This study, ​“‘I’ve never been politically correct – truthfully it takes far too much time and can often make it more difficult to achieve total victory’ - a Critical Discourse Analysis of Donald Trump's speeches during United States presidential election of 2016”​, examines the political communication through linguistic strategies throughout 10 of Donald Trump’s speeches from the Trump rallies during the election year 2016. In order to serve that purpose, this thesis investigates which ones of the discourses that dominates the republican agenda in this context. ​Accordingly to the Critical Discourse Analysis the aim is also to see whether the worldview in Trumps speeches is constructed or deconstructed. The study is based on a theoretical framework with theories about social constructionism, nationalism and populism. A quantitative content analysis was made through the online text tool “Textometrica” in order to see Trumps main discourses. The qualitative content analysis was made through Norman Faircloughs three-dimensional model for a Critical Discourse Analysis. According to the analysis of this study, the five main discourses are ​Establishment, Trump, USA, Immigration ​and​ Work​. Around these discourses, Donald Trump’s main strategy is constructing an opposition between “us” and “them”, where “us” consist with Trump himself and the american people, and “them” includes the establishment, other countries and immigrants. Based on these opponents, and through disparaging “them” in a strategy, here called “the thief-strategy”, Trump constructs a reality where “us” is the better half and he appears as the hero in this duo. In conclusion, Trumps strategy in order to win the presidential election 2016 included running a political agenda characterized by populism which later on can lead to a polarized community, and a dissatisfied american people who will be open for change and a new leader.

[pt] O conceito de excepcionalismo americano permeou a história dos EUA e criou uma imagem de um país com um sistema e uma sociedade democráticos superior, capaz de promover a democracia, os direitos humanos e o Estado de Direito em nível nacional e internacional. Essa ideia legitimou a liderança dos EUA na construção de uma ordem liberal internacional. A ascensão ao poder do Presidente Donald Trump e a atual crise da ordem global contribuíram para questionar essa ideia e seus pressupostos. Esta dissertação tem dois objetivos principais: em primeiro lugar, discutir o conceito de excepcionalismo americano e, em segundo lugar, analisar como o conceito de excepcionalismo americano afeta a relação entre os Estados Unidos e o Direito Internacional. Será argumentado que o excepcionalismo pode ser definido como um conceito e analisado com as lentes teóricas e metodológicas da História Conceitual. Sem um significado definitivo, o excepcionalismo americano é composto de diferentes interpretações que variam de acordo com o contexto em que o autor se situa. Ainda assim, sua importância na história e na identidade americanas é inquestionável, tornando necessário levar em conta o excepcionalismo ao tentar entender as ações dos Estados Unidos. Para analisar a relação entre o excepcionalismo americano e o Direito Internacional, a dissertação se envolverá com a literatura sobre a Ordem Liberal Internacional, a hegemonia dos EUA e o multilateralismo. Além disso, será perguntado se a ascensão de Donald Trump pode ser considerada uma ruptura em duas tradições americanas: a relação dos Estados Unidos com o Direito Internacional e o uso político do excepcionalismo. Argumenta-se que, apesar de se distanciar claramente da tradição excepcionalista, Trump não se desviou da tradição do Direito Internacional como é comumente percebido. Essa percepção é derivada de seus discursos radicais, de sua personalidade estrondosa e de seus vínculos com a extrema direita, mas não se traduz na maioria de suas políticas. / [en] The concept of American exceptionalism has permeated U.S. history and created an image of a country with better democratic system and society, able to promote domestically and internationally the democracy, human rights and the rule of law. This idea has legitimatized U.S. leadership in the construction of a liberal international order. The rise to power of President Donald Trump and the current crisis of the global order have contributed to question this idea and assumptions. This dissertation has two main aims, firstly, to discuss the concept of American exceptionalism, and secondly to analyse how the concept of American exceptionalism affects the relationship between the United States and International Law. It will be argued that exceptionalism can be defined as a concept and analysed with the theoretical and methodological lenses of Conceptual History. With no definitive meaning, American exceptionalism is made of different interpretations that vary across the context the author was situated in. Still, its importance in American history and identity is unquestionable, making it necessary to take exceptionalism into account when trying to understand the United States actions. In order to analyse the relation of American exceptionalism and International Law, the dissertation will engage with the literature of International Liberal Order, U.S. hegemony and multilateralism. Furthermore, it will inquire if the rise of Donald Trump can be considered a rupture in two American traditions: the United States relationship with International Law and the political use of exceptionalism. It is argued that, although clearly distancing himself from the exceptionalist tradition, Trump did not deviate from International Law tradition as it is commonly perceived. This perception is derived from his radical speeches, loud personna and ties to the Far-Right, but do not translate into most of his policies.

Born in 1972, Luis Serrano Alarcón has in a very short period of time, established himself as one of Spain’s most prominent composers. His works are constantly being performed, not only in his home country, but throughout the world. While some of his compositions tend to retain the rhythmic, harmonic, and melodic style typical to Spanish music, many of the works sound as if they were borne more from the Viennese symphonic tradition, both during the time of Haydn and Beethoven, but also during the time of Arnold Schoenberg. As a young boy Alarcón took up piano lessons with a local teacher by the name of Javier Barranco. Through him, Alarcón learned “the music for piano of the great masters of Classicism, Romanticism, and Spanish Nationalism.” In addition he began to study with two other teachers: Jose Cervera Collado and Jose Maria Cervara Lloret. With Collado, Alarcón studied conducting, and with Lloret he studied harmony. As a result of all of this training, Alarcón was drawn toward the symphonic music of the Classical and Romantic periods, especially gravitating toward the music of Beethoven and Brahms. Alarcón’s compositional style has maintained a chameleon-like flexibility as he is able to change styles from one composition to the next with litheness and grace, showing a strong grasp of American jazz as well as flamenco music of his native country in Duende, capturing the sounds of tango from Argentina in Concertango, and of course, in the many examples of his paso dobles. Unlike many of his contemporaries, though, Alarcón’s unique voice seems to emerge through any style he is embracing or any combination of instruments in his orchestration. In terms of style, Symphony for Wind Orchestra (2012) is an entirely different type of composition. It is immediately apparent from the opening tutti strikes, that (like Mozart and many other traditional composers before and after), Alarcón is embracing a iii traditional symphonic style in this composition by utilizing one of its most common symphonic topos. Symphony for Wind Orchestra is an amazing study of the Classical symphony from its earliest beginnings in Mannheim, to its codification at the hands of Haydn, Mozart, and Beethoven, and to its explosion in size and scope at the end of the nineteenth and early twentieth century with composers like Brahms, Bruckner, and Mahler. Perhaps more important, though, is his choice of harmonic language and compositional approach. The work is decidedly based upon thematic material that is reminiscent of the Second Viennese School; atonal at times, semi-tonal at others, but consistently manipulated through the operations (transposition, inversion, retrograde, verticalization, and serialization), that were made popular by Arnold Schoenberg, his students, and those who followed them. The genesis of this composition was a consortium of band directors from the Southeastern Conference Band Association, led initially by Tom Verrier, who is Senior Band Conductor and Director of Wind Ensembles at Vanderbilt University. Dr. John Cody Birdwell was a part of the consortium from its onset, but didn’t initially plan on conducting the premiere at his school (the University of Kentucky). Birdwell stated,“...the opportunity to premiere the work sort of ‘landed in our lap.’ I had heard some of Alarcón’s other compositions in recent years, and I knew that this piece was going to be fantastic, so we moved forward without any hesitation.” Clearly with so much positive feedback regarding the work, this document is certainly justified. The goals of this study are to provide some background for the work and its composer, to analyze the work while providing examples of all of its main themes and important figures, and where appropriate, to show how they relate to each other. This document will also create a helpful performance guide for conductors, which should facilitate and contribute to many more performances of this significant work in the future. Along with the harmonic and thematic analysis of the work, this document will also include interviews with the composer, the conductor of the premiere of the work (Dr. John Cody Birdwell), one of the early and staunch supporters of Alarcón’s works (Dr. Tim Reynish), and Javier Enguidanos Morató - another Spanish conductor who recently performed the work.

Since the turn of the century Scottish drama has struggled to create drama distinct from England's. The four century dearth in playwriting is attributed to the antipathy of the Scottish Kirk holding sway in Scotland after King James moved his court to London in 1603. Inspired by Dublin's Abbey Theatre, the Scots' dream of a national theatre is traced through three major periods: Rebirth, Inter-war and Postwar. Analysis reveals organismic development where spurts of growth are followed by plateaus of consolidation. An early stage of Kailyard drama was followed by a return to the Scots dialect. Thus they created their own pseudo-indigenous drama. The national theatre torch first carried by the Glasgow Repertory Company in 1909 passed to the Scottish national Players in the 1920s before settling with the Citizens' Theatre in the 1940s. The Post-war Edinburgh Festival has acted like a pressure-cooker to drama. Two Scottish historical studies point to talented writers and theatrical craft in abundance. Nevertheless, first magnitude writers failed to emerge. Scholars identified major weaknesses as: writers poorly based in dramatic theory; bridging the gap between the parochial and universal; historical themes lacking cognizance of the present; and a reliance on derogatory comic stereotypes. This study of three recent Scottish plays, Chinchilla by David Robert MacDonald, Animal by Tom McGrath and The Jesuit, by Donald Campbell concludes that Scottish drama has overcome its weaknesses. It now passes the test of universality without loss of Scottish ethnicity. Dealing with man's relationship to art, his fellowman and God, all three proclaim their Celtic origins through the imaginative use of space, time and consciousness. The authors' sophisticated, poetic use of language indicates that Scottish drama has arrived at last on the threshold of maturity.

The preface to this collection "Dust Clouding: Ambiguity and the Poetic Image," highlights the ways in which poets such as W.S Merwin and Donald Revell use ambiguity and the poetic image to strengthen their poems and encourage equality between reader and writer. Hand Amputees have an Altered Perception of Images at Arm's Length is a collection of poems and poem like adventures.

This dissertation argues that music is always ideological. For this thesis two lines of argument are given. The first states that music is always ideological because it requires verbal discourses about itself. The second line of argument states that music is always ideological because it influences the listener affectively. That language is necessary for talk about music is trivial. The point is rather that talk about music is necessary for auditive behaviour to turn into complex cultural artefacts. Without language humans would have no more music than birds, whales or duetting apes. At the other extreme, musical experiences are affective in nature. To have a musical experience is to experience an affective unfolding through time. Affect (as distinguished from the emotions) refers to the amodal properties of perception-such as intensity, shape, rhythm-and lies at the heart of human communication. With its roots in early mother-infant interaction, affective communication is inherently social. Together with discourses about music, the affective properties of musical experiences makes music into an extremely subtle, and thereby efficient, ideological manipulator in various types of social contexts. Finally, the theoretical conclusions reached will be exemplified by introducing a virtual listener, the various facets of whose listening experiences are captured by different analytical methods and listening reports as applied to some of the "serious" music by Frank Zappa. Central for the explanation of these listening experiences are the "passions," that is, the affects, moods and emotions that the music evokes in the listener, or that the listener takes the music to express. / <p>The attached fulltext is a revised version of the original thesis.</p>

Este estudo tem como objetivo sistematizar e analisar o conceito de falso si-mesmo na teoria do amadurecimento pessoal de D. W. Winnicott e mostrar que esse conceito contribui para a compreensão da saúde e do adoecimento psíquico nas diversas etapas do desenvolvimento. O falso si-mesmo patológico foi compreendido como uma organização defensiva que se origina de um padrão de falhas na facilitação ambiental relativo ao início do contato com a realidade compartilhada tarefa fundamental que se impõe ao bebê no começo da vida e raiz da capacidade de se relacionar saudavelmente com o mundo externo ao longo da existência. Foi avaliado que o falso si-mesmo caminha na direção da patologia, pois implica uma cisão da personalidade e vários níveis de perda da espontaneidade e do sentido pessoal do viver, base da saúde psíquica em Winnicott. O lactente, imaturo e extremamente dependente dos cuidados maternos, precisa que a mãe lhe apresente o mundo de acordo com a necessidade dele, complementando o seu gesto espontâneo. A mãe falha ao apresentar o mundo ao bebê fora de seu ritmo, de maneira alheia a seu gesto, impondo um padrão próprio dela, que desconsidera a pessoa do bebê. Isto configura uma invasão, uma descontinuidade do existir, perda da espontaneidade e da capacidade de criar o mundo a partir do si-mesmo pessoal e verdadeiro. Considerou-se que o bebê, a fim de preservar o si-mesmo verdadeiro e protegê-lo para não ser definitivamente violado ou aniquilado, opera a cisão entre o verdadeiro si-mesmo fonte da espontaneidade e o falso si-mesmo, que se adapta e se relaciona com as exigências do mundo externo tal qual se apresentam. O bebê se submete ao padrão materno e torna-se reativo. O falso si mesmo pode ser descrito como um padrão de reatividade em oposição à espontaneidade, e a articulação dessas duas maneiras de se relacionar com a realidade externa envolvem graus diversos de saúde ou de doença psíquica. Procedeu-se a uma análise dos graus de cisão entre o verdadeiro e o falso si-mesmo e concluiu-se que, nessa perspectiva, a saúde psíquica não pode ser avaliada considerando-se a adequação de uma pessoa à realidade externa; e que é a combinatória de fatores como a precocidade da irrupção da externalidade antes da prontidão do bebê, o tipo de falha materna que se estabelece como padrão e a o grau de perda de contato com o impulso pessoal, que comporá os diversos distúrbios relativos ao falso si-mesmo / The objective of this study is to systematize and analyze the concept of false self in D. W. Winnicotts theory of personal maturation and show that this concept contributes for the comprehension of health and psychic illness on the diverse steps of development. The pathological false self was presented as a defensive organization that is originated by a pattern of flaws in the facilitating environment during the beginning of the contact with the shared reality a fundamental task that imposes itself on the baby at the start of life and is the root of the capacity to relate healthily with the external world throughout existence. It was evaluated that the false self walks toward the pathology, as it implicates a personality scission and the loss of various levels of spontaneity and the personal sense of living, the base of the mental health for Winnicott. The newborn, immature and extremely dependent of maternal care, needs the mother to introduce him to the world accordingly to his need, complementing his spontaneous gesture. The mother fails when introducing the world to the baby not following his rhythm, not considering his gesture, imposing her own pattern that does not consider the newborns person. That configures an invasion, a discontinuity of existing, the loss of spontaneity and the loss of the capacity to create the world based on the personal and true self. It was considered that the baby, in order to preserve the true self and protect it from being definitely violated or extinguished, operates the scission between the true self the spontaneity source and the false self, that adapts itself and relates to the requirements of the external world as they are presented. The baby submits to the maternal pattern and becomes reactive. The false self can be described as a reactivity pattern as opposed to spontaneity, and the articulation of these two manners of relating with the external reality involve diverse degrees of psychic health or illness. From an analysis of the degrees of scission between the true and the false self, it is concluded that, in this perspective, the mental health cannot be evaluated considering a persons adequacy to the external reality; and that it is the combinatorial of factors, as the earliness of the externalitys outbreak prior to the babys readiness, the type of maternal flaw that establishes itself as pattern and the degree of contact with the personal impulse loss, that will compose the diverse disorders related to the false self

Submitted by Filipe dos Santos (fsantos@pucsp.br) on 2018-09-28T12:26:48Z No. of bitstreams: 1 Luiz Fernando Rodrigues Veronica.pdf: 1060390 bytes, checksum: d83ae3a4f04b1d7d01b9468421a1130d (MD5) / Made available in DSpace on 2018-09-28T12:26:48Z (GMT). No. of bitstreams: 1 Luiz Fernando Rodrigues Veronica.pdf: 1060390 bytes, checksum: d83ae3a4f04b1d7d01b9468421a1130d (MD5) Previous issue date: 2017-08-29 / Conselho Nacional de Pesquisa e Desenvolvimento Científico e Tecnológico - CNPq / The aim of this study was to present the contributions of D. W. Winnicott on schizoid pathology, seeking to explain the place that this pathology occupies in the theoretical and clinical framework of the author and also the aspects related to etiology, dynamics and clinical management highlighted by the author. This is a theoretical research, where the results were based on a detailed reading of the author’s work and two of his clinical cases, diagnosed by him as schizoid. It had as a methodological basis the principle of hermeneutics, which considers the articulation of the whole with the parts, understanding the meaning as relative to the context, so that the whole is understood in relation to its parts and the parts in relation to the whole. As results, the author locates schizoidia in the field of psychoses, having its origin in the earliest period of life, before the individual has achieved a more consistent integration of the self. Schizoid individuals suffered abrupt, disastrous failures as a result of a chaotic environment, they still succeeded in forming, even in a very incipient way, a self. The consequence of environmental failures in schizoids, produces a near-permanent sensation that the world and everything relating to the external or shared reality is dangerous and pernicious. Therefore, their attitude is to always flee from the world, from contact, from relationships, living circumscribed to their subjective world, in order to protect their incipient self, against the unpredictability and invasion of the environment / Este estudo teve por objetivo apresentar as contribuições de D. W. Winnicott acerca da patologia esquizoide, buscando explicitar o lugar que essa patologia ocupa no arcabouço teórico e clínico do autor e também os aspectos referentes à etiologia, dinâmica e manejo clínico destacados pelo autor. Trata-se de uma pesquisa teórica, na qual os resultados foram embasados em uma detalhada leitura da obra e de dois casos clínicos do autor, diagnosticados por ele como esquizoides. Teve como base metodológica o princípio da hermenêutica, que considera a articulação do todo com as partes, entendendo o significado como relativo ao contexto, de modo que o todo é compreendido em relação às suas partes e as partes em relação ao todo. Como resultados, verificou-se que o autor situa a esquizoidia no campo das psicoses, tendo sua origem no período mais precoce da vida, antes de o indivíduo ter alcançado uma integração mais consistente do self. Os indivíduos esquizoides sofreram falhas abruptas, desastrosas, em decorrência de um ambiente caótico, ainda assim, conseguiram constituir, mesmo de forma muito incipiente, um self. A consequência das falhas ambientais produz, nos esquizoides, uma sensação quase que permanente de que o mundo e/ou tudo aquilo que diz respeito ao relacionamento com a realidade externa ou compartilhada é algo perigoso, pernicioso. Por isso, sua atitude é a de sempre fugirem do mundo, do contato, das relações, vivendo circunscritos a seu mundo subjetivo, a fim de protegerem seu incipiente self contra a imprevisibilidade do ambiente

O presente trabalho tem como objetivo investigar os fundamentos psicopatológicos exigidos pela psicanálise winnicottiana, concebida como cuidado à continuidade de ser, quando se busca coerência ética e epistemológica entre o olhar psicopatológico, a intervenção terapêutica e a antropologia implícita. Justifica-se por abordar a questão nuclear relativa à articulação existente entre teoria e clinica, no contexto da percepção de importantes estudiosos acerca da incompatibilidade entre o ser e o fazer clínico, que se desenvolve a partir do holding e do manejo do setting, e a adoção de modelos pulsionais, que pensam o psíquico segundo configurações fisicalistas. Metodologicamente, realizamos um estudo teórico-reflexivo a partir de três produções discursivas. A primeira consiste na apresentação dos contornos que caracterizam a clinica winnicottiana como cuidado à continuidade do ser, focalizando objetivos do tratamento, modalidades interventivas e sua inter relação. Esta apresentação, que assume uma discursividade teórico-conceitual, é retomada, ao longo do texto, por meio de narrativas de experiências clínicas, que favorecem o estabelecimento de um contato próximo e concreto com o solo clinico e experiencial a partir do qual este estudo se forjou. As duas outras produções discursivas consistem na introdução dos modelos teóricos estrutural- pulsional e estrutural- relacional, que são estudados de modo a detectarmos as linhas de força a partir das quais se organizam. O quadro assim configurado permite concluir que uma teorização psicopatológica relacional é não apenas possível, como indispensável, pois só deste modo se podem evitar reducionismos organicistas e fisicalistas. / The aim of this paper is investigating the psychopathological foundations demanded by Winnicottian psychoanalysis, conceived as care for the going-on-being. It is justified for approaching the core issue of the articulation between theory and clinical practice, according to the perception of important experts concerning the incompatibility between the clinical being-and-doing - arisen from holding and setting management - and the adoption of impulsional models - which analyze the psyche according to physicalist parameters. In methodological terms, a theoreticalreflective study was conducted based on three essays. The first one consists of the introduction of the outlines that distinguish the Winnicottian clinic as the care for the going-on-being, focusing on the treatment aims, intervention modes and their mutual relationship. This introduction, which adopts a theoretical and conceptual discursive quality, is then recaptured along the text by means of clinical experience narratives. These narratives favor the establishment of a close and real contact with the clinical and experimental ground in which this study is rooted. The other two essays consist of the introduction of the impulsional-structural and relationalstructural theoretical models, which are studied in order to help us detect the power sources which ground their organization. Such constructed picture allows to the conclusion that a relational psychopathological theorization is not only possible, but actually vital, because it is the only way to avoid organicist and physicalist reductionisms.

Made available in DSpace on 2016-04-28T20:39:46Z (GMT). No. of bitstreams: 1 Samira Cassia Zar.pdf: 290593 bytes, checksum: e7f904cd93fd482f4bdaa9f5b6c0a765 (MD5) Previous issue date: 2008-05-12 / The objective of this study is to make a reflection upon the physiotherapic clinic, taking as vertex of work the contributions to the human condition given by the psychoanalists Donald W. Winnicott and Gilberto Safra. The physiotherapic clinic was established through a strictly biological and mechanicist pattern which, from my point of view, is not adequate to access subjectivity due to inherent complexities of the human condition, present in the physical complaints of patients. I am mostly interested in significances and senses that one s body can reveal when going through an ailing or suffering experience. By means of an hermeneutic phenomenological approach, we feel the necessity of setting up the clinic space in order to benefit the health care of the human being in his totality. This attitude led the professional to live and to testify his own body as a fundamental resource in his work. The pshysiotherapist is invited to comprehend his patient s psychosomatic way of being as an expression of existence and not as mere physical dysfunction / O objetivo desse estudo é refletir sobre a clínica fisioterápica tendo como vértice de trabalho os aportes sobre a condição humana ofertados pelos psicanalistas Donald W. Winnicott e Gilberto Safra. A clínica fisioterápica foi estabelecida por meio de um modelo estritamente biológico e mecanicista que, do meu ponto de vista, não se mostra adequado para acessar a subjetividade com as complexidades inerentes à condição humana, presentes nas queixas físicas dos pacientes. Interessa-me, sobretudo, os significados e sentidos do corpo que uma pessoa pode revelar em uma experiência de adoecimento e/ou sofrimento, que se apresentam na clínica fisioterápica. Utilizando a abordagem clínica em um vértice fenomenológico hermenêutico, percebe-se a necessidade de se situar o espaço clínico que favoreça o cuidado à saúde do ser humano em sua totalidade. Disponibilizando-se desse modo, o profissional é chamado a viver e testemunhar o seu próprio corpo como recurso fundamental na realização do seu trabalho. Assim sendo, o fisioterapeuta é convidado a compreender o modo de ser psicossomático de seu paciente como gesto de existência e não como simples disfunção física