media and its source verification processes. This circumventing of mainstream media channels facilitated Trump’s deployment of an unchecked ‘broken system’ narrative alleging government corruption</p> <p>and a rigged system. Trump’s tweet discourses tapped into existing feelings of disenfranchisement and disaffection felt by a self-identified politically marginalized segment of society. This study</p> <p>investigates how social media use in political campaigns can serve as a public sphere for contestation of social and political norms. An interdisciplinary theoretical frame comprised of Feenberg’s critical theory of technology, McLuhan’s media ecology, Fraser’s counterpublic spheres, and Iser’s implied reader offer new understandings about the power of anti-establishment discourses and a hybrid discursive space to destabilize governing institutions and redefine social and political identities. Study of Trump’s tweets as rhetorical strategy granted insights into the social and political capacity of alternative truth to undermine the political process. Further, it uncovered the power of social media to awaken and leverage existing political identities for personal political gain.</p>