Does the phenomenon of carnivalesque challenge hegemony and inspire social change? Mikhail Bakhtin coined the term “carnivalesque” to describe the concept of Carnival. During Carnival, social norms were overturned and ignored in favor of a chaotic atmosphere, briefly breaking down the boundaries between class, gender, and other hegemonic perspectives. Modern Carnivals, such as the Rio Carnival, still contain a semblance of the carnivalesque, as well as other holidays that celebrate the grotesque and macabre, like that of the Day of the Dead. The LGBT Pride Parade can also be seen as a modern Carnival, for it focuses heavily on sexual and gender identities that have been suppressed in most of the world. When celebrating these carnivalesque events, one can dress up and change their identity to something less tolerated in an oppressive hegemony. For example, some participants may cross-dress or act in less traditional ways, while others will dress in ways that mock the social standards of royalty or religion. Many of these identities challenged the status quo of society and slowly became accepted. This thesis explores the role the carnivalesque has in celebrating alternative identities and its use as a rhetorical tool for inspiring social change, as well as examine how Carnival uses dialogic language. The methods of exploring this topic include reading Bakhtin’s texts on language and rhetoric, analyzing other sources that also explore language and carnivalesque elements, and considering the history of Carnival and its influence on people and society.

Orientador: Anna Christina Bentes da Silva / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem / Made available in DSpace on 2018-09-11T21:17:35Z (GMT). No. of bitstreams: 1 Penna_MariaAngelicadeOliveira_D.pdf: 13066850 bytes, checksum: 5b54ffb69d513e282115281f7e300ae8 (MD5) Previous issue date: 2011 / Resumo: Neste texto, proponho uma reflexão sobre a produtividade de mesclar as noções de estilo, concebido sob a perspectiva bakhtiniana proposta por Coupland (2001) e ethos prévio, com base em Ruth Amossy (2005), para a ativação de múltiplas dimensões em uma análise estilística de caráter textual-discursivo, uma vez que essas noções parecem complementares entre si e emergem de operações estratégicas de e sobre vozes sociais, manifestas textualmente Para pensar o estilo, nos texto, importo da Sociolinguística, a noção de Coupland (2001), para quem o estilo, na fala, configura-se como manejo de personas: projeções contínuas de versões do self [entendido como uma construção de natureza sociointeracional], complementares ou compatíveis com a expectativa da audiência. O corpus compõe-se de peças publicitárias da Coca-cola Brasil veiculadas em jornais e revistas direcionados a um público A e B [Jornal Folha de São Paulo; Revista Veja; Revista Língua Portuguesa]. São peças que evidenciam atitudes positivas da empresa e que, além de agregarem valor à marca, constroem, a partir de uma avaliação prévia da expectativa da audiência, um ethos socialmente responsável. A hipótese é de que o estilo, concebido como manipulação estratégica das vozes da heteroglossia, tira partido de um ethos [prévio] de enunciador pressuposto na expectativa da audiência e constroi uma imagem de si [ethos] em consonância com essa expectativa, conferindo eficácia ao discurso. Observei que a publicidade da Coca-cola Brasil vende um efeito de comunhão de valores e adesão a projetos, mais que produtos - o que não seria instigante se a marca não se confundisse, no imaginário social, com o refrigerante que prototipicamente a representa, sobre o qual recaem discursos que apontam para uma direção contrária à da sustentabilidade. Meu interesse, ao analisar peças da Coca-cola Brasil, não está nas verdades que as peças possam ou não veicular; mas no como a autoria responsável pelo marketing opera com e sobre vozes sociais e como essa operação se manifesta organicamente nos textos. O pressuposto é de que a língua se configura como prática/ ação social e que essa configuração se materializa nos discursos/textos pela forma singular de operar sobre as vozes sociais e de manipulá-las estrategicamente para produzir sentidos nos encontros sociais. O embasamento para a proposta de articulação entre estilo e ethos prévio é propiciado por categorias filosóficas bakhtinianas, a saber, as noções de heteroglossia e dialogismo / Abstract: In this text, I propose a reflection about the productivity of blending the notions of style, conceived under the Bakhtinian perspective proposed by Coupland (2001), and prior ethos, based on Ruth Amossy (2005), for the activation of multiple dimensions within an stylistic analysis which has a textual-discursive nature, since the subject discussed are the notions that seem to complement each other and emerge from strategic manipulations of and over social voices, textually manifested. To reflect about the style, within the text, I import from Sociolinguistic, the notion of Coupland (2001), to whom the style, within the speech, configures itself as a persona management: continuous projections of "self" versions (understood as a construction which has a sociointerational nature), complementary or compatible with the audience's expectation. The corpus is composed of Coca-Cola Brazil's advertising vehiculated by newspapers and magazines addressed to the public A and B [Folha de Sao Paulo News; Veja Magazine; Lingua Portuguesa Magazine]. They are ads which evidence the institution's positive attitudes and which, besides its aggregation of value to the brand, built an ethos socially responsible, considering a previous evaluation of the audience's expectations. The hypothesis is that the style, conceived as a strategic manipulation of heteroglossia's voices, takes advantage of an enunciator's ethos (prior) assumed in the audience's expectation, and creates an image of self (ethos), in consonance with this expectation, giving effectiveness to the speech. I have observed that Coca-Cola Brazil's advertisement sells an effect of values' communion and adhesion to projects, more than products - what would not be instigative if the brand was not confounded, in the social imaginary, with the soft drink which represents it prototypically and over which fall speeches that point towards a direction in contrast to the sustainability. My interest, when analyzing the ads of Coca-Cola Brazil, is not in the truths that the ads can or cannot communicate; but in how the authorship, responsible for the marketing, works with and over social voices and how this production manifests itself organically in the texts. The assumed idea is that the language configures itself as a social practice/action and that this configuration gets materialized in the speeches/texts through the particular way of working with social voices and of manipulating them strategically to generate senses at social meetings / Doutorado / Linguistica / Doutor em Linguística

Dissertação(mestrado) - Universidade Federal do Rio Grande, Programa de Pós-Graduação em Letras, Instituto de Letras e Artes, 2013. / Submitted by Eliezer Mendes Lopes (mendesfurg@gmail.com) on 2015-04-29T17:24:03Z No. of bitstreams: 1 Juliana Tomkowski Mesko da Fonseca.pdf: 658133 bytes, checksum: 18c6ba72b3040ccce6ef152ba66acd68 (MD5) / Approved for entry into archive by Vitor de Carvalho (vitor_carvalho_im@hotmail.com) on 2015-05-15T19:38:14Z (GMT) No. of bitstreams: 1 Juliana Tomkowski Mesko da Fonseca.pdf: 658133 bytes, checksum: 18c6ba72b3040ccce6ef152ba66acd68 (MD5) / Made available in DSpace on 2015-05-15T19:38:14Z (GMT). No. of bitstreams: 1 Juliana Tomkowski Mesko da Fonseca.pdf: 658133 bytes, checksum: 18c6ba72b3040ccce6ef152ba66acd68 (MD5) Previous issue date: 2013 / Esta dissertação pretende aproximar, a partir das personagens protagonistas, os romances Maíra (1976), do brasileiro Darcy Ribeiro, e Kiss of the Fur Queen (1998), do escritor cree-canadense Tomson Highway, tendo como foco o discurso literário e a percepção exterior sobre as personagens que buscam no outro o reconhecimento. As duas narrativas unem-se pelo tema do deslocamento do sujeito indígena e pelo embate entre universos culturais distintos. Para tanto, utilizam-se principalmente as ideias de Bakhtin relativas ao plurilinguismo, ao dialogismo e à constituição das personagens em obras polifônicas. / This thesis examines the main characters of the novels Maíra (1976), by Brazilian novelist Darcy Ribeiro, and Kiss of the fur queen (1998), by Cree-Canadian author Tomson Highway. It focuses mainly on literary discourse and on the exterior perception of characters that search for recognition in the other. Both narratives present the theme of the displacement of the Native subject and the collision of distinct cultural universes. We use mainly Bakhtin‟s ideas related to heteroglossia, to dialogism and to character constitution in polyphonic novels to analyze the two literary works comparatively.

This work explores identity positions of speakers in modern and contemporary poetry with respect to themes of subjectivity, self-awareness, lyricism, heteroglossia, and social contextualization, from perspectives including Bakhtinian, queer, feminist and postructuralist theories, and Peircian semiotics. Tony Hoagland, W.H. Auden, Adrienne Rich, and the poetic prose of Hélène Cixous provide textual examples of an evolving aesthetic in which the poet's self and world comprise multiple dynamic, open relationships supplanting one in which simple correspondences between signifiers and signifieds define selves isolated from the world. Hypertext and polyamory serve as useful analogies to the semantic eros characteristic of such poetry, including the collection of original poems that the critical portion of this thesis introduces.

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Através do manejo do foco narrativo,dentre outros recursos literários, o Autor alterna e entrelaça narrativas de experiências de personagens oriundas de formações culturais diferentes com a representação do pensamento de cada uma delas sobre o passado, sobre si, sobre o outro e sobre vários espaços em que atuam. Esses espaços se revelam incongruentes com a idéia de um mundo sem fronteiras conforme se apregoa na modernidade tardia. O objetivo desta tese é discutir como aspectos do real histórico e do real psicológico nos tempos em que vivemos se sedimentam na forma deste romance contemporâneo / Through shifts in point-of-view, among other literary resources, the Author alternates and intertwines narratives of the experiences of two characters from contrasting cultural formations with narratives of their thoughts about the past, themselves, each other and the various settings in which they act. These spheres are rendered as incongruent with the idea of a world without borders, so often celebrated in late modernity. The aim of this thesis is to discuss how elements of present-day historical and psychological experience solidify in the form of this particular contemporary novel

Através do manejo do foco narrativo,dentre outros recursos literários, o Autor alterna e entrelaça narrativas de experiências de personagens oriundas de formações culturais diferentes com a representação do pensamento de cada uma delas sobre o passado, sobre si, sobre o outro e sobre vários espaços em que atuam. Esses espaços se revelam incongruentes com a idéia de um mundo sem fronteiras conforme se apregoa na modernidade tardia. O objetivo desta tese é discutir como aspectos do real histórico e do real psicológico nos tempos em que vivemos se sedimentam na forma deste romance contemporâneo / Through shifts in point-of-view, among other literary resources, the Author alternates and intertwines narratives of the experiences of two characters from contrasting cultural formations with narratives of their thoughts about the past, themselves, each other and the various settings in which they act. These spheres are rendered as incongruent with the idea of a world without borders, so often celebrated in late modernity. The aim of this thesis is to discuss how elements of present-day historical and psychological experience solidify in the form of this particular contemporary novel

<p>Barnfilmen har länge haft en undanskymd plats inom filmteori. Man har tidigare intresserad sig för den i termer av ideologisk påverkan eller pedagogisk nytta alternativt onytta, men intresse för frågor som rör mer specifika textmekanismer har hittills dröjt. En sådan fråga är, exempelvis, hur barnfilmen konstruerar eller implicerar sin egen åskådare. Med tanke på att motsvarande problema¬tik har dragit till sig många barnlitteraturforskares intresse, är det märkligt att en liknande omsorg inte har uppstått inom barnfilmstudier.</p><p>Mot denna bakgrund, är denna studies syfte att utforska några samtida animerade barnfilmtexter för att förstå hur de relaterar sig till en tilltänkt publik. Filmerna i fokus är Shrek (Andrew Adamson, Vicky Jenson, 2001), The Incredibles (Brad Bird, 2004), Shark Tale (Bibo Ber¬geon, Vicky Jenson, Rob Letterman, 2004) och Madagascar (Eric Darnell, Tom McGrath, 2005). Med hjälp av bacthinska begrepp så¬som dialogism, parodi, heteroglossia och karneval undersöks berättelsens struktur och ton; möjliga åskådarpositioner; textmekanismer som möjliggör samlevnaden av olika tolkningsalternativ i en och samma mainstreamfilm.</p><p>I uppsatsen argumenteras för att filmerna bättre kan förstås som ambivalenta texter, som både upprepar och ifrågasätter typiska barnkulturella berättarstrukturer och motiv. De erbjuder möjlig¬heten till en lineär, traditionell tolkning av filmernas barnkulturella teman och en parodisk omvandling av dessa. Samtidigt anspelar de också till texter och praktiker som ligger utanför barnkulturens gränser, vilka också behandlas parodiskt. Detta öppnar ut¬rymme för flera möjliga läs¬arter och tilltalar en tilltänkt heterogen publik, framför allt i fråga om ålder. De olika åskådarpositionerna kan leva tillsammans i en och samma text förhållandevis friktionsfritt, tack vare att filmerna erbjuder en upprorisk och gränsöverskridande upplevelse, som här betecknas som karnevalisk.</p>

Cette thèse étudie les spécificités du discours produit par les femmes écrivains de la diaspora afro-caribéenne au Canada et aux Etats-Unis, notamment chez Edwidge Danticat, Nalo Hopkinson, Jamaica Kincaid, Paule Marshall, M. NourbeSe Philip, et Olive Senior. La position ambivalente de ces auteures qui sont culturellement dedans et dehors influence leurs écrits, en prose comme en poésie, dans lesquels elles revendiquent leurs histoires, leurs corps et leurs langues. La discussion s’attache à observer les opérations discursives en démontrant que les auteures étudiées articulent de nouvelles formes de subjectivité et prouvent que la formation des identités culturelles ne dépend pas d’un territoire stable, mais plutôt d’un espace culturel mobile, voire volatile. D’une part, ces femmes réécrivent le passé dans un discours qui déstabilise les versions hégémoniques de l’histoire et d’autre part, elles cherchent à représenter leurs corps en dépassant leur dimension matérielle et choisissent d’embrasser leur schizophrénie culturelle. Leurs projets brisent le silence et libèrent les subjectivités incontrôlées à travers la création de polyphonies incarnées, de multiples contre discours et d’énoncés non-conformistes. Les constructions discursives de leur moi ne pouvant en effet se manifester qu’à l’extérieur des terminologies canoniques, ces auteures s’inscrivent dans une démarche de résistance au discours unique et privilégient a fortiori une rhétorique hétéroglossique. En somme, cette analyse comparative est innovante en ce qu’elle démontre que mémoires, langues et identités diasporiques sont intimement liées, et qu’au delà de leurs démarches respectives et des stratégies discursives qui leur sont propres, ces auteures sont des écrivains du limbo qui, à la manière des danseurs de limbo, transforment l’instabilité en une expérience de recréation artistique. Elles placent leurs représentations au coeur d’une dynamique empreinte de mouvement, de fluidité, de pluralité et d’hybridité, et prouvent clairement que la diaspora féminine caribéenne peut faire entendre sa voix. / This dissertation examines the specific discourse produced by diasporic African Caribbean women writers in Canada and the USA, namely Edwidge Danticat, Nalo Hopkinson, Jamaica Kincaid, Paule Marshall, M. NourbeSe Philip, and Olive Senior. These authors’ ambivalent positions as both cultural insiders and outsiders are conveyed through their prose and poetry, in which they reclaim their histories, bodies and tongues. The thesis highlights discourse operations in demonstrating that the selected authors articulate new forms of subjectivity, hence proving that cultural identities do not depend on static territories but rather on mobile and even volatile cultural spaces. Besides reconstructing the past through a discourse that truly unsettles hegemonic versions of history, African Caribbean diasporic women writers represent their bodies beyond materiality and choose to embrace their cultural schizophrenia. Their projects consist in un-silencing the unruly selves through the creation of embodied polyphonies, multiple counter-voices and anti-conformist utterances. The discursive constructions of the self therefore occur outside of canonical terminology, as these women writers resist single-voiced discourse and favour heteroglossic rhetorics. Ultimately, this comparative literary analysis is innovative as it proves that diasporic memories, tongues and identities are interlinked, and that beyond their respective agendas and personal discursive strategies, these authors are limbo writers who, like limbo dancers, transform instability into a recreative and artistic experience. They inscribe their self-representations into a powerful dialectic of movement, fluidity, plurality and hybridity, and truly demonstrate that the feminine Caribbean diaspora can speak.

Barnfilmen har länge haft en undanskymd plats inom filmteori. Man har tidigare intresserad sig för den i termer av ideologisk påverkan eller pedagogisk nytta alternativt onytta, men intresse för frågor som rör mer specifika textmekanismer har hittills dröjt. En sådan fråga är, exempelvis, hur barnfilmen konstruerar eller implicerar sin egen åskådare. Med tanke på att motsvarande problema¬tik har dragit till sig många barnlitteraturforskares intresse, är det märkligt att en liknande omsorg inte har uppstått inom barnfilmstudier. Mot denna bakgrund, är denna studies syfte att utforska några samtida animerade barnfilmtexter för att förstå hur de relaterar sig till en tilltänkt publik. Filmerna i fokus är Shrek (Andrew Adamson, Vicky Jenson, 2001), The Incredibles (Brad Bird, 2004), Shark Tale (Bibo Ber¬geon, Vicky Jenson, Rob Letterman, 2004) och Madagascar (Eric Darnell, Tom McGrath, 2005). Med hjälp av bacthinska begrepp så¬som dialogism, parodi, heteroglossia och karneval undersöks berättelsens struktur och ton; möjliga åskådarpositioner; textmekanismer som möjliggör samlevnaden av olika tolkningsalternativ i en och samma mainstreamfilm. I uppsatsen argumenteras för att filmerna bättre kan förstås som ambivalenta texter, som både upprepar och ifrågasätter typiska barnkulturella berättarstrukturer och motiv. De erbjuder möjlig¬heten till en lineär, traditionell tolkning av filmernas barnkulturella teman och en parodisk omvandling av dessa. Samtidigt anspelar de också till texter och praktiker som ligger utanför barnkulturens gränser, vilka också behandlas parodiskt. Detta öppnar ut¬rymme för flera möjliga läs¬arter och tilltalar en tilltänkt heterogen publik, framför allt i fråga om ålder. De olika åskådarpositionerna kan leva tillsammans i en och samma text förhållandevis friktionsfritt, tack vare att filmerna erbjuder en upprorisk och gränsöverskridande upplevelse, som här betecknas som karnevalisk.