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This project seeks to make a contribution to contemporary theories of affect by putting the work of theorists Brian Massumi, Sara Ahmed, Jane Bennett, and Donovan Schaefer in conversation with the Russian philosopher Mikhail Bakhtin. At the same time, it relies on these theorists’ conceptualizations of embodied affect to explore the role of the body in Bakhtin’s understanding of selfhood and freedom. In particular, I show how Bakhtin’s incorporation of aesthetics into processes of self-creation and relationality adds to scholarship on interpersonal affective dynamics; sociocultural economies of affect; ethically potent experiences of wonder and generous behaviors; and religious impulses. Further, I demonstrate that the principles of dialogism and polyphony can be conveyed through cinematic means, and argue that Bakhtin’s concept of carnival can inform analyses of sensory impact of cinema, revealing its potential to challenge politics and ideologies on an embodied and affective plane. Finally, I argue that Bakhtinian polyphony is the aesthetic modality proper to cultivation and manifestation of ethics of generosity, whereby sensations of awe, wonder, and curiosity stimulate attentive and open-minded engagement with the world.

No / This paper considers the situation of people with dementia who are living in long-term care from two rarely-applied theoretical perspectives. The first, Agamben’s theory of biopolitical life versus bare life, demonstrates that the situation of people with dementia living in care homes or hospitals approximates to that of prisoners, internees and refugees, deprived of full citizenship or biopolitical life. In popular imagery people with dementia are frequently referred to, first in terms of numbers, as a ‘rising tide’, in a way that has historically been used to justify discrimination and social exclusion. In many, care environments it is, moreover, still the case that people with dementia are reduced to a condition of ‘bare life’ only: given little choice, having few rights, lacking freedom of movement, and subjected to almost constant surveillance. In other contexts, such treatment is known to cause or exacerbate many of the problems which – following a biomedical model – are constructed as ‘symptoms of dementia’, such as disorientation in time and space, sleep disturbance, hallucinations and repetitive movement. The second body of theory is Bakhtin’s work on cultural resistance. This demonstrates that many of the so-called ‘challenging behaviours’ manifested by people with dementia, can better be understood as coping, sense-making and self-determining strategies adopted in order to survive within prevailing organisational cultures. Based on a series of studies carried out in intermediate and long-term care since 2009, the paper draws on a range of narrative and film-based examples to demonstrate the ‘courage, humour, fortitude and cunning’ with which, as Walter Benjamin noted, the oppressed have always met the conditions of their oppression. In the process, ‘challenging behaviour’ is given political and ideological meaning, as protest, perpetrated by people who are struggling against extreme odds to be reinstated as full citizens. / Conference website: http://www.aginggraz2017.com/conference-schedule

In this paper, I study the bodies in Mare Kandre’s two novels Bestiarium (1999) and Xavier (2002), with the help of Mikhail Bakhtin’s theories of the grotesque. I examine the worldview that is portrayed in the novels – focusing on the attitude towards death – and seek answers to the following questions: how do the human bodies look and how do they relate to their surroundings? What does the way they are portrayed say about the world the novels portray? And what role does laughter play in the novels? I also examine the similarity between a grotesque body, and a gothic monster. As a result, I find that one body may exist both in life and death at the same time, that the bodies can merge together, and that the boundaries between body and world may be exceeded. I also find the grotesque abilities of the body not to be threatening, but filled with possibilities. Here, even monsters are not harmful. / I den här uppsatsen undersöker jag kropparna i Mare Kandres två romaner Bestiarium (1999) och Xavier (2002), med utgångspunkt i Michail Bachtins teorier om det groteska. Jag söker svar på hur hans begrepp kan öka förståelsen för den värld som målas upp i romanerna, med ett fokus på inställningen till döden. Jag ställer mig frågor om hur de mänskliga kropparna ser ut och hur de förhåller sig till resten av världen, vad sättet de gestaltas på säger om romanvärlden och vilken roll skrattet spelar i romanerna. Jag undersöker också likheten mellan groteska kroppar och gotiska monster. I min analys visar jag att kropparna i Mare Kandres romaner kan befinna sig både i livet och döden samtidigt, att de ständigt är i rörelse och kan uppgå i varandra. Dessutom kan gränsen mellan kropp och värld upplösas. Jag visar också på att den glädje som kännetecknade medeltidens grotesk bara kan förnimmas, men att de groteska kropparna trots det besitter positiva möjligheter. Inte ens monster måste här besegras, då de inte utgör något hot.

This dissertation attempts a Bakhtinian analysis of the polyphonic dialogue between Joseph Conrad's Heart of Darkness, Francis Ford Coppola's Apocalypse Now, Karel Schoeman's Na die Geliefde Land and Jason Xenopoulos' Promised Land. Specific Bakthinian concepts are employed to determine whether the films are "apt" adaptations of the literary texts; how the stylistically hybrid texts engage in conversation with different movements, genres and trends; how the polyphonic conversations between different texts and discourses, such as literature and film, or colonialism and postcolonialism, can provide insight into the variety of discourses, textual and ideological, of a postcolonial, post-apartheid South Africa; and how identity crises experienced by key characters can be explained using the notions of hybridity, "The Marginal Man" and liminality. All four texts have key characters that experience identity crises that spring from cultural hybridity; their cultural hybridity has the potential to either render them marginally stagnant or lead them to liminally active participation within their imagined communities. This dissertation argues that even though there are major differences between the films and the literary texts they are based upon, they are relevant to a specific target audience and therefore enrich the ur-texts. Salient characteristics of realism, symbolism, impressionism, modernism, postmodernism, postcolonialism and the apocalyptic dialogise one another within the four texts, thereby liberating the texts from one authorial reading. The dialogue between the discourses of literature and film supplement an understanding of the dialogue between war, imperialism, colonialism, postcolonialism and the Will to Power. / Thesis (M.A. (Applied Language and Literary Studies))--North-West University, Potchefstroom Campus, 2006

The purpose of the present dissertation is to study the elaborations of the initiation myth in contemporary Italian author Alessandro Baricco. The theoretical and methodological framework consists mainly of Mircea Eliade’s phenomenological theory of initiation. It is argued that the categories of space and time are interdepent in religious thought and should thus be studied as a unit, through the notion of the chronotope. The dissertation therefore proposes to introduce the concept of the chronotope of initiation as an operative tool, the intersection of the theories of Eliade and Mikhail Bakhtin, for the literary subgenre of the initiation novel. A hermeneutical analysis of the novels Oceano mare, Emmaus and Mr Gwyn demonstrates that the initiation myth is present in all three novels. The symbolism of death and rebirth is coherently enacted as a movement via the categories cosmos-chaos-cosmos, for which the author uses the symbolism of the earth to define cosmos (regularity and structure) and water symbolism for the regenerating chaos (dissolution and renewal). The different chapters of analysis accentuate the interaction of space and time within the different phases of the initiation pattern: the profane, the threshold, the sacred, the centre (the place where the actual ritual is enacted) and the return, which are all defined as chronotopes. The analysis shows that although the chronotope of initiation – the concept intending the fusion of the temporal event of ritual at the spatial centre – assumes different forms throughout the corpus, its function remains unmodified, with its purpose being the creation of ontological change. In its inherent structure, the chronotope of initiation unites antithetical spatial and temporal characteristics. Spatially it unites infinite and dissolving chaotic space with the constitutive envelope or sacred vertical centre, and temporally it brings together the ultimative ontological change at a fixed, historical moment with the eternal, sacred, time opened by ritual, representing the coincidentia oppositorum of the sacred. The analysis also shows that the so-called “portraits of the ineffable”, present in all three novels, reflect the same qualities. As immanent works of art, they function as thresholds into the infinite. From a chronological perspective, the dissertation shows a modification of the initiation pattern in Baricco’s writing: from the classical form in Oceano mare, via a more realistic application in Emmaus, to the most elaborate, meta-literary adaption in Mr Gwyn. Nevertheless, the use of the pattern and its thematic coherence reveals that Baricco consciously elaborates on the pattern to suit the contemporary context.

Esta pesquisa tem como objetivo apresentar o desenvolvimento do trabalho artísticopedagógico- teatral de Maria Osipovna Knebel (1898 - 1985). Focamo-nos na criação e no desdobramento de sua filosofia pedagógica, bem como analisamos e discutimos o monólogo interior. No Primeiro Capítulo, enfatizamos a relação de Knebel com Mikhail Tchekhov (1891 - 1965) e os caminhos que levaram-na a seguir a carreira teatral. Dentro desse contexto, fazemos uma breve análise sobre o trabalho improvisacional tchekhoviano e sua influência sobre a formação da diretorapedagoga. Em um salto, vamos da primeira classe de Knebel para o convite de Konstantin Stanislavski (1863 - 1938) para que ela fosse sua ajudante no Estúdio Operístico-Dramático. Procuramos situar a relação política e artística desenvolvida nesse local, dando relevância à renovação do \"sistema\" feita por Stanislavski. Igualmente, buscamos colocar em foco a questão da \'análise do papel durante a ação\', mais conhecida como análise ativa. Nesse ponto, verticalizamo-nos na prospecção pela inteligência e nos études. O Segundo Capítulo também está dividido em duas partes. Em um primeiro momento, discutimos o segundo plano na direção de Vladmir Ivanovitch Nemirovitch-Dantchenko (1858 - 1943). Procuramos salientar a irradiação do pensamento no trabalho ator-personagem e a maneira que esse elemento pode ser corporificado pelo intérprete no trabalho criativo da cena; principalmente no que tange aos momentos de silêncio da obra teatral. Esmiuçamos a visão crítica e o aprendizado sobre questões de direção que Knebel aponta em Nemirovitch-Dantchenko, na condução de Os Courantes do Kremlin de Nicolai F. Pagodin (1900 - 1962), em 1940. Pensando na ação prática da pedagogia knebeliana, levantamos o desenvolvimento de seu trabalho na GITIS (Academia Russa de Artes Cênicas), com apontamentos e referência ao Teatro Central da Criança de Moscou. Expomos a relação aberta de sua pedagogia com Aleksei Dmitrievitch Popov (1892 -- 1961) na verticalização sobre a necessidade de perceber primeiro a experiência no mundo e, posteriormente, traduzi-las sensível, crítica e artisticamente na composição cênica. Sempre numa condução pedagógica libertária e holística. No Terceiro Capítulo discutimos o conceito de monólogo e solilóquio, monólogo interior e fluxo de consciência, tendo como base os conceitos e terminologias da literatura e, posteriormente, do teatro. Ainda sobre o monólogo interior, debatemos a sua importância com os demais elementos do \"sistema\" e sua conjugação no trabalho de Knebel como diretora-pedagoga. Procuramos examinar as relações da criação do monólogo interior e a formação do pensamento na criação, segundo as teorias de Lev Semenivitch Vigotski (1896 - 1934), apontado para as questões sociais, políticas, culturais, ideológicas no desenvolvimento da obra teatral / This research has as objective to present the development of the artisticpedagogical- theatrical of Maria Osipovna Knebel (1898 - 1985). We focused on the creation and deployment of her Pedagogical Philosophy, as well as analyzed and discussed the inner monologue. On the first Chapter, we\'ve had focused on the relationship between Michael Chekhov (1891 - 1965) and on the ways that took her to follow the theatrical career. Inside this context, we did a brief analysis about the improvisational Chechovian and its influence on the Director-Pedagogue\'s formation. Taking a leap, we go from Keble\'s first class to the invitation from Konstantin Stanislavsky (1863 - 1938) for her to be his assistant of the Opera-Dramatic Studio. We\'ve tried to put the political artistic relationship developed in this scenario, giving relevancy to the system\'s renovation done by Stanislavski. Equally, we tried to put the \'analysis of the role during the action\' in focus, more known as active analysis. At this point, we deepen in the prospecting from the intelligence and etudes. The Second Chapter is also divided in two parts. At first, we have discussed the second plan, at the Vladímir Ivânovitch Nemirovich-Danchenko´s direction (1858 - 1943). We have tried to accentuate the radiation of the thinking on the work actor-character and on the way that its element could be internalized by the actor on the scene´s creative work; mainly about the theatrical work moments of silence. We went deep on the critical view and learning about the direction that Knebel point in Nemirovitch- Danchenko, on the conduction of Kremlin Courante by Nicolai F. Pagodin (1900 - 1962) in 1940. Thinking of the practical action of the knebelian pedagogy, we put together it work development at GITIS (Russian Academy of Theatre Arts), with notes and references to the Central Children\'s Theatre. We exposed the open relation on her pedagogy with Alexei Dmitrievich Popov (1892 - 1961), deepen about the necessity on notice, first the experience inside the world and after it, translate it in a sensible-critic-artistic way on the scenic composition. Always in a pedagogical emancipating and holistic leading way. On the Third Chapter we discussed the monologue and soliloquy concept, inner monologue and conscience flow, taking the concepts and literature´s terminologies and, after from the theater. Still on the inner monologue, we discussed its importance with other elements from the \"system\" and its conjugation on Keble\'s work as the director-pedagogue. We´ve tried to look over the relationships on the inner monologue´s creation and on the formation of the thought in the creation process, according to Lev Semyonovich Vygotsky\'s theory (1896 - 1934), pointing to social, politics and ideological on the development of the theatrical piece

Made available in DSpace on 2016-04-28T18:23:01Z (GMT). No. of bitstreams: 1 Luciene Novais Mazz.pdf: 4727183 bytes, checksum: 7817f0fb80c1675457368b46c2a748d7 (MD5) Previous issue date: 2015-02-23 / Conselho Nacional de Desenvolvimento Científico e Tecnológico / Into the corporate world there are various standard settlement documents establishing an explicit hierarchy of power with respect to the effectiveness of written texts, invoking actors by a specific mode of enunciation in the process of translating a text from a given source language into a target language. But, despite that rigid regulation could be homogenized, in terms of meaning, it has not prevent cultural dimension interference that reflects the foreign text and also it cannot obscure the value of diversity amongst companies spread all over the world. On the other hand, that interference has effects on the way to develop writing of domain-specific language even in English as the global language of business. Besides the identity preserved by regulations and standards, this thesis aims to demonstrate differences on translating a technical document from multiple foreign languages into English. The starting point for our research lies in three main approaches: the translation process, highlighting the linguistic and cultural diversities amongst target texts; Bakhtin´s theory of dialogical discourse on the concept of multiple voices, the plurivocity as a fundamental condition operating the meaning; terminology studies that provides a theoretical and methodological bases to search for lexical units in a specific domain. Moreover, the theory and corpus-based studies allow developing an initial methodological procedure based on corpus linguistics analysis, considering the three aspects: (i) lexical variation leveling of its irregularities and further establishing identity amongst texts, (ii) linguistics invariant enabling to recognize the differences within groups as well as enunciative traces in which discourse are addressed to take place in different social and cultural environment, (iii) effects of relationship of lexical units among texts so as to provide a normalization and standardization of compound words (terms) that are given in specific contexts. This research in a relevant sense finds support on a study-initiated of a previous master´s program. In addition to it offers knowledge carried out under particularly specific features of linguistics and social scope to pharmaceutical domain and also issues relate to corporate interests and its interdisciplinary scientific fields / No mundo corporativo, há inúmeros documentos altamente regulados e padronizados estabelecendo explícita hierarquização de poder em relação à escrita, aos atores envolvidos, à enunciação que os caracteriza, tanto na língua fonte como em sua tradução para outras línguas. Esse aspecto, que poderia homogeneizar os sentidos, não impede, apesar da rigidez normativa, interferências da dimensão cultural, da interculturalidade que caracteriza as traduções, e da diversidade das relações entre empresas. Isso acarreta divergências no modo de redigir textos de uma dada especialidade, ainda que em uma língua pretensamente globalizada, como é a língua inglesa. A partir desse pressuposto, esta pesquisa tem como objetivo demonstrar, ao lado da identidade resguardada pelas normas, as diferenças na tradução técnica presentes em documentos escritos, traduzidos do original de diversas línguas para a língua inglesa. Os pontos de partida para este estudo situam-se em três principais abordagens: a) o processo tradutório, evidenciando as diferenças linguísticas e culturais entre os textos de chegada coletados; b) a teoria dialógica do discurso, que oferece os conceitos de vozes, de plurivocidade, como condição de sentido; c) os estudos terminológicos, que fornecem bases teóricas e metodológicas na investigação das unidades lexicais de conteúdo específico. A fundamentação teórica e o corpus permitem um trabalho metodológico inicial com o léxico com base na Linguística de Corpus, considerando-se: (i) as regularidades e invariantes linguísticas que levará ao estabelecimento de certa identidade entre os textos; e (ii) a identificação e análise dos aspectos que convivem com essas invariantes e que possibilitam reconhecer as diferenças no interior da identidade identificada por marcas enunciativas que revelam os discursos produzidos em diferentes lugares sociais e culturais, conforme proposta da teoria bakhtiniana; e (iii) a consequente relação das unidades lexicais entre os documentos analisados, viabilizando a aplicação de uma normatização dos termos em documentos técnicos especializados. A relevância desta pesquisa reside na continuidade do trabalho iniciado no mestrado e na possibilidade de oferecer recursos aos profissionais que atuam especificamente no setor da indústria farmacêutica, bem como em assuntos relacionados aos interesses corporativos e às esferas técnico-acadêmicas e científicas

Made available in DSpace on 2016-04-28T18:23:08Z (GMT). No. of bitstreams: 1 Felipe Augusto de Souza Santos.pdf: 1601405 bytes, checksum: 5aceb79107bef912ae3c37583b50be9c (MD5) Previous issue date: 2015-09-04 / Conselho Nacional de Desenvolvimento Científico e Tecnológico / This research aims to investigate issues of theatrical aesthetics and the process of creation of Samuel Beckett, from a study on aspects of his work as a playwright and director of his own plays. First it will be made an approach about the relationship between text and scene in Beckett s work, that is, we will make a survey of the major aesthetic and structural features of plays such as Waiting for Godot, Endgame, Happy days and Footfalls, in order to problematize some of major issues involving the dramaturgy of Beckett, and also a study of the trajectory of Beckett from playwright to director. Later, we will make an analysis of the dramaturgical text of Krapp s last tape, using concepts from the writings of Mikhail Bakhtin and the Circle, such as dialogism, polyphony and chronotope, and also a reflection on the various performances of Krapp s last tape directed by Beckett. For this, we will use an unpublished translation of Krapp s last tape held by the researcher and published in this work as well as Beckett s directing notebook, with notes of the staging process of his version of Krapp s last tape performed at the Schiller-Theater in Berlin in 1969, and the changes undergone by the dramatic text. The results suggest the importance of the staging process performed by Beckett on some of his major plays, particularly Krapp s last tape, as a revising and defining element of his dramaturgy / Esta pesquisa tem como objetivo investigar questões ligadas à estética teatral e ao processo de criação de Samuel Beckett, a partir de um estudo relativo a aspectos de seu trabalho como dramaturgo e encenador de suas próprias peças. Primeiramente será realizada uma abordagem acerca da relação entre texto e cena na obra de Beckett, ou seja, faremos um levantamento das principais características estéticas e estruturais de peças como Esperando Godot, Fim de partida, Dias felizes e Passos, no intuito de problematizarmos algumas das principais questões envolvendo a dramaturgia de Beckett, e também um estudo acerca da trajetória de Beckett de dramaturgo a encenador. Posteriormente, faremos uma análise do texto dramatúrgico de A última gravação de Krapp, utilizando conceitos provenientes dos escritos de Mikhail Bakhtin e do Círculo, tais como dialogismo, polifonia e cronotopo, e também uma reflexão sobre as diversas encenações de A última gravação de Krapp dirigidas por Beckett. Para tanto, serão utilizados uma tradução inédita de A última gravação de Krapp realizada pelo pesquisador e publicada neste trabalho, bem como o caderno de direção de Beckett, contendo as anotações do processo de encenação de sua montagem de A última gravação de Krapp no Schiller-Theater de Berlim, em 1969, e as alterações sofridas pelo texto dramatúrgico. Os resultados obtidos apontam para a importância do processo de encenação realizado por Beckett em relação a algumas de suas principais peças, em especial A última gravação de Krapp, como elemento revisor e definidor de sua dramaturgia

Este estudo da expressividade pesquisa a interpretação musical como uma construção dialógica, diálogo entre “duas consciências” próprias do dialogismo bakhtiniano. O expressivo em música como vivência dialógica considera o tempo, o espaço e o sentido de cada intérprete em uma posição cambiável de valor, expressão e vontade do autor pessoa ao autor criador como também autor contemplador da obra de arte. Este tempo/espaço, cronotopo, termo primeiramente usado por Bakhtin no estudo da obra de arte literária é aqui considerado como um cronotopo musical: tempo, espaço e sentido do intérprete em um diálogo com o Grande Tempo, a composição e seu contexto universal; demonstrando como o eu dialógico interage com o eu/eu e o eu/outro em uma atitude responsiva. Na composição Rudepoema está presente uma dialogia musical entre o compositor Villa-Lobos, “O Rabelais Brasileiro” e o pianista Arthur Rubinstein, a quem a obra foi dedicada. Os elementos musicais do Rudepoema foram analisados com títulos simbólicos como cronotopos Brasil, Carnaval, Arthur e da Teresa, com adjetivos sugestivos nos cronotopos da alegria, espontaneidade, virilidade e sensualidade; assim como as questões da colocação do pedal, inserção das fermatas, considerando-se ainda aspectos da recursão no processo da composição e suas implicações semânticas na expressividade da obra. / This study on expressiveness researches musical interpretation as a dialogic construction, as a dialogue between the two types of consciousness presented in Bakhtin’s dialogism. In music, the ‘expressive’ as a dialogical experience considers time, space and the meaning of each performer in a interchangeable position of value, expression and will from the author as a person to the author as a creator as well as the author as on observer of the work of art. This time / space, chronotope, a term first used by Bakhtin in the study of literary art pieces is considered here as a musical chronotope: time, space and meaning of the interpreter in a dialogue with the Great Time, the composition and its universal context; demonstrating how the dialogic “I” interacts with the I / I and I / others in a responsive attitude. In the ‘Rudepoema’ musical composition there is the presence of musical dialogism between the composer Villa-Lobos, "The Brazilian Rabelais" and pianist Arthur Rubinstein, to whom the work was dedicated. The musical elements of the ‘Rudepoema’ were analyzed with symbolic titles as chronotopes Brazil, Carnival, Arthur and Teresa, with suggestive adjectives in the chronotopes of joy, spontaneity, virility and sensuality; as well as issues concerning pedal placement and fermatas insertion, considering also aspects of the recursion in the processes of composition and their semantic implications in the expressiveness of the work of art.