Bislang konzentrierten sich die Untersuchungen des westdeutschen Blicks auf Ostdeutschland auf den Zeitraum vor der Wende oder auf Rundfunk- und Fernseh-Medien. Die Gegenwartsliteratur stellt einen weißen Fleck in dieser Frage dar. Anhand des Chronotopos-Konzepts von Michail Bachtin werden in dieser Arbeit daher zeitliche und räumliche Tiefenstrukturen in der Darstellung Ostdeutschlands in den Werken Jan Böttchers und Andreas Maiers herausgearbeitet und mit ihrer Darstellung Westdeutschlands verglichen. Neben grundsätzlichen Unterschieden fallen dabei signifikante Übereinstimmungen auf.

Graham Swifts novel Last Orders has yet to be viewed as containing carnivalesque elements as defined by Mikhail Bakhtin in Rabelais and His World. Through the examination of Bakhtins theory of the carnivalesque and through a corresponding close reading of Last Orders, this article details the carnivalesque nature of the locations visited by the characters in the narrative, of the grotesque incidents that occur in these locations, and of the narrative style and structure of the novel itself.

The main aim of the dissertation is to examine the importance of the moment in relation to human experience and to the narrative in the writings of Stig Dagerman (1923-1954), primarily the novels Ormen (The Snake, 1945), De dömdas ö (The Island of the Doomed, 1946), Bränt barn (A Burnt Child, 1948), Bröllopsbesvär (Wedding Worries, 1949), the short stories "Den hängdes träd" (The Hanging Tree, 1945) and "De röda vagnarna" (The Red Wagons, 1946). The dissertation shows the moment as being of crucial importance by serving as the point of time for the fictional character’s critical experience. The moment also functions as a structuring principle for the narrative. In this, the discussion is supported by the theories on the chronotope found in the work of Mikhail Bakhtin. With the ideas of Michael Riffaterre as the principal theoretical basis in the study, the reading of the texts focuses on a matrix common to the works discussed. The reading goes from a description of the primarily profane subject matter of the narrative to an understanding of the religious discourse in the works. This interpretation receives additional support in the theories on religious and mystical experiences found in Rudolf Otto. Finally, the dissertation focuses on man’s sensitivity to, and longing for, a transcendental entity or a God in the broadest sense – a longing which manifests itself in different ways in these texts and is set against the human predicament of being. Man’s desperate religious longing for a transcendental entity or a God are ultimately understood as the significance or principle of unity in the texts under discussion.

How is Bakhtin's conception of novelistic openness distinct from modernist-dialectical irresolution or open-endedness? Is Women in Love a Bakhtinian "open totality"? How is dialogic openness (as opposed to modernist indeterminacy) a "form-shaping ideology" of comic interrogation? / This study tests whether dialogism illuminates the shape of openness in Lawrence. As philosophers of potentiality, both Bakhtin and Lawrence explore the dialogic "between" as a state of being and a condition of meaningful fiction. Dialogism informs Women in Love. It achieves a polyphonic openness which Lawrence in his later fictions cannot sustain. Subsequently, univocal, simplifying organizations supervene. Dialogic process collapses into a stenographic report upon a completed dialogue, over which the travel writer, the poet or the messianic martyr preside. / Nevertheless, the old openness can be discerned in the ambivalent laughter of The Captain's Doll, St. Mawr or "The Man Who Loved Islands." In these retrospective variations on earlier themes, laughing openness of vision takes new, "unfinalizable" shapes.

Although Bakunin's 1842 article, "The Reaction in Germany," published in the organ of the Dresden Left Hegelians, Deutsche Jahrbucher, is generally held to be the most radical and eloquent manifesto of Left Hegelianism, the standard historical commentary tends to consider his pre-1842 Russian works as far removed from this revolutionary ideal. Most historians have long failed to discern the logical continuity in Mikhail Bakunin's thought before and after the "pivotal" date of 1840. Indeed, his intellectual development is usually dividied into two distinct, mutually exclusive periods. During the first period, pre-1840, Bakunin is presented as a conservative and a monarchist, dedicated to a spiritual and political compromise with the "rational reality of the Tsarist regime. After his arrival in Berlin in 1840, however, one is suddenly confronted with the political anarchist and instigator of world revolution. However, this abrupt dichotomy which appears in most historical commentaries dealing with Bakunin's writings and activities cannot be maintained. The hypothesis that there even occurred a break in the evolution of Bakunin's thought rests on a misinterpretation of his early Russian Hegelian works. / The goal of this study is to demonstrate that the concern with the practical application of philosophy into a political tool for revolutionary acton forms the central theme of Bakunin's early works; and to show that his Berlin period constitutes the logical continuation of his early theoretical position. In effect, the present study represents a revindication of the young Bakunin and attempts to prove that his Hegelianism was central to the formation of his radical position. At the same time, it situates Russian Left Hegelianism in the mainstream of European radicalism, by showing how the ideas developed by Bakunin were moving in a direction parallel to those of the Young Hegelian movement in Germany.

Chapter one began with an introduction to the concept of glasnost and the events surrounding the first four years of Mikhail Gorbachev's reign as General Secretary of the Soviet Union. This rhetorical study gained its thrust from an Aristotelian definition of rhetoric. The method proposed was one of Ernest Bormann's fantasy theme analysis. This study looked at mediated fantasy themes as they chained out in the Western media regarding the glasnost campaign.Chapter two presented the setting for the dramas of glasnost with a look at the history of Soviet leadership and the impact each General Secretary had on Soviet society. Chapter three examined the characters of glasnost. 9iographical information was presented on the players of the dramas. Finally, chapter four examined the media's rhetoric as it chained out the dramas of glasnost through Mikhail Corbachev and his battles with antagonists from the left, from the right, and from within. / Department of Speech Communication

Between 1969 and 1980 Edvard Radzinskii wrote three ‘historico-political’ plays which were later published as a trilogy entitled ‘Theatre of the Times …’. This thesis attempts to unravel the nature of time in the trilogy and invokes Mikhail Bakhtin’s notion about the forms of time and the chronotope in literary narratives to do that. Bakhtinian concept of the chronotope provides a suitable strategy for reading a trilogy that aims to re-present ‘real’ time, place and human beings. The concept also provides a vantage point from where the trilogy can be read both from within the time-space of its main protagonists and from that of its author, readers, performers and spectators. ¶ Both ‘Dialogues with Socrates' and 'Lunin …’ are structured around the chronotope of the prison which is associated with the chronotope of the acropolis in ‘Dialogues with Socrates’ and with the chronotope of the masked-ball in ‘Lunin …’. In ‘Theatre of the Times of Nero and Seneca’ the circus-theatre functions as the main chronotope. All these chronotopes serve as plot-constitutive devices and provide appropriate space in which the lives and times of the main protagonists can be adequately re-presented. However, the use of the concept of the chronotope in reading the trilogy does not imply that it can be read meaningfully only from within the time-space of its protagonists. The trilogy reconstructs the historical time-space but also engages in a substantial way with contemporary Soviet reality. This is achieved through an interaction between literary and real chronotopes. There is little doubt that most Soviet readers, performers and spectators negotiatied the chronotopes of the prison and the circus-theatre and the motifs of show-trial and execution from within their own time-space, their own historical experience. The thesis discusses a large number of reviews published in Soviet media to show that most critics read the trilogy from within the discourses about positive hero and socialist realism, because of which Socrates and Lunin were also turned into positive heroes. ¶ One of the most intriguing aspect of the three plays is the ‘play within a play’ structure which achieves its maximum potential in the final play of the trilogy where it is combined with the theme of metamorphoses and multiple role playing. The trilogy, like Pirandello’s trilogy about theatre, is able to foreground its own theatricality and explore the role of theatricality and role playing in and outside theatre. In ‘Theatre of the Times of Nero and Seneca’ the boundary between role playing in life and in theatre becomes so blurred that history begins to resemble the writing and staging of a play. ¶ Apart from exploring the nature of theatricality, the trilogy also questions the conventions of its genre. The three plays do not follow the conventional framing devices employed by dramatic texts and foreground the presence of a mediating narrator. This ‘novelisation’, is more evident in ‘Lunin …’ in which the frequent use of verbs in the past tense in the extra-dialogic text can be linked to the presence of a mediating narrator.

Made available in DSpace on 2015-03-03T11:52:42Z (GMT). No. of bitstreams: 0 Previous issue date: 2014-04-25Bitstream added on 2015-03-03T12:07:09Z : No. of bitstreams: 1 000809675.pdf: 825485 bytes, checksum: 8bdc34ab32ebd28280a65441e5759546 (MD5) / Conselho Nacional de Desenvolvimento Científico e Tecnológico (CNPq) / Segundo Bakhtin/Volochinov (2010), a língua(gem) é um fenômeno que se constitui na interação entre os sujeitos e, consequentemente, não é apenas um conjunto de formas linguísticas, mas, sim, de signos carregados de valores culturais que relevam no seu uso o recorte de mundo dado por uma sociedade. Dessa forma, os sujeitos constituem o seu próprio discurso com os discursos outros com os quais entram em contato, revelando o dialogismo da língua(gem). Nas aulas de LE, também podemos observar o diálogo existente entre o discurso dos sujeitos, já que a aquisição/aprendizagem de LE ocorre na comunicação interpessoal e envolve aspectos culturais da sociedade na qual esse processo se localiza. Esta pesquisa (Mestrado) tem como objetivo principal analisar as produções linguísticas em LE (inglês) de crianças que iniciam seu contato formal com essa língua em um ambiente de ensino, no caso uma escola de idiomas no interior paulista. Para tanto, o uso feito da LE pelos aprendizes foi considerado em situações nas quais há uma pergunta e/ou instrução da professora e situações nas quais não há uma pergunta e/ou instrução. No primeiro tipo de situação, a LE aparece no discurso dos aprendizes sob a forma de resposta a uma pergunta feita pela professora, que atua como mediadora entre LE e sujeito-criança no contexto escolar. Já no segundo tipo, as crianças tomam a iniciativa de usar o inglês sem que a professora precise pedir esse uso, fato que, acreditamos, revela de maneira mais evidente uma aproximação das crianças com a língua alvo. Pretendemos, também, elaborar uma reflexão de como a LE é tratada dentro da sala de aula e o que esse tratamento pode acarretar para a aquisição/aprendizagem dos alunos. Acreditamos que a abordagem adotada, a saber, a reflexão bakhtiniana e do Círculo (1976, 1997, 2010) a respeito das noções de língua(gem), subjetividade, gênero etc.... / According to Bahktin/Volochinov (2010) language is a phenomenon constituted in the interactions among people and, consequently, it is not a group of signals, but rather of linguistics signs with cultural values that reveal in their use the world view of a society. For this reason, people constitute their own discourse with other discourses with which they have been in contact, revealing the language dialogism. In the foreign language (FL) classes, we can also observe the dialogue that exists between people"s discourse as the acquisition/learning of a FL happens in the interpersonal communication and involves cultural aspects of the society in which this process occurs. The main objective of this research (Master"s degree) is to analyze student"s utterances using a foreign language (English). The students in our study are children that began their formal contact with this language in a school environment, a language school in Sao Paulo countryside. In order to achieve our goal, the use made of the FL by the learners was considered in situations in which there was a question and/or an instruction of the teacher and situations in which there were no questions and/or instructions. In the case of the first type of situations, the FL appears in the learner"s discourse as an answer for the questions made by the teacher who is the mediator between the FL and the children in the classroom. In the second type, the students take the initiative of using English without the teacher"s request. We believe that this use reveals more effectively the closeness between the children and the language they are learning. We also intend to elaborate a reflection about how the FL is introduced in the classroom and the consequences to the acquisition/learning process. We believe that our approach, Bakhtin"s and the Circle"s (1976, 1997, 2010) view on language, subjectivity, genres etc. contributes significantly to the discussions in the area of FL...

This project aims to develop and explore questions of theatre as public discourse and the representation of England and Englishness in contemporary British theatre during the period 2000-2010. I present a dual focus in this practice-led research process, creating an original creative work, Albion Unbound, alongside an academic thesis. I describe the relationship between play and thesis as ‘dialogic’ with reference to the work of Mikhail Bakhtin. His ideas on language, subjectivity and authorship offer an insightful perspective upon the theory and practice of theatre-making, but Bakhtin himself makes a concerted claim for drama’s inherent monologism, generically incapable of developing genuine dialogic relations between its constituent voices. Chapter One explores the ‘case against drama’ and identifies the different senses of theatrical dialogism which emerge in critical response. Chapter Two considers Bakhtin’s work around carnival, the grotesque and the history of laughter, framed within a debate about the ‘politics of form’ in the theatrical representation of madness and mental illness. A key division emerges between political, discursive theatre and experimental theatre, as I question the boundaries of Bakhtin’s ideas. Chapter Three questions the nature of political theatre and its British traditions via Janelle Reinelt and Gerald Hewitt’s claim that David Edgar represents the ‘model’ political playwright engaged in theatre as ‘public discourse’. I focus upon three-thematically linked of Edgar’s plays, Destiny, Playing with Fire and Testing the Echo to engage questions of the ‘state-of-the-nation’ play and Edgar’s varied formal strategies employed in constructing his dramatic worlds and the political discourse he seeks with an audience. Chapter Four extends this debate to question the alleged ‘return of the political’ in new writing between 2000-2010 and specifically a body of plays which engage issues of nation and identity – those plays contemporaneous to Albion Unbound. Chapter Five provides a reflexive conclusion, elaborating upon the creative, collaborative process of making Albion Unbound, accounting for its successes and failures as a piece of contemporary theatre. I also reflect upon the relationship of theory and practice the project has developed, the dialogic relationship between thesis and play. Chapter Six is the play itself, as it was performed.

Sob um princípio dialógico e à luz de uma perspectiva teórico/metodológica ético-estética bakhtiniana, apresentamos nesta tese um estudo realizado com dois grupos de estudantes de licenciatura em Artes Visuais. Os estudantes, situados em contextos culturais diferentes, comunicam-se e produzem colaborativamente objetos estéticos com a linguagem videográfica. Promovemos um diálogo intercultural entre esses sujeitos (estudantes brasileiros e norte-americanos) por meio do Projeto AprenDi 2.0 em conexão com a 9ª Bienal do Mercosul | Porto Alegre, um projeto de extensão concomitante ao currículo universitário. O objetivo foi aproximar estudantes de licenciatura para um diálogo sobre a cultura local e sobre arte contemporânea, bem como experimentar modos de trabalhar colaborativamente à distância. O projeto foi organizado em três modos de dialogar: a) Diálogos sobre cada um de nós, que teve o objetivo de promover o primeiro contato entre os participantes do projeto, através da produção e compartilhamento de videocartas. b) Diálogos sobre arte contemporânea, que objetivava o compartilhamento das experiências estéticas e a compreensão mútua da arte contemporânea vigente, nos dois contextos, por meio da troca de vídeos autorais produzidos pelos estudantes; e c) Diálogos com a 9ª Bienal do Mercosul, que teve como objetivo a criação coletiva à distância de um vídeo e a participação, propriamente dita, na 9ª Bienal do Mercosul | Porto Alegre, submetendo este vídeo à chamada pública "Invenções Caseiras". Construído o campo, o objetivo principal da pesquisa foi investigar como ocorrem as negociações ético-estéticas de autoria nessa experiência de trocas e produções colaborativas presencialmente e à distância. Na intenção de contribuir para a compreensão do discurso na linguagem videográfica, buscamos explorar o potencial analítico dos conceitos e da metodologia de Mikhail Bakhtin e sua teoria do dialogismo. Numa escuta ética e responsiva, demos atenção especial aos enunciados produzidos por esses dois grupos de estudantes, em relações comunicativas e estéticas por meio de videocartas e vídeos colaborativos. A partir das análises, foi possível inferir que o vídeo pode ser visto como um enunciado verbo-áudio-visual e como elo da cadeia dialógica. O vídeo como um objeto estético híbrido que se constitui como uma voz construída a partir de outros enunciados, um disparador da discussão, um estado, um processo no intercâmbio contínuo de vozes. / From a dialogical foundation, under the light of a Bakhtinian ethical-aesthetic theoretical/methodological perspective, we present in this thesis a study made with two participant groups of the Project AprenDi 2.0 connected to the 9th Mercosul Biennial | Porto Alegre. These students are situated in different cultural contexts, and comunicate with each other and create aesthetic objects in a collaborative fashion using videographic language. We launched an intercultural dialogue among the participants of these study, through a learning project concurrent to the curriculum of their classes. The aim was to bring together preservice art teacher students, in order to foster dialogue about local culture and contemporary art, as well as to experiment with ways of collaborative remote group working. The project was planned in three dialogue modes; a) Dialogues about each of us, which aimed to promote the first contact between project participants, through the production and sharing of videoletters. b) Dialogues about 9th Mercosul and contemporary art, which aimed mutual understanding of contemporary art on display at that moment, in both contexts, through the sharing of copyright videos produced by the participants; and c) Dialogues with 9th Biennalle of Mercosul, with the aim of create, in a collective process, a video, and after that, to participate in the 9th Mercosul Biennial | Porto Alegre, uploading this video to the public call "Home Inventions". In order to contribute with the comprehension of the discourse in the videographic language, we discuss the concept of verbal-audio-visual utterance, that we developed after Mikhail Bakhtin’s perspective. All the data presented are part of a research that was done with undergraduate students of in Visual Arts, concerning the identification of how the authorship processes occur in collaborative experiences either personally or at a distance. Listening from an ethical and responsive position, we pay attention to the utterances produced by these two groups of students (Brazilian and North American students), that consist in communicative and aesthetic relationships through video letters and colaborative videos. From the analysis we can infer that the video can be seen as a voice built from other utterances, a trigger point of the discussion and an enabler of the communication. The video as an hybrid aesthetic object is constituted as a voice from other utterances, a trigger of discussion, a state, a process in a continuous interchange of voices.