The focus of this study is revelation at the limits of communication. It considers the way in which (biblical) apocalyptic literature prominently figures the interconnection between liminality, revelation, and representation. The methodology asserts an indissoluble association between theology, philosophy and literature. As such it is interdisciplinary. A preliminary theory (and theology) of liminality interweaves the theological and philosophical contributions of, amongst others, Karl Barth, Graham Ward, Jürgen Moltmann and Jacques Derrida, thereby initiating a revised perspective on the constitution of literary apocalyptic text production and interpretation. Theorising the limen begins to describe the Trinitarian economy at work in Christian apocalyptic processing of scripture. I begin with the idea that revelation (apokalypsis) is the experience of the limen itself (in a coincidence of opposites). Thus the limen (as an actively divine space) incorporates that which stands on both sides, in vertical and horizontal, linear and cyclical, spatial and temporal movements. I then propose that apocalyptic literature re-presents this complex economy in which the end is rehearsed simultaneously as limit, threshold, and rupture. Theologically, this complicates inter-relational notions of ‘apocalyptic’ and eschatology, and stimulates a debate on a metaphysics of violence in communication (between God, man and Creation). I conclude that, at the extreme limit of human understanding (where words fail), those with faith in God’s love are opened out to revelation in the apocalyptic textual performance of the liminal economy, and thus to hope and forgiveness. Stressing the importance of reading apocalyptically, I begin to demonstrate the relationship between Christian-canonical narratives and the broader western literary canon, the critical process having invited an exploration of those literary characteristics (of tone, mode and genre) shared by (biblical, modern and postmodern) texts. An important principle in the literary analyses is the association between apocalyptic text production and hermeneutics. Christopher Rowland’s description of a ‘visionary mode’ explains how this process works. Thus the preliminary theory leads into a close reading of recent Russian and American works by Mikhail Bulgakov and Thomas Pynchon. These are compared to, and worked through, Mark’s and John’s gospels and the Book of Revelation. The interpretative approach widens the often self-limiting study of apocalyptic literature, and broadens theological debate on revelation. Thus it begins to show how the rhetoric of apocalyptic makes belief compelling.

Human dignity is an enunciated ethical principle in many societies, and it has elicited a great deal of interest, not least because it is central in health care. However, it has also been the subject of criticism. Some have argued that it is sufficient to rely on a principle of autonomy, and that dignity is a redundant principle or concept in health care. Other discussions have focused on the precise meaning of dignity, and how a principle of dignity should be interpreted and applied. This dissertation discusses questions on the principle of dignity and the meaning of the concept. In addition to a theoretical analysis of these questions, a qualitative research study has been carried out, based on interviews with physicians in palliative and neonatal care, and hospital chaplains, looking at dignity at the beginning and end of life. This dissertation can be categorised as empirical ethics because of its methodological approach. Based on a narrative analysis of the interviews, the results from the study shed light on the theoretical discussion on dignity. Through the history of ideas, dignity has often been linked to human abilities such as autonomy and rationality. However, autonomy is only one of the aspects which emerged from the qualitative research in this dissertation. Other aspects introduced into the discussion on dignity include human vulnerability, interdependence and the responsibility to face vulnerability in others. Some theoretical perspectives on dignity are criticised in the light of the empirical results. Furthermore, the dissertation includes a theological perspective where a Christological view – connected to Bakhtin’s ethics of responsibility – forms a critique to both the Kantian deontological perspective and dignity acquired by virtue. The dissertation also considers how the results can be applied to medical practice.

The thesis examines, how the journal Rudé právo reflected reforms of Michail Gorbachev in the Soviet Union in period 1985 - 1990. Gorbachev tried to transform Soviet economy into a model that would include elements of the free market. Gorbachev also enforced democratic system of government and freedom of speech. To the Western part of the world Gorbachev offered negotiations on disarmament and destruction of nuclear weapons. By this initiative Gorbachev contributed to the end of the cold war. Gorbachev never thought about transition of the Soviet Union into capitalism and leaving the communist ideology. In Gorbachev's meaning communism was the only right ideology and reforms should modernize the Soviet system and enable next building of socialism. In the thesis quantitative content analysis has been used. This method allowed to obtain the necessary information. Thesis also informs about the role of Gorbachev's reforms and their process. Thesis than presents impact of these reforms to collapse of the USSR. By the content analysis range of editions of the journal Rudé právo in period 1985 - 1990 was explored. Relevant texts were evaluated according to the variables of analysis. 584 texts were analysed and therefore enough information to answer the hypotheses was obtained. Thesis also evaluates the objectivity...

No description available.

Submitted by Setor de Tratamento da Informa??o - BC/PUCRS (tede2@pucrs.br) on 2015-06-02T12:02:10Z No. of bitstreams: 1 469855 Texto Completo.pdf: 1834422 bytes, checksum: 52c5fee048b61d13173700894f59c9f4 (MD5) / Made available in DSpace on 2015-06-02T12:02:10Z (GMT). No. of bitstreams: 1 469855 Texto Completo.pdf: 1834422 bytes, checksum: 52c5fee048b61d13173700894f59c9f4 (MD5) Previous issue date: 2015-03-31 / Coordena??o de Aperfei?oamento de Pessoal de N?vel Superior - CAPES / Based on the concepts postulated by Bakhtin and his Circle (BAKHTIN/ VOLOCHI?OV, 1929/2010; Bakhtin, 1975/1998, 1979/2011), who understand the word as a polysemic and plurivocal element of the language, this thesis studies the word?s plasticity in order to understand the discursive functioning of the language and, consequently, how the construction of meaning in different discursive genres is made. It is understood that in each and every statement that is being out of communication among individuals, there is an interaction of several voices, wherein the comprehension of a speech leads to another and so forth. It is the analysis of this web of voices, pervaded by the word, that allows one to reach the senses in circulation in the speech. That is, for the understanding of an utterance, it is necessary to observe the voices under interaction in the verbal material, which underline the multi linguistic and dialogical nature of language. The research comprises that the plasticity of the word and the resulting printed mobility it promotes to the genres is subject to various discursive aspects such as shape, enunciation situation (who speaks? To whom? About what? Which enunciation project does it make use of as a basis?), production context, otherness, intonation, reflection / refraction.Thus, this work?s main objective is to analyze aspects that provide word?s plasticity in different genres, and to check the evocation of different valuations and discursive voices that give a meaning to the words, and, consequently to the speech. In order to achieve the overall goal, the following specific objectives are considered: (a) observe how the construction of meaning is based in the plasticity of words; (b) investigate how the words, through different social voices that permeate them, reveal value appreciation and views; (c) check how the words and their meanings resume dialogical relations previously established - reflection -. while concomitantly, lead to new directions - refraction. As for the analysis, genres strip, jokes and records. The strips were removed from the collection of strips produced by the Argentine Quino, entitled All Mafalda. The jokes were taken from an electronic site, called PIADAS.COM.BR. The records were collected from the physical selection process for IFRS substitute teacher - Campus Rio Grande. Regarding the analysis methodology, there was, at first, an individual analysis of each gender considering the discursive function of words, which reflect and refract ideologies and viewpoints, conditioned by various discursive aspects. Soon after, a constitutive dialogical orientation of the analyzed genres took place in order to check the idea that plasticity may be printed by the word, and cross all genres, including those considered more coercive.Therefore, the word is considered in this work as an utterance, endowed with a meaningful intonation as in every enunciation new value guidelines are produced by social and historically situated subjects. This perspective also justifies the thesis guided by this work that the language is plastic because the word is plastic. That is, it is the word, that when expressed by an individual, gets impregnated with expressiveness and gives plasticity to the language. / Partindo dos conceitos postulados por Bakhtin e seu C?rculo (BAKHTIN/VOLOCHI?OV, 1929/2010; BAKHTIN, 1975/1998, 1979/2011), que entendem a palavra como elemento poliss?mico e plurivocal da l?ngua, a presente tese estuda a plasticidade da palavra de modo a compreender o funcionamento discursivo da l?ngua e, consequentemente, como ocorre a constru??o de sentidos em diferentes g?neros discursivos. Entende-se que em todo e qualquer enunciado, que tem exist?ncia a partir da interlocu??o entre sujeitos, h? uma intera??o de diversas vozes, em que a compreens?o de uma voz leva ? compreens?o de outra e assim sucessivamente. ? a an?lise dessa teia de vozes, permeada pela palavra, que permite o alcance dos sentidos em circula??o no discurso. Ou seja, para a compreens?o de um enunciado, faz-se necess?rio observar vozes que interagem no material verbal, evidenciando, assim, o car?ter plurilingu?stico e dial?gico da l?ngua. Nesta pesquisa compreende-se que a plasticidade da palavra e a consequente mobilidade impressa por ela aos g?neros est? condicionada a diversos aspectos discursivos, tais como forma, situa??o enunciativa (quem fala? para quem? sobre o que fala? com que projeto enunciativo?), contexto de produ??o, alteridade, entona??o, reflexo/refra??o.Sendo assim, este trabalho tem como objetivo geral analisar aspectos que propiciem a plasticidade das palavras em diferentes g?neros, verificando a evoca??o de diferentes valora??es e vozes discursivas que imprimem sentidos ?s palavras e, consequentemente, ao discurso. Com vistas a atingir o objetivo geral, consideram-se os seguintes objetivos espec?ficos: (a) observar como a constru??o de sentido ? pautada na plasticidade das palavras; (b) investigar como as palavras, por meio das diferentes vozes sociais que a permeiam, revelam aprecia??es valorativas e pontos de vista; (c), verificar como as palavras e suas rela??es dial?gicas retomam sentidos j? estabelecidos ? reflexo ? e, ao mesmo tempo, imprimem, norteiam novos sentidos ? refra??o. Foram selecionados para an?lise os g?neros tira, piada e ata. As tiras foram retiradas da colet?nea de tiras produzidas pelo argentino Quino, intitulada Toda Mafalda. As piadas, por sua vez, foram extra?das de um s?tio eletr?nico, denominado PIADAS.COM.BR. J? as atas foram coletadas do processo f?sico de sele??o para professor substituto do IFRS ? C?mpus Rio Grande. No que tange ? metodologia de an?lise, realizou-se, em um primeiro momento, a an?lise individual de cada g?nero, considerando o funcionamento discursivo das palavras, que refletem e refratam ideologias e pontos de vistas, condicionados por diversos aspectos discursivos.Posteriormente, tratou-se da orienta??o dial?gica constitutiva dos g?neros analisados, a fim de reafirmar a ideia de que a plasticidade ? impressa pela palavra e perpassa todos os g?neros, inclusive aqueles considerados mais coercitivos. Considera-se, portanto, a palavra como enunciado, dotada de entona??o expressiva, uma vez que, a cada enuncia??o, novas orienta??es axiol?gicas s?o produzidas por sujeitos s?cio-historicamente situados. Essa perspectiva tamb?m justifica a tese pautada por este trabalho de que a l?ngua ? pl?stica porque a palavra ? pl?stica. Ou seja, ? a palavra que, ao ser enunciada por um sujeito, se impregna de expressividade e confere plasticidade ? l?ngua.

Entendemos, conforme a perspectiva bakhtiniana, que nenhum fato ou fenômeno da natureza tem significado em si mesmo, mas que tal significado surge justamente por meio da língua. Sendo assim, a análise da língua auxilia a compreender os posicionamentos ideológicos que sustentam os discursos. Tendo isso em vista, pretendemos compreender como o gênero de divulgação científica, estreitamente relacionado com o gênero científico, funciona e quais são os mecanismos de que se utiliza para estruturar suas práticas discursivas. Para isso, analisamos um artigo científico e um artigo de divulgação científica acerca da experimentação científica em animais, utilizando como categorias de análise do artigo científico as noções de tema/significação e discurso de outrem/citação e como categorias de análise do artigo de divulgação científica as noções de discurso parafrástico. A fim de guiar nossa análise, propusemo-nos a responder as seguintes questões: a) quais são as condições sociais e históricas que originaram esse gênero?; b) quais as suas finalidades?; c) esse discurso é de cunho perifrástico ou parafrástico?; d) quem são os interlocutores levados em conta durante a construção dos seus enunciados?; e) qual a resposta que se espera desse auditório?; f) de que modo o tema dos artigos selecionados para análise é significado? Percebemos que as primeiras manifestações de divulgação científica ocorreram em um contexto em que as atividades relacionadas à ciência eram escassas, havia pouquíssimas instituições de ensino superior no país e a maioria da população era iletrada. Havia, dessa forma, a necessidade de: elaborar materiais sobre a ciência calcados em parâmetros culturais e linguísticos acessíveis às pessoas em geral; obter fundos e reconhecimento para a ciência; intervir na realidade de alienação do povo; e servir aos interesses econômicos de organizações como as editoras e a indústria farmacêutica. Entendemos que os discursos de divulgação científica são o resultado de um processo de parafraseamento de discursos científicos, funcionando discursivamente como um trabalho de reformulação e de pedagogização do discurso científico. Percebemos, também, nos discursos analisados, a perspectiva de que o emprego de animais é imprescindível ao progresso da ciência, de modo que toda e qualquer atividade contrária à realização de tal prática é vista como radical e prejudicial ao desenvolvimento científico. A partir disso, observamos que o discurso de divulgação científica referenda o status quo do modo de produção científico. / We understand, according to the bakhtinian perspective, that no fact or phenomenon of nature has meaning in itself, but the meaning just arises through language. Thus, the analysis of language helps to understand the ideological positions that support the discourses. In this sense, we aim to understand how the scientific divulgation genre, closely related to the scientific genre, works and what are the mechanisms that are used to structure its discursive practices. For this, we analyzed a scientific article and a scientific divulgation article about scientific experimentation on animals, using as categories of analysis of the scientific article the notions theme/meaning and others speech/quote and as categories of analysis of scientific divulgation article the notions of paraphrastic discourse. In order to guide our analysis, we have proposed ourselves to answer the following questions: a) what are the social and historical conditions that gave rise to this genre?; b) what are its purposes?; c) this speech is of periphrastic or paraphrastic nature?; d) who are the interlocutors considered during the construction of its statements ?; e) what response is expected from this audience ?; f) how the theme of the articles selected for analysis is meant? We realize that the first manifestations of scientific divulgation occurred in a context in which activities related to science were scarce, there were very few higher education institutions in the country and most of the population was illiterate. There was thus a need to: elaborate materials on science based on cultural and linguistic parameters accessible to people in general; obtain funding and recognition for science; intervene on the reality of alienation of people; serve the economic interests of organizations such as publishers and the pharmaceutical industry. We understand that the scientific divulgation discourses are the result of a paraphrasing process of scientific discourses, acting discursively as a work of redesign and pedagogization of scientific discourse. We realize, too, in the analyzed texts, the perspective that the use of animals is essential to the progress of science, so that any activity contrary to the realization of this practice is seen as radical and harmful to the scientific development. From this, we observed that the scientific divulgation discourse endorses the status quo of scientific production.

Made available in DSpace on 2015-04-14T13:39:22Z (GMT). No. of bitstreams: 1 462716.pdf: 472827 bytes, checksum: c0d919bbcc972b566a7f6c5d4c493099 (MD5) Previous issue date: 2014-08-29 / Therefore, the principal objective of this study was to observe and analyze aspects related to the training process of a group of undergraduate speech therapy students during supervised practice in the field of voice therapy, with a view towards reflecting on the importance of being attentive, within this learning space, to the constitutive socio-historicity of the subjects participating in it. This was a longitudinal, qualitative study based on Bakhtinian principles as applied to studies in the field of human sciences. The study included filmed recordings of supervised sessions and of some clinical visits, as well as interviews held with a group of female students, two professors and two patients, all of whom participated in a supervised training course for one semester (the second semester of 2011) in an institute of higher education. Of the recordings and observations made, utterances made by one of the professors, a group of female students and one of the patients during a clinical visit were selected and analyzed. Based on this analysis, intertwined voices (of the academic-scientific history of speech therapy, of the professor, of the students, of the patient, etc.) were found, reflecting more valuations of the organicist/technicist conception throughout the training period analyzed. It was found that the student speech therapists gave little importance to listening to the voices of the patient during therapy, either in their understanding of clinical treatment as a space in which the organicist theory is strengthened or when attempting to observe the subject in a fragmented (biologizing) manner rather than in his/her constitutive complexity. It was found that the student speech therapists gave little importance to listening to the voices of the patient during therapy, since they understood clinical treatment as a space in which the organicist theory is given greater weight; hence they observed the subject in a fragmented (biologizing) manner rather than in his/her constitutive complexity. It is possible that, when incorporated into voice therapy training, the Bakhtinian concepts of discourse and utterance will help improve students understanding of the singularities and complexities involved in each therapeutic process, including those that deal with the biologizing approach of each subject, thus contributing towards rendering clinical visits and supervisions more effective. / Analisando a hist?ria acad?mico-cient?fica da Fonoaudiologia na ?rea da cl?nica da voz, verifica-se a predomin?ncia da presen?a de tr?s diferentes concep??es te?ricas embasando-a: a cl?nica estudada por um vi?s mais positivista/organicista, a cl?nica com uma perspectiva mais psicanal?tica e a cl?nica compreendida pela filosofia bakhtiniana, nomeada como cl?nica da intersubjetividade (MASINI, 2004). Reconhecendo, por meio de an?lises de peri?dicos nacionais, o predom?nio de uma mem?ria s?cio-hist?rica organicista no horizonte fonoaudiol?gico na ?rea da cl?nica da voz, questiona-se a partir de quais concep??es te?ricas, nos dias atuais, os professores que ministram as disciplinas em voz e, principalmente, os est?gios supervisionados est?o trabalhando. Que terapeutas/fonoaudi?logos est?o sendo formados para trabalhar na cl?nica da voz? Aquele que s? v? a doen?a e/ou aquele que percebe o sujeito em sua complexidade? Caso o professor esteja trabalhando com uma concep??o mais organicista de cl?nica, quais as consequ?ncias desse tipo de a??o na forma??o dos estudantes/futuros fonoaudi?logos? Nesse sentido, o objetivo principal desta pesquisa ? observar e analisar aspectos constituintes do processo de forma??o de um grupo de alunos de gradua??o em Fonoaudiologia em um est?gio supervisionado na ?rea da voz, visando refletir sobre a import?ncia de se estar atento, nesse espa?o de forma??o, ? s?cio-historicidade constitutiva dos sujeitos dele participantes. Este estudo ? uma pesquisa longitudinal de car?ter qualitativo que segue princ?pios bakhtinianos concernentes ? pesquisa no campo das ci?ncias humanas. Foram filmadas supervis?es, alguns atendimentos cl?nicos e realizadas entrevistas com um grupo de alunas, uma professora e duas pacientes que compuseram por um semestre letivo (2011/2) um est?gio supervisionado em uma institui??o de ensino superior. Das grava??es e observa??es realizadas, foram selecionados e analisados enunciados de uma professora, de um grupo de alunas e de uma paciente em atendimento. A partir das an?lises, verificou-se um entrecruzamento de vozes (da hist?ria acad?mico-cient?fica da Fonoaudiologia, da professora, das estudantes, da paciente etc.) que refletiu, ao longo das observa??es e an?lises, maiores valora??es ? concep??o organicista/tecnicista. Observou-se que o fonoaudi?logo em forma??o, ao compreender mais a cl?nica como um espa?o em que se amplia a teoria organicista e observar o sujeito de forma fragmentada (biologizante), n?o em sua complexidade constitutiva, pouco valorizou a escuta das vozes da paciente no processo terap?utico. Pondera-se que a abordagem enunciativo-discursiva bakhtiniana, quando incorporada ? forma??o do aluno na ?rea da voz, pode ajudar o estudante a compreender mais as singularidades e complexidades que envolvem cada processo terap?utico, inclusive as que remetem ao lado biologizante de cada sujeito, contribuindo para a realiza??o de atendimentos cl?nicos e supervis?es mais efetivas.

Made available in DSpace on 2015-04-14T13:39:30Z (GMT). No. of bitstreams: 1 466609.pdf: 1179038 bytes, checksum: 5cd6759c8e1a71fe55982083f9205e3a (MD5) Previous issue date: 2015-01-16 / Broadcasted in the press, usually via newspaper, the cartoon is a genre whose complexity is set as an interesting object of analysis to observe how the senses are constructed themselves in the discourse. Considering this complexity and based on the Bakhtinian theory, this thesis wants to answer the following question: How is the dialogical construction of senses made, considering the production and reception of the discourse in cartoons that are said to be controversial? The overall objective of this thesis is to analyze how the dialogical construction of the senses happens, considering the enunciative project from the cartoons and the reading of its interlocutors, mainly in those considered to be controversial, thus, cartoons that presented discrepancies between the production and the reception of the senses and that had a repercussion in the media due to a diversity of readings. As specific objectives, we had (a) investigate how the different social voices that go through controversial cartoon engender themselves and reflect and refract senses in the discourse and (b) talk about discourse-response that come out from controversial cartoons. We chose to work with four controversial cartoons and eleven discourse-response from these cartoons, all of them broadcasted on-line between 2011 and 2014, referring to the facts in Brazilian media in between these years. As a theoretical framework, we use the ideas postulated by Mikhail Bakhtin and his Circle, to whom every discourse is dialogic, in other words, the discourse establishes a necessary relation with other discourses, unleashing different senses.Thus, the methodology of analysis is based on the methodological guidance provided in Marxism and Philosophy of Language ([1929] 2009, p. 45). That is to say, the discourse is taken into account from the bond with its socio-historical context, which refers to the need of the analysis to be made from the limits of a particular culture in order to understand the discursive issues engendered in the social spheres from which they emerge. After doing the analysis, we can notice that the discrepancy - between the production and reception of the senses from the controversial cartoons picked - is due to the different valuation by the interlocutors in relation to the project of saying from the cartoon. In addition to that, there seems to be no understanding of what this genre is, which prevents a critical reading. We hope that with the discussions about the constructed senses in the observed discourses, we can contribute with reflections aimed at the teaching of reading and textual production in Portuguese classes, considering the importance of the study of language in use, materialized in different discursive genres. / Veiculada na m?dia, geralmente em jornais, a charge ? um g?nero cuja complexidade se configura como um interessante objeto de an?lise para se observar como os sentidos se constroem no discurso. Esta disserta??o, ponderando tal complexidade e tendo como base a teoria bakhtiniana, visa responder a seguinte quest?o: Como se d? a constru??o dial?gica de sentidos, considerando a produ??o e recep??o do discurso, em charges tidas como pol?micas? O objetivo geral desta disserta??o ? analisar como acontece a constru??o dial?gica dos sentidos, considerando o projeto enunciativo das charges e as leituras de seus interlocutores, especificamente naquelas consideradas pol?micas, isto ?, charges que apresentaram discrep?ncias entre a produ??o e a recep??o dos sentidos e que tiveram repercuss?o na m?dia, devido ? diversidade de leituras. Como objetivos espec?ficos, buscamos (a) examinar de que forma diferentes vozes sociais que atravessam charges pol?micas se engendram e refletem e refratam sentidos no discurso e (b) discutir sobre discursos-resposta que emergem a partir das charges pol?micas em quest?o. Delimitamos como recorte de pesquisa quatro charges pol?micas e onze discursos-resposta dessas charges, todos veiculados em meio digital entre 2011 e 2014, que fizessem refer?ncia a fatos divulgados pela m?dia brasileira tamb?m entre esses anos. No que tange ao embasamento te?rico, recorremos ?s ideias postuladas por Mikhail Bakhtin e seu C?rculo, para quem todo discurso ? dial?gico, isto ?, todo discurso estabelece uma necess?ria rela??o com outros discursos, desencadeando diferentes sentidos. A metodologia de an?lise est? alicer?ada nas orienta??es metodol?gicas apresentadas em Marxismo e filosofia da linguagem ([1929] 2009, p. 45). Assim, o discurso ? considerado a partir do v?nculo com seu contexto s?cio-hist?rico, o que remete ? necessidade de as an?lises serem desenvolvidas a partir dos limites de determinada cultura, de modo a compreender as quest?es discursivas engendradas ?s esferas sociais de onde emergem. A partir das an?lises efetuadas, podemos perceber que a discrep?ncia, entre a produ??o e a recep??o dos sentidos das charges pol?micas selecionadas, d?-se na medida em que h? valora??o diferente por parte dos interlocutores em rela??o ao projeto de dizer da charge. Outra considera??o ? que parece n?o haver um entendimento do que seja esse g?nero, o que inviabiliza realizar uma leitura cr?tica. Esperamos que, com as discuss?es em torno dos sentidos constru?dos nos discursos observados, seja poss?vel contribuir para reflex?es voltadas ao ensino de leitura e produ??o textual nas aulas de l?ngua portuguesa, considerando-se a import?ncia do estudo da linguagem em uso, materializada em diferentes g?neros discursivos.

No description available.

This research attempts to reframe our understanding of James Joyce’s first novel, A Portrait of the Artist as a Young Man, in the light of Joyce’s theme of the artistic process, and in relation to the evidence of Joyce’s own artistic development. The reframing work is based on three operations: firstly, examining Joyce’s development in the light of related texts: Joyce’s early critical writings and antetextes. We trace Joyce’s intellectual and imaginative growth, both prior to the original “inception” point of Portrait in 1904, and from that time up to the point where, the original draft of the novel (Stephen Hero) having been abandoned, Joyce recast Portrait, in September 1907. The growth of Joyce’s ideas about art, creativity and the social responsibility of the artist, into a rich literary chronotope is examined. Secondly we re-examine the new historical concepts of intention and a work’s inception, from a Bakhtinianian perspective: theories of intention, the prosaic imagination and chronotope. The concept of “design” is explored, to encompass the purposive principles, intentions and form of the evolving novel. Thirdly, a reading of Portrait in relation to its chronotopic framing is advanced, using Bakhtin’s concept of “dialogic creative understanding”. Portrait is read as the story of the soul of a developing artist who comes, through a series of phases, to an understanding of his vocation in respect of three key chronotopic orientations: a social sense of responsibility; the importance of creativity in the highest service of art; the harnessing of the “plastic powers” of the artist imbued with a deeply rooted but dialogical sense of history. / Doctor of Philosophy (PhD)