Mémoire numérisé par la Division de la gestion de documents et des archives de l'Université de Montréal

This dissertation attempts to investigate the intertextual modus operandi in the oeuvre of H.J. Pieterse, with specific focus on his volumes, Alruin (1989) and Die burg van hertog Bloubaard (2000). The overarching purpose of the investigation is to prove that the author not only uses intertextuality in the sense that one text (literary text) refers to another text (literary and non–literary), or that one text influences another. Pieterse engages in conversation with other texts and re–writes these texts by repositioning them in another context and by adding additional metaphoric meaning to them. The author allows these texts to exchange conversation, to mutually influence one another, and this has as a result that, in his poems, his poetry and his oeuvre, metaphoric lines come into being, which lend a layered meaning to these texts and enrich the possibilities of their interpretation. Thus, a play on multiple meaning develops, which moves between texts: written texts, literary texts, non–literary texts, the author, the reader and the context(s). The conclusion to which this dissertation comes, is that the above mentioned manifestations of meanings, which exist and come into existence within the physically confines of the text, expand this text to a less confined existence in terms of meaning, more unlimited and unbound than what is necessarily allowed by the physically confined nature of the written text. The question thus arises of how the physically limited text take possession of and draws into the texts what lies beyond its physical confines to produce meaning, and how this tension around the limits of the literary text is functionally used. Consequentially, the question that follows is how this happens in the oeuvre of H.J. Pieterse and how the author uses his poetic technique to go beyond the confines of the written text. / Thesis (M.A. (Afrikaans and Dutch))--North-West University, Potchefstroom Campus, 2011.

This dissertation attempts to investigate the intertextual modus operandi in the oeuvre of H.J. Pieterse, with specific focus on his volumes, Alruin (1989) and Die burg van hertog Bloubaard (2000). The overarching purpose of the investigation is to prove that the author not only uses intertextuality in the sense that one text (literary text) refers to another text (literary and non–literary), or that one text influences another. Pieterse engages in conversation with other texts and re–writes these texts by repositioning them in another context and by adding additional metaphoric meaning to them. The author allows these texts to exchange conversation, to mutually influence one another, and this has as a result that, in his poems, his poetry and his oeuvre, metaphoric lines come into being, which lend a layered meaning to these texts and enrich the possibilities of their interpretation. Thus, a play on multiple meaning develops, which moves between texts: written texts, literary texts, non–literary texts, the author, the reader and the context(s). The conclusion to which this dissertation comes, is that the above mentioned manifestations of meanings, which exist and come into existence within the physically confines of the text, expand this text to a less confined existence in terms of meaning, more unlimited and unbound than what is necessarily allowed by the physically confined nature of the written text. The question thus arises of how the physically limited text take possession of and draws into the texts what lies beyond its physical confines to produce meaning, and how this tension around the limits of the literary text is functionally used. Consequentially, the question that follows is how this happens in the oeuvre of H.J. Pieterse and how the author uses his poetic technique to go beyond the confines of the written text. / Thesis (M.A. (Afrikaans and Dutch))--North-West University, Potchefstroom Campus, 2011.

本論文探討英國劇作家凱洛•邱琪兒之《九重天》以及《頂尖女孩》兩劇中深具顛覆性的時空手法。本論文由五章組成。第一章回顧多年來相關的眾多評論角度。第二章援引巴赫汀(Mikhail Bakhtin)的時空型(chronotope)概念探討兩戲中時空融匯的現象，尤其是劇中人物心理、身體狀態，戲劇時空，以及外在社會文化時空背景，三者之間緊密的互動。兩齣戲各別有著兩個不同的時空型：《九重天》第一幕代表的是性別角色僵化的時空型，第二幕則代表了1979年當時社會上傳統性別角色開放且迅速轉變的狀態；《頂尖女孩》則透過一對姐妹Marlene與Joyce對映出當時兩種不同的女性生活，一個是典型八零年代柴契爾主義的事業女強人，一個則是在此種政經趨勢下卻相對更加弱勢的傳統女性。 第三章則探討兩劇第一幕呈現長久以來隱藏空間當中的性別歧視。透過女性地理學者(feminist geographical theorist)之觀點，筆者分析兩戲當中兩性間不同的空間體驗(spatial experience)，以及公/私領域之分界(private-public distinction)所暗藏性別歧視的空間隱喻(spatial metaphor)。當男性與冒險及旅行等等充滿能動性(mobility)的字眼連結，女性卻總是被動地與家庭空間緊緊連繫。邱琪兒在此揭露空間亦為不公平的性別政治當中之一環。 第四章則著重於分析《九重天》第二幕當中的公園場景，以及《頂尖女孩》第二、三幕的辦公室與廚房場景。首先援引傅柯(Michel Foucault)的異質空間(heterotopia)概念來討論各場景間複雜的鏡像與補償關係。透過空間理論學者昂希．列菲弗爾(Henri Lefebvre)以及抵抗地景(geographies of resistance)的空間生產理論分析邱琪兒如何透過呈現特定社會族群佔領特定空間的手法，企圖激進地改變現實當中此類空間的社會意義。 雖然距兩齣劇作首演的年代已有二十多年，但其中所探討之議題依然常見於現今二十一世紀的社會當中。邱琪兒預見了現今複雜的家庭狀態以及大鳴大放的同性戀運動。即使越來越多女性在政治界或是企業界嶄露頭角，世界上多數的女性依然掙扎於找尋工作與家庭之間的平衡點。 / This thesis is to examine Caryl Churchill’s subversive temporal and spatial devices on stage in Cloud Nine and Top Girls. The chronotopes of the two plays articulate how people’s states of beings interact with the external social and cultural conditions, especially during the 1980s in London. Both plays crystallize the space politics full of gender discriminations in the patriarchal society. In addition, Churchill’s dramatic devices are the subversive spatial practice that transforms the gendered spaces into the sites of resistance in order to manifest her protest and seeks more possibilities for the gender roles in the future. There are five chapters in this thesis. Chapter One is an introduction, including the overview of two plays and the review of numerous analyses in the past two and half decades. In Chapter Two, Churchill’s theatrical temporal and spatial devices, including setting, synchronism, and anachronism in Cloud Nine and Top Girls construct chronotopes that lay bare the special social and cultural condition in a certain historical moment. Those chronotopes demonstrate how Churchill unifies people’s internal states of being and the external political structures together. Moreover, by presenting the chronotopes, Churchill criticizes the slowness of the progress in gender politics and the possible backlash about women’s right in the 1980s. In Chapter Three, I analyze how the spatiality of patriarchy constructed by the private-public dichotomy in both Act Ones of Cloud Nine and Top Girls. The spatial experiences between men and women depicted in Act One of Cloud Nine illustrate the stereotypical masculinity and femininity in the Victorian age. The spatial metaphors about movement in Act One of Top Girls expose the strict boundary between the private and the public spaces, and foreshadow the importance of mobility as being a possible strategy to transgress the boundaries. Finally, Chapter Four is the analysis about how Churchill subversively and politically explores the possibility of creating new social spaces in the park space of Cloud Nine and the office space of Top Girls. Her theatrical strategies are potential spatial practices that create the rupture to transgress the unfair restrictions and discriminations in the patriarchal and heterosexual society. The final chapter concludes that Churchill’s dramatic devices about time and space are the subversive strategies to conduct her observations and criticisms about the unfairness in society.

This study examines carnival and ritual in Breyten Breytenbach's dramatic oeuvre and focuses on his Afrikaans drama texts Boklied (1998) and Die toneelstuk (2001). Seeing that these dramas had their debut performances at the Afrikaans national arts festival, the Afrikaans festival phenomenon, as well as Breytenbach's texts will be discussed as framed Events, within a carnival environment, as defined and described by Russian philosopher Bakhtin. The study evolves around three critical questions: 1. How does Bakhtin define the term "carnival" and could Afrikaans national arts festvals be seen as platforms for carnavalesque expression? 2. How does Professor Temple Hauptfleisch define an Event and why can the Afrikaans national arts festivals, as well as the drama texts under discussion, be seen as such Events? 3. How does Breyten Breytenbach's texts link up with Bakhtin's carnival theory and the ritual nature of the Dionysos festivals? / Afrikaans and Theory of Literature / M.A. (Afrikaans)

This research contributes a detailed personal account of a FEMEN activist. It presents an autophenomenographic analysis of cultural artefacts, including a Retrospective Diary, resulting from the activity of Yelena Myshko in FEMEN between 2012 and 2014. Previously FEMEN has been used as raw material for external analysis by press and academics to fit their individual agendas. To counteract this, Myshko’s research proposes an insider perspective on FEMEN activism. She writes herself in response to academics and FEMEN leader Inna Shevchenko who ignore the contribution of FEMEN Netherlands. Myshko merges author/researcher/researched and uses evocative storytelling to provide an introspective account of sextremism, connecting it to relevant embodiment concepts that illustrate its technology of empowerment and unintended side effects.   Through an autophenomenographic analysis of her personal experience, Myshko suggests how FEMEN employs sextremism to create soldiers of feminism. Her research proposes that sextremism is an attitude, a way of life and technology of resistance. For Myshko, sextremism embodies feminist polemic that turns against patriarchy through topless protest. Through personal accounts she illustrates how she internalized this aggressive femininity during physical and mental training. Myshko argues that in protest FEMEN activists communicate to the public and mobilize new activists through feminist snap. In addition, Myshko observes that sextremism produces visual activism that internalizes feminist polemic and transforms it into figurative storytelling. Myshko explains how she reproduced sextremism through body image that made her assertive and empowered her in action.   In turn Myshko demonstrates how personal accounts of sextremist embodiment and problems encountered as a woman in the world reproduce FEMEN’s fight in the media. Myshko analysis interviews with the press where she pinpoints topical feminist issues, making FEMEN real and relevant in Western society. Myshko observes that the media appropriated the spectacle created by FEMEN Netherlands but often distorted it and bend the news to fit its own agenda. In addition, the media criticized FEMEN Netherlands for cross-passing national values and power symbols. For Myshko, sextremism is empowering but also destructive. It promotes an unapologetic self-critical attitude that accumulates collateral damage in battle. The sporadic and restrained relationships between activists does not allow intimacy. Because of the eye of the media, tenderness is perceived as weakness and is not aloud. The combination of criticism, media scrutiny and police persecution hurt Myshko’s feelings. These unresolved feelings of hurt led to resentment and disengagement from FEMEN.

Esta dissertação busca responder a algumas das inquietações e desafios que se instalam com a experiência de se realizar a inclusão digital num telecentro comunitário. Situada no campo da educação não formal, tal experiência se caracteriza pela ausência de parâmetros que norteiem as ações dos atores sociais que dela tomam parte. A pesquisa parte de uma intervenção que propõe o exercício do diálogo com os monitores (jovens responsáveis pelo atendimento à comunidade no telecentro Chico Mendes, em Porto Alegre), através de encontros presenciais e da utilização de um ambiente telemático interativo. A investigação busca caracterizar os modos de ação coletiva, as evidências de autoria e produção de sentidos, considerando os enunciados destes sujeitos na experiência relacional cotidiana de um projeto de inclusão digital. Os pressupostos teóricos de Mikhail Bakhtin e Alberto Melucci orientam a intervenção. O dialogismo, categoria bakhtiniana que conceitua a experiência relacional entre sujeitos e entre discursos, também esclarece a produção do sentido, que ocorre entre um enunciado e outro. A proposta de análise da complexa sociedade contemporânea construída por Melucci contribui para definir o olhar sobre o lugar em que vivem e se manifestam estes jovens, com suas marcas identitárias e modos específicos de ação coletiva. A análise se estrutura a partir de analisadores (momentos de ruptura, situações de conflito, que exigem escolhas e tomadas de posição) e do exercício de mapear sentidos na leitura dos enunciados dos monitores. Esta pesquisa desenvolveu-se junto ao Laboratório de Estudos em Linguagem, Interação e Cognição (LELIC), do Programa de Pós-Graduação em Educação da UFRGS e está inserida na linha de pesquisa O Sujeito da Educação: Conhecimento, Linguagens e Contextos.

Esta dissertação busca responder a algumas das inquietações e desafios que se instalam com a experiência de se realizar a inclusão digital num telecentro comunitário. Situada no campo da educação não formal, tal experiência se caracteriza pela ausência de parâmetros que norteiem as ações dos atores sociais que dela tomam parte. A pesquisa parte de uma intervenção que propõe o exercício do diálogo com os monitores (jovens responsáveis pelo atendimento à comunidade no telecentro Chico Mendes, em Porto Alegre), através de encontros presenciais e da utilização de um ambiente telemático interativo. A investigação busca caracterizar os modos de ação coletiva, as evidências de autoria e produção de sentidos, considerando os enunciados destes sujeitos na experiência relacional cotidiana de um projeto de inclusão digital. Os pressupostos teóricos de Mikhail Bakhtin e Alberto Melucci orientam a intervenção. O dialogismo, categoria bakhtiniana que conceitua a experiência relacional entre sujeitos e entre discursos, também esclarece a produção do sentido, que ocorre entre um enunciado e outro. A proposta de análise da complexa sociedade contemporânea construída por Melucci contribui para definir o olhar sobre o lugar em que vivem e se manifestam estes jovens, com suas marcas identitárias e modos específicos de ação coletiva. A análise se estrutura a partir de analisadores (momentos de ruptura, situações de conflito, que exigem escolhas e tomadas de posição) e do exercício de mapear sentidos na leitura dos enunciados dos monitores. Esta pesquisa desenvolveu-se junto ao Laboratório de Estudos em Linguagem, Interação e Cognição (LELIC), do Programa de Pós-Graduação em Educação da UFRGS e está inserida na linha de pesquisa O Sujeito da Educação: Conhecimento, Linguagens e Contextos.

Esta dissertação busca responder a algumas das inquietações e desafios que se instalam com a experiência de se realizar a inclusão digital num telecentro comunitário. Situada no campo da educação não formal, tal experiência se caracteriza pela ausência de parâmetros que norteiem as ações dos atores sociais que dela tomam parte. A pesquisa parte de uma intervenção que propõe o exercício do diálogo com os monitores (jovens responsáveis pelo atendimento à comunidade no telecentro Chico Mendes, em Porto Alegre), através de encontros presenciais e da utilização de um ambiente telemático interativo. A investigação busca caracterizar os modos de ação coletiva, as evidências de autoria e produção de sentidos, considerando os enunciados destes sujeitos na experiência relacional cotidiana de um projeto de inclusão digital. Os pressupostos teóricos de Mikhail Bakhtin e Alberto Melucci orientam a intervenção. O dialogismo, categoria bakhtiniana que conceitua a experiência relacional entre sujeitos e entre discursos, também esclarece a produção do sentido, que ocorre entre um enunciado e outro. A proposta de análise da complexa sociedade contemporânea construída por Melucci contribui para definir o olhar sobre o lugar em que vivem e se manifestam estes jovens, com suas marcas identitárias e modos específicos de ação coletiva. A análise se estrutura a partir de analisadores (momentos de ruptura, situações de conflito, que exigem escolhas e tomadas de posição) e do exercício de mapear sentidos na leitura dos enunciados dos monitores. Esta pesquisa desenvolveu-se junto ao Laboratório de Estudos em Linguagem, Interação e Cognição (LELIC), do Programa de Pós-Graduação em Educação da UFRGS e está inserida na linha de pesquisa O Sujeito da Educação: Conhecimento, Linguagens e Contextos.

In the present study, the three principal theories of Russian theorist Mikhail Bakhtin--the carnavalesque, grotesque, and dialogical--are applied to the musical-theatre genre of the Spanish zarzuela. The focus of the study centers on the works of composer Pablo Sorozábal and the various librettists who collaborated with him, among them the renowned literary author Pío Baroja. Within this study, zarzuela is first analyzed on its own in terms of the academic debate surrounding the genre and its importance in terms of both literary and musical criticism. After establishing the particular capacity of the zarzuela to make important cultural contributions, the central theoretical framework of the thesis is established via Bakhtinian theory, and several links are drawn between this theory and the genre of the zarzuela, which is shown to be a body of work often capable of conveying subversive messages, both cultural and sociopolitical. With this critical lens, then, the specific sociopolitical context of Spain between 1931-1942 is analyzed and described in order to illustrate the various extratextual and intertextual elements at play in Sorozábal's zarzuelas. The three works ultimately studied are Katiuska (1931), Adiós a la bohemia (1933), and Black, el payaso (1942). By way of highlighting the Bakhtinian characteristics at play in these three zarzuelas, the composer's intention to challenge and criticize Spain's sociopolitical reality, including Francoist dictatorship, is revealed, illustrating the capacity of the zarzuela to challenge and transgress existing norms--an aspect that many critics have failed to recognize in the genre up to the present day.