Nesta pesquisa nos propomos uma análise do discurso do Diccionario de la lengua española (DLE), da Real Academia Española (RAE), a partir de uma entrada teoricamente orientada pela Análise de Discurso pecheuxtiana em articulação com a História das Ideias Linguísticas, tal como vem sendo desenvolvida a partir dos anos 90 em certos projetos da academia brasileira. Dessa forma, concebemos o dicionário enquanto um instrumento linguístico e o abordamos como objeto discursivo, isto é, como \"um discurso sobre a língua\", produzido em \"certas condições sociais e históricas\" (NUNES, 2010, p. 7). O percurso de nossa análise se organiza em função do objetivo de compreender como certas condições de produção, nas quais se reconfiguram as relações de força, produzem deslocamentos de diversa índole no discurso do dicionário. A textualização da pesquisa se organiza em duas partes. Na primeira, atravessando diferentes condições de produção que vão desde a fundação da RAE, em 1713, à publicação da última edição do DLE, em 2014 refletimos sobre o processo de institucionalização dessa Academia e examinamos os prefácios do dicionário a fim de analisar como são significados a língua, o próprio dicionário, a RAE (e os acadêmicos a ela vinculados) e o \"outro\", não projetado apenas como possível leitor ou consulente, mas na complexa diversidade de um universo que inclui adversários ou falantes não necessariamente pensados como interlocutores ou sujeitos passíveis de serem atingidos pelo processo de interpelação presente na obra. O movimento de análise permite dar visibilidade aos deslocamentos e continuidades na projeção desses imaginários. Na segunda parte, tendo como foco as condições de produção vinculadas às independências dos países americanos e à imposição do regime franquista na Espanha, analisamos em certos prefácios e verbetes as posições do sujeito discursivo e o modo pelo qual se significam as línguas ameríndias e espanholas que constituem nossa série discursiva. As análises desenvolvidas, além de trazerem elementos para se pensar a circulação do discurso dicionarístico em diferentes conjunturas sócio-históricas, permitem também uma reflexão sobre determinados movimentos no plano da produção de sentidos, em sua imbricação com as relações de poder em importantes momentos na história dos dicionários da Academia. / In this study we propose to analyze the discourse in the Diccionario de la lengua española Dictionary of the Spanish Language (DLE), of the Real Academia Española Royal Spanish Academy (RAE), from a starting point theoretically oriented by the Pecheux Discourse Analysis articulated with the History of Linguistic Ideas, as it has been developed from the 90s on in certain projects in the Brazilian academic studies.Therefore, we consider the dictionary a linguistic instrument and approach it as a discursive object, that is, as \"a discourse about the language\", produced in \"certain social and historical conditions\" (NUNES, 2010, p.7). The path of our analysis is organized by the purpose of understanding how specific production conditions, in which strength relations are reconfigured, yield displacement in diverse instances - in the dictionary discourse. The text of the research is organized in two parts. In the first one, going through different production conditions which extent from the foundation of the RAE, in 1713, to the publication of the last edition of the DLE, in 2014 we reflect on the process of institutionalization of this Academy and examine the prefaces of its dictionary in order to investigate how the language, the dictionary itself, the RAE (and the scholars connected to it) and the \"other\", not projected only as the possible reader or consultant, but in the complex diversity of a universe that includes adversaries or speakers not necessarily thought as interlocutors or subjects that could be affected by the process of interpellation present in that work are meant. This effort of analysis brings to light the displacement and continuities in the projection of theses imaginaries. In the second part, focusing on the production conditions imposed by the American countries independencies and the Franco dictatorship in Spain, we analyze the position of the lexicographic subject and the way in which Native American and Spanish languages that compose our discursive series are meant in certain prefaces and entries. The developed analysis, besides bringing elements to think how the dictionary discourse circulates in different social historic conjunctures, also allows a reflection on particular movements in terms of the production of meaning, in its imbrication with the power relations in important moments in the history of the Academy dictionaries.

This thesis studies Ray Bradbury’s novel Fahrenheit 451 using Critical Discourse Analysis as the primary tool. It argues that the narrative develops through the supporting characters’ actions, and the different societal discourses of hegemony, otherness and class struggle they represent. Basing the analysis on Althusserian and Gramscian ideas and discussing citizen’s transformation from subjects to individuals, this study concludes that although a subject may be power-less and wary, it is by learning to act through being given information through discourse that personal development occurs.

This essay discusses the representation of Victorian ideologies and interpellation in Robert Louis Stevenson’s Strange Case of Dr. Jekyll and Mr. Hyde. By utilising Louis Althusser’s theories of ideology and interpellation, in combination with a critical understanding of Victorian ideologies as introduced by Rosemary Jann and Jihay Park, this essay aims to analyse the characters’ representation of and submission versus the resistance to these ideologies. Additionally, by analysing whether the characters conform to the Victorian ideologies, introduced by Jann and Park, this essay proposes that non-conformity to ruling ideologies suggests resistance to interpellation, which is what constitutes a bad subject. This analysis lends itself to the discussion of how Althusser’s theories may be used in literary analyses, as well as to the discussion, initiated by Judith Butler, of whether an individual’s deviation from interpellation is possible. This essay argues that Dr. Henry Jekyll and Mr. Gabriel Utterson represent ideological functions by conforming to the Victorian ideologies, which constitute them as submitting to interpellation as good subjects. However, Mr. Edward Hyde’s non-conformity to Victorian ideologies constitutes him as resisting interpellation as a bad subject.

Studien behandlar musiklärares förhållningssätt till gangsterrap i skolan där deltagarnas uttalanden och reflektioner har analyserats med fältteori. Studien utforskar dessutom informellt lärande och pedagogiska aspekter utifrån vetenskapliga teoretiska discipliner som interpellation. Syftet är att beskriva hur musiklärare förhåller sig till läroplanens övergripande mål och riktlinjer när musiklärare tillämpar musikskapande och utövning av gangsterrap specifikt men även andra musikgenrer med texter som kan ses strida mot värdegrunden i Lgr22. Studien är kvalitativ där fältstudierna bestod av fyra halvstrukturerade intervjuer. Studiens Resultatet visar bland annat lärares positioner och kulturella kapital spelar roll för hur gangsterrap förstås och används av elever och musiklärare.

This dissertation synthesizes critical theories of identity with music theoretical analysis to explore how listeners use popular music as a means of identity construction. Focusing on Radiohead’s 2016 album A Moon Shaped Pool, the dissertation investigates the various sociological and musical frameworks that illuminate how the songs interact with listener expectations in the process of interpretation. Work on popular music and personal expression is already present in sociology, anthropology, musicology, and other disciplines, though that work rarely engages the close readings of musical processes that I employ in the dissertation. Richard Middleton (Studying Popular Music) and Tia DeNora (Music in Everyday Life), for example, apply a wide variety of methodologies toward identifying the complexities of identity and popular music. For the dissertation, though, I focus primarily on how Judith Butler’s conception of interpellation in Giving an Account of Oneself can be used as a model for how musical conventions and listener expectations impact the types of identity positions available to listeners. For Butler, interpellation refers to how frameworks of social norms force subjects to adhere to specific identity positions. This dissertation will explore both the social and musical conventions that allow for nuanced and critical interpretations of popular songs. Although many theorists have probed Radiohead’s music, this dissertation synthesizes robust analytical approaches with hermeneutics in order to explore how Radiohead’s music signifies, both in the context of their acoustic components and with regard to how this music impacts the construction of listener identities. Radiohead’s music is apt for these analyses because it often straddles the line between convention and surprise, opening several avenues for critical and musical scrutiny. I also argue that listeners interact with this music as if the songs are agents themselves––they have powerful emotional and physical effects on us. / Music Composition

This scientific essay is researching how we can understand the interplay between the private and the professional identities of teachers in school-age educare. This paper is based on our early working experiences, compared to our present-day experiences. The methods we have used are the scientific essay and participant observations. The theoretical framework consists of Isaiah Berlin’s concepts of liberty, Louis Althusser’s concept of interpellation and Jonas Aspelin’s relational concepts: closeness, distance, interhuman and social approaches. The study shows that it is possible to identify a contradiction between the private and the professional identities in the Swedish curriculum and, also, that it is possible to find agency in that conflict, through conscious and intentional didactic movement between closeness and distance. / Denna vetenskapliga essä är en undersökning av hur fritidshemslärarens yrkesroll kan förstås utifrån samspelet mellan privatpersonen och den professionella personen. Framställningen bygger på gestaltningar ur våra tidigare yrkeserfarenheter, vilka vi jämför med våra erfarenheter idag. De metoder vi har använt är vetenskaplig essä och deltagande observation. Teoriramen består huvudsakligen av Isaiah Berlins frihetsbegrepp, Louis Althussers tankar om interpellation och Jonas Aspelins relationella begrepp: närhet, distans, mellanmänskligt och socialt förhållningssätt. Essän visar att det är möjligt att identifiera en motsättning mellan privatpersonen och den professionella personen i läroplanen och även att det är möjligt att finna en agens i denna motsättning genom en medveten, didaktisk rörelse mellan närhet och distans.

In this essay I analyze Karin Boye’s first novel, Astarte, focusing on her views concerning norms,ideals and female liberation. The novel is written in a tone of irony, allowing for many of thecharacters to be viewed as caricatures. The theories and methods I use are drawn from genderstudies and queer theory. Queer theorist Judith Butler, and the concepts of performativity, interpellation, genealogy and the heterosexual matrix, are of central importance for my analysis. I look at the hetero normative values, that Boye ironizes, which are sustained by performative processes. The normative and idealizing proceedings described by Boye are, in my opinion, such performative processes. I examine how Boye illustrates the creation of norms and ideals, their influence and how they spread. Boye lays much of the responsibility for the idealization and normativity on the consciousness industry. I consider the novel to be a form of gender parody, challenging the notion that gender is something that can be defined by certain characteristics. Butler is of the opinion that gender parodies expose the primordial identity that gender imitates as being in itself an imitation without origin.

Cette thèse analyse les notions dialectiques incarnées dans Jane Eyre et dans Wuthering Heights afin d’éclairer les phénomènes dialectiques littéraires, sociopolitiques, et/ou subjectifs présents dans les deux romans. Le mot “dialectique,” approprié dans cette recherche, porte au moins trois connotations: étymologique, marxiste et kristévane. D’abord, la perspective dialectique est appelée à analyser les formes littéraires rivales, le romantisme rémanent et le victorianisme dominant, qui convergent vers la grande ligne de démarcation poétique dans les deux romans. Puis, en faisant référence au concept de l’interpellation et à la notion des “Deux Nations” qui caractérise la société victorienne, cette thèse s’engage dans une interprétation dialectique sur l’interaction entre le sujet et l’idéologie dominante afin d’explorer comment les idéologies du « getting on » et du « self-help » à l’ère victorienne influencent les vies de la famille Brontë, comment les deux romancières reflètent ces valeurs sociopolitiques dominantes dans leurs créations de Jane Eyre et de Heathcliff, et comment les sœurs Brontë dépeignent la lutte et le pèlerinage à travers lesquels le héros et l’héroïne transcendent le fossé social qui reste posé entre les deux nations. Finalement, fondée sur l’héréthique de Julia Kristeva, cette thèse enquête sur l’identification Heathcliff-Catherine en l’interprétant comme une autre éthique de subjectivité. Globalement, la thèse met en lumière trois niveaux remarquables de significations dialectiques des palimpsestes brontëens en dévoilant la profondeur de leur art. / This doctoral thesis analyzes the dialectic notions incarnated in Jane Eyre and Wuthering Heights so as to shed light on the literary, sociopolitical, and/or subjective dialectic phenomena epitomized in the two novels. The word “dialectic,” appropriated in this research, carries at least three connotations: etymological, Marxist and Kristevan. At first, the dialectic perspective is drawn on to analyze the rival literary forms, the residual Romanticism and the dominant Victorianism, that converge at the great divide of poetics in the two novels in a similar yet subtly different manner. Then, referring to the concept of interpellation and the notion of the “Two Nations” that so well characterizes the Victorian society, the thesis engages in a dialectic interpretation of the interaction between the subject and the dominant ideology of his/her time with an aim to explore how the “getting on” and “self-help” ideologies of the Victorian age influence the lives of the Brontë family, how Charlotte and Emily Brontë reflect the dominant sociopolitical values in the creation of Jane Eyre and Heathcliff, and how the Brontë sisters depict the struggle and pilgrimage through which their hero and heroine transcend the social chasm that lies between the Two Nations. At last, based on the herethics of Julia Kristeva, this dissertation probes into the Heathcliff-Catherine identification and interprets it as an otherwise ethics of subjectivity. Altogether, the thesis scrapes three significant layers of the Brontëan palimpsests of dialectic significations and lays bare the profundity of their art.

Syftet med studien är att explorativt undersöka unga transpersoners och unga med transerfarenhets upplevelser av och tankar kring välmående, i form av könseufori. Detta gjordes med chattintervjuer och uppföljande enkäter med öppna svarsalternativ. Queerfenomenologi, teorier om kön och normer samt begreppet interpellation har använts för att begripliggöra de ungas berättelser och för att ge olika tolkningar av hur könseufori kan förstås. Resultatet visar på det arbete i vardagen som görs av unga transpersoner och unga med transerfarenhet för att må bra och för att känna könseufori. Det kastar därmed även ljus på vikten av ett gott bemötande. Vikten av att sprida kunskap och information om könseufori och de erfarenheter som finns av att må bra, har även lyfts i studien. Sammantaget ger studien kunskap om vad ett subjektivt välmående i form av könseufori innebär, något som ger möjlighet att vidare arbeta hälsofrämjande med gruppen unga transperson och unga med transerfarenhet.

O presente trabalho tem como objetivo, a partir do referencial teórico e metodológico da Análise do discurso e da Psicanálise, correlacionar o papel social da televisão ao funcionamento subjetivo. Para isso enfoca um dos discursos que é mais predominante na televisão: a publicidade de autopromoção. Quando a televisão brasileira surgiu ela promovia um imaginário nacional/nacionalista, evidenciado no presente texto através da análise discursiva do Hino da Televisão, executado na inauguração da TV Tupi em 1950. Análise que partiu de um paralelo entre a função ideológica do nacionalismo e a função do estádio do espelho e, consequentemente da dimensão imaginária do Eu para a constituição dos sujeitos. Atualmente, o imaginário globalizado/globalizante promovido pela televisão nacional está marcado pela trajetória do poder hegemônico da emissora que é a metáfora desse ideário: a Rede Globo. A partir de uma revisão bibliográfica fez-se o histórico do percurso que levou a Rede Globo a ser uma das principais beneficiárias do projeto de integração nacional promovido pela Ditadura Militar; bem como o desenvolvimento das pesquisas de opinião/audiência pela emissora, que impulsionaram a pesquisa de mercado e a publicidade nacionais. O trabalho propõe uma análise discursiva da publicidade de autopromoção da Rede Globo a partir dos seguintes slogans institucionais da emissora: Globo e você, tudo a ver (1991-1997), Um caso de amor com o Brasil (1998), Um caso de amor com você (1998), A gente se vê por aqui (2001-2011) e A gente se liga em você (2011-atual). Desde o início, e nos mais diferentes momentos históricos, a propaganda de autopromoção buscou propagandear as emissoras (e, por consequência, a própria televisão) como representantes do Brasil, como espelho no qual o Brasil pode (ou deveria) se reconhecer. No caso dos dois slogans utilizados durante o ano de 1998 pela Rede Globo, busca-se estabelecer uma relação tanto metafórica, quanto metonímica, entre você (telespectador) e Brasil. A análise proposta busca evidenciar o que isso pode significar para a economia psíquica do sujeito, uma vez que a metáfora e a metonímia, tal como as entende a psicanálise lacaniana, são os mecanismos pelos quais o desejo inconsciente funciona. Por fim, aprofunda-se a análise do slogan Globo, A gente se vê por aqui, propondo que esse slogan foi usado ao longo de uma década inteira porque conseguiu condensar no mesmo enunciado, por um lado, a forma como se dá a interpelação ideológica no âmbito específico de espetáculo; e por outro, a fantasia na qual os sujeitos colocam a si mesmo em sua própria transparência, vendo-se e mostrando-se uns aos outros através do espelho do espetáculo, e que fundamenta a ligação libidinal dos sujeitos nessas sociedades. O aqui, de A gente se vê por aqui visa apagar a diferença entre estar aqui e aí, como se Globo e você pudessem estar no mesmo plano. Tornando-se o semblante que ocupa o lugar do Outro nas sociedades do espetáculo, a televisão busca estratégias que (imaginariamente) eliminem a distância do sujeito em relação ao Outro, reforçando a ilusão de autonomia dos sujeitos. / The present study aims to correlate the social role of television with the subjective functioning, based on theoretical and methodological background of Discourses Analysis and Psychoanalysis. For this purpose, this work focuses on one of the most prevailing discourses in television: self-promotion advertising. When Brazilian television arrived, it used to promote a nationalist imaginary. This is highlighted in this text through discourse analysis of Hino da Televisão, performed on the inauguration of TV Tupi in 1950. Analysis are based on a parallel between nationalism and the mirror stage function and, consequently, the imaginary dimension of the Self on subject constitution. Currently, the globalized/globalizer imaginary promoted by national television is marked by the trajectory of hegemonic power of the station which is a metaphor for this ideology: Rede Globo. A historical path was traced from a review of literature, showing how Rede Globo became one of the main beneficiaries of the national integration project promoted by the military dictatorship and how the stations audience and opinion polls propelled market research and national advertising. This study proposes a discursive analysis of self-promotion advertising of Rede Globo, based on the stations institutional slogans: Globo e você, tudo a ver (Globo and you, everything in common; 1991-1997), Um caso de amor com o Brasil (A love affair with Brazil; 1998), Um caso de amor com você (A love affair with you; 1998), A gente se vê por aqui (We meet up here; 2001-2011), A gente se liga em você (We are linked to you; 2011-present). Since its beginning and in different moments in history, self-promotion advertising and, consequently, television itself intended to show the stations as Brazils representatives, as a mirror in which Brazil could (or should) recognize itself. In both slogans Rede Globo used in 1998, they intend to establish a metaphorical and metonymical relationship between you (viewer) and Brazil. The proposed analysis aims to evince what it may imply to psychical economy of the subject, once metaphor and metonymy (as lacanian psychoanalysis understands them) are the mechanisms through which the unconscious desire works. Lastly, going further on the analysis of the slogan A gente se vê por aqui (We meet up here), the study suggests it was used for a whole decade because it could condense two aspects in the same wording. On the one hand, the way ideological interpellation comes about in the specific scope of spectacle. On the other hand, the fantasy in which subjects put themselves in their own transparency (seeing and showing themselves to each other through the spectacle mirror) and that underlies libidinal bounding of subjects in these societies. The here in We see each other here intends to erase the difference of being here and there, as if Globo and you could be in the same plan. Television seeks strategies to (imaginarily) eliminate the distance of the subject in relation to the Other, becoming the face that fills the place of the Other in societies of the spectacle, thus reinforcing the illusion of subjects autonomy.