Submitted by Filipe dos Santos (fsantos@pucsp.br) on 2017-04-03T12:56:51Z No. of bitstreams: 1 Raquel Andrade Machado.pdf: 1088720 bytes, checksum: 5c9a5a05c3beee108a259b651669d1f1 (MD5) / Made available in DSpace on 2017-04-03T12:56:51Z (GMT). No. of bitstreams: 1 Raquel Andrade Machado.pdf: 1088720 bytes, checksum: 5c9a5a05c3beee108a259b651669d1f1 (MD5) Previous issue date: 2017-03-22 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / The present research aims at analyzing the role of the narrator in Iaiá Garcia (1878), by Machado de Assis, on the threshold between reliability and unreliability, aspiring to ambivalence and irony. Pointed by the critical tradition as an in-between novel from the author’s romantic and realist phases, the question that guides this research is that of investigating whether, and to which extent, it would be possible to detect in the narrative structure, especially in the narrator’s point of view, this transitional place between the two aesthetic-literary paradigms by observing the characters Iaiá Garcia, Estela and Jorge – which form the amorous triangle in the plot. We assumed the hypothesis that the narrator has a preponderant role in the construction of the narrative by positioning itself halfway between omniscience and loss of control over the characters, by conveying a dialogic discourse that highlights irony. Furthermore, this is what we could call a chess-player narrator, one who condones the female characters’ – Estela and Iaiá – moves in the chess game; one who detaches itself from the enunciation to the enunciated – chapter XII –, and one whose focus is on the amorous triangle Estela-Jorge-Iaiá – the chess piece used by the ironist narrator to criticize romantic love, with its excesses and fanciful idealizations, and to project another sort of love, driven by reason and logic. As theoretical underpinning, we used Wayne C. Booth (1964) on the telling-showing distinction and on the types of narration; Mikhail Bakhtin (2011) on polyphony, alterity and dialogism, as well as Linda Hutcheon (2000) and her studies on irony. The analysis of the narrative discourse showed that the narrator’s detachment lies upon strategies of telling and showing, applied to interval tones whether of free indirect discourse or irony. Thus, it is possible to observe the existence of a literary project thought by Machado de Assis, which sets new paradigms regarding the narrator’s position, often distrusted in the omniscient mode; the creation of characters, made more autonomous and responsible for their viewpoints; and finally, the reader, from whom the reading will require more than fondness for Romanesque adventures, typical of feuilleton novels / O objetivo deste trabalho é o de analisar o movimento do narrador de Iaiá Garcia (1878), de Machado de Assis, no limiar entre a confiabilidade e a não confiabilidade, investindo na ambivalência e na ironia. Tido pela tradição crítica como um romance de passagem entre a fase romântica e a realista do escritor, a questão motivadora desta pesquisa foi a de investigar em que medida seria possível detectar na estrutura da narrativa, especialmente no ponto de vista do narrador, esse lugar cambiante entre esses dois paradigmas estético-literários na relação com as personagens Iaiá Garcia, Estela e Jorge, que configuram o triângulo amoroso da trama. Partimos da hipótese de que o narrador assume um papel preponderante na construção da narrativa posicionando-se a meio caminho entre a onisciência e a perda desse controle sobre as personagens por meio de um discurso dialógico no qual a ironia se destaca. Além disso, é este um narrador enxadrista, que compactua com as personagens femininas – Estela e Iaiá – os lances de um jogo de xadrez, que se desloca da enunciação para o enunciado – o capítulo XII –, e cujo foco é o triângulo amoroso Estela-Jorge-Iaiá. Este é um núcleo importante para o narrador ironista posicionar-se criticamente sobre o amor romântico, com seus excessos e idealizações fantasiosas, para projetar um outro tipo de amor, fruto da razão e do cálculo. Como embasamento teórico, utilizamos Wayne C. Booth (1964) sobre o par contar-mostrar e as estratégias do narrador, Mikhail Bakhtin (2011) com os conceitos sobre plurilinguismo, alteridade e dialogia, e também Linda Hutcheon (2000), no seu estudo sobre a ironia. A análise do discurso narrativo demonstrou que o deslocamento do narrador se faz entre estratégias de contar e mostrar, investindo em tons intervalares seja do discurso indireto livre, seja da ironia. A partir daí, é possível perceber a presença de um projeto literário de Machado de Assis, que lança novos parâmetros para o posicionamento do narrador, questionado em seu modelo de onisciência; para a construção das personagens, mais autônomas e responsáveis por sua visão de mundo e para o leitor (a) do qual se exige mais do que identificação com aventuras romanescas, próprias dos romances folhetins

nÃo hà / Esta pesquisa està centrada no estudo de produÃÃes textuais de alunos de 6 ano do ensino fundamental II, cujo gÃnero pertence ao conto popular. A abordagem dada ao tema teve como base pressupostos da LinguÃstica Textual, com Ãnfase no protÃtipo narrativo de Adam (1992; 2008) e no ISD de Bronckart (2007), especificamente, no tipo de discurso narraÃÃo. O objetivo à analisar a infraestrutura desses textos, verificando a presenÃa da sequÃncia narrativa ou do script, alÃm da construÃÃo do texto com as categorias: tempos verbais, organizadores temporais e pronomes. A pesquisa apresenta um carÃter teÃrico-prÃtico e à delineada em quase-experimental com um corpus que se compÃe de quarenta e duas (42) produÃÃes textuais divididas em produÃÃo inicial (PI) e produÃÃo final (PF). Essas produÃÃes textuais foram recolhidas durante um perÃodo de trÃs semanas com atividades, que tratavam das categorias citadas anteriormente, em forma de oficinas à luz das sequÃncias didÃticas de Schneuwly; Dolz (2004). A anÃlise levou-nos a observar que muitas das produÃÃes foram estruturadas segundo a sequÃncia narrativa de Adam (1992; 2008), outras, porÃm, apresentaram somente o script, conforme Bronckart (2007), comprometendo a infraestrutura textual de gÃneros do narrar como o que nos propomos a construir com os alunos do 6 ano. Apreendemos que os alunos possuem a estrutura narrativa internalizada, porÃm nÃo sabem distinguir entre o processo de intriga e o script, produzindo textos que apenas enumeram aÃÃes. Ao construÃ-los utilizam-se das categorias elencadas, priorizando os tempos verbais do narrar, apesar de em algumas situaÃÃes essas construÃÃes parecerem equivocadas. Os organizadores temporais, segunda categoria analisada, funcionam nesses textos como um elemento que auxilia os tempos verbais com as locuÃÃes adverbiais que se apresentam com maior incidÃncia. Na categoria pronomes, as construÃÃes apresentam anÃforas que demonstram o uso de um mecanismo da lÃngua, evitando repetiÃÃo de elementos no texto, o que constitui para um aluno em processo de desenvolvimento da escrita uma estruturaÃÃo de ideias. Acreditamos que a pesquisa constitui-se em uma reflexÃo teÃrica sobre a construÃÃo do texto narrativo de alunos de 6 ano. Esperamos ter contribuÃdo para compreensÃo da importÃncia da diferenciaÃÃo entre um texto narrativo e um script. A relevÃncia dessa pesquisa està na compreensÃo dessas categorias na infraestrutura do texto que auxiliam o aluno a produzir gÃneros do narrar e ao professor compreender esse processo, valorizando e auxiliando o aluno na construÃÃo da produÃÃo textual narrativa. / This work aims at analyzing the text productions of the II level fundamental sixth grade, concerned to the genre of popular narratives. The approach given to the theme is based on Text Linguistics, emphasizing Adamâs (1992; 2008) narrative prototype and Bronckartâs (2007) sociodiscursive interactionism, particularly about the type of narrative discourse. The objective is to analyze the infrastructure of these texts, verifying the presence of the narrative sequence or of the script, as well as of the constructions with the following categories: verb tenses, temporal organizers and pronouns. This is a theoretical-practical research, which can be described as an almost experimental one, whose corpus is formed by forty-two (42) text productions, divided into initial production and final production. These text productions, which were done by workshops in the light of Schneuwly and Dolzâs (2004) didactic sequences, were collected in a period of three weeks, containing activities with the categories previously cited. We observed that a lot of productions were structured according to Adamâs (1992; 2008) narrative sequences. However, other texts presented only the script, according to Bronckart (2007), what can jeopardize the text infrastructure of narrative genres as we proposed to construct with these students of the sixth grade. We noticed that the students have the narrative structure internalized, but they can not distinguish the plot process from the script, producing texts which only enumerate actions. When they build them, they use the mentioned categories, prioritizing narrative verb tenses, although some of these situations appear to be wrong. The temporal organizers, which are the second category analyzed, have the function of an auxiliary of the verb tenses with the most frequent adverbial locutions. Referring to the pronouns, the constructions present anaphors which show the use of a language mechanism that avoids the repetition of text elements. This results in the constitution of a writing development process and an idea structure process by the students. We believe that this research consists in a theoretical reflection about the construction of narrative texts by students of the sixth grade. We hope to contribute to the importance of differing a narrative text from a script. The relevance of this research is defined by the comprehension of these categories to the text infrastructure, which help the students to product narrative genres, and the teachers to comprehend this process, valuing and helping the students in the narrative text production.

La presente investigación se inscribe en los estudios de adquisición de segundas lenguas, en concreto en los estudios de la interlengua, y responde al propósito del estudio del fenómeno de la variabilidad, tomando como indicador de esta el uso de la morfología verbal en contextos de pasado en el discurso narrativo. El trabajo se sitúa en el paradigma cualitativo descriptivo y propone relacionar, en su análisis de datos, diversos niveles de la lengua entre sí. Así, se contemplan y categorizan diferentes cuestiones como: la estructuración del discurso, la secuencia narrativa, la posición del hablante respecto a la narración (cambios de perspectiva), el plano de la narración (foco y fondo), la categoría temporal de las acciones (simultáneas, retrospectivas, prospectivas), el aspecto léxico de los predicados (logro, realización, actividad y estado), la morfología verbal, las perífrasis, las oraciones subordinadas y los marcadores de tiempo (adverbios, construcciones adverbiales). Todo ello, con el fin de descubrir y describir patrones de actuación y relaciones entre los diferentes componentes y niveles del sistema en los distintos niveles de competencia. El análisis se ha hecho siempre en función de las tres variables independientes establecidas en el estudio: 1) la lengua primera (L1) de los aprendices de español: aprendices de L1 francés y japonés, 2) su nivel de competencia: alumnos de niveles principiante, intermedio y avanzado y 3) el tipo de prueba que estos realizan: tres pruebas diferentes cada uno de ellos. Por un lado a) una narración oral libre y personalizada de una experiencia vivida por el propio sujeto, b) una narración oral guiada por una secuencia de dibujos de una tira cómica y c) la misma narración, esta vez escrita a modo de relato sobre la misma tira cómica. Los análisis de los datos, codificados con el sistema computacional de CHILDES, responden a las siguientes preguntas: 1) El grado y el tipo de variabilidad de la interlengua en el uso de la morfología verbal en contextos de pasado, ¿varía según el nivel de competencia de los aprendices, de su L1 o de la prueba que realizan? 2) ¿A qué factores o fenómenos está asociada la variabilidad en el uso de la morfología verbal? ¿Varían dichos factores en función del nivel de competencia de los aprendices, de su L1 o de la prueba que realizan? 3) ¿Presenta sistematicidad la variabilidad en la distribución de la morfología verbal en contextos de pasado? Los resultados muestran rasgos coincidentes en los dos grupos de sujetos de lenguas primeras tipológicamente distantes (francés y japonés) que, sin embargo, no se corresponden con el uso nativo. Así, respecto al grado de variabilidad de la interlengua según los diversos niveles de competencia, ésta presenta una curva en U en los dos grupos. En cuanto al tipo de prueba en que se detecta un mayor grado de estabilidad se trata de la narración escrita en los dos casos. Sin embargo, se observan rasgos no coincidentes entre los grupos como el caso del indicador de variabilidad que toman. En los resultados presentamos los patrones de actuación observados en nuestros datos así como los principios que guían la organización de la interlengua relacionadas con su nivel de competencia. / This research is part of the studies of second language acquisition, in particular the interlanguage studies, and responds to the purpose of the variability in narrative discourse. The research’s aim is to describe patterns and relations between the different components and levels of the system at various levels of learner’s proficiency. Analysis has been always made according to three independent variables set in the study: 1) the first language (L1) of Spanish learners: learners of Japanese and French L1, 2) their level of competence: Beginner, Intermediate and Advanced level 3) the type of task that they perform: three different task each one: a) a free and personalized oral narrative of an experience of their own life, b) a storytelling guided by a sequence of drawings of a comic strip and c) the same narrative, this time written as a story about the same comic strip. The analysis of the data, encoded with the computational system of CHILDES, respond to the following questions: (1) The degree and type of interlanguage variability in the use of the verbal morphology in past contexts, vary according to the level of competence of learners, their L1 or the test carried out? (2) What factors or are associated with variability in the use of the verbal morphology? They vary such factors depending on the level of competence of apprentices, their L1 or the test carried out? (3) Does the variability in the distribution of the verbal morphology in past contexts is systematic? The results show features matching in the two groups of subjects from distant first languages (French and Japanese) which, however, do not match the native use of the language.

Esta dissertação analisa as expressões nominais utilizadas na construção textual-discursiva do ponto de vista em contexto argumentativo, especificamente, nos gêneros petição inicial e contestação em ações de união estável. Apesar de serem gêneros argumentativos, comportam, em sua estrutura, sequências narrativas a partir das quais podemos averiguar o jogo de vozes estabelecido, ao se argumentar narrando em situação de conflito ou de embate discursivo no domínio jurídico. Daí a nossa hipótese de que tais gêneros se diferenciam quanto à forma de argumentar narrando em relação a gêneros dos domínios literário e jornalístico, por exemplo. Com base na abordagem dialógica do texto/discurso e no pressuposto de que todo discurso é povoado de diversas vozes consequentemente, de pontos de vista , entendemos que as expressões nominais desempenham expressivo papel para a argumentação nos referidos gêneros. Em outras palavras, esse recurso contribui para o estabelecimento de posições enunciativas e para a expressão da subjetividade em contexto argumentativo-dialogal de embate. Assim, importa analisar a relação entre os enunciadores no discurso, a saber: como o locutor/enunciador advogado (enunciador principal) gerencia os pontos de vista no discurso e perspectiva os objetos de discurso (fatos e personagens). Isso implica investigar como tal instância narradora mobiliza as expressões nominais para assumir um ponto de vista responsável pela orientação argumentativa do texto. No jogo de vozes, o locutor/enunciador coenuncia com seu cliente, enquanto o outro (adversário) é um subenunciador. Quanto ao corpus da pesquisa, constitui-se de uma petição inicial e da respectiva contestação em ações de união estável documentos do ano de 2012 e pertencentes à 4 Vara da Família e Registro Civil da Comarca da Capital, Estado de Pernambuco. Os resultados encontrados confirmaram a teoria de Rabatel: em texto argumentativo, o ponto de vista predominante é o afirmado. / This dissertation analyzes the nominal expression used in the textual and discursive construction of the point of view in argumentative context, specifically in initial petition and plea (answer) genres in consensual marriage legal action. Although they are genres known as argumentative, they hold in its structure narrative sequences from which we can observe different voices that it establishes when we argue narrating in a conflict situation or discursive clash in juridical domain. Thus a hypothesis entertained here is that these genres are different when a person arguments narrating from the literary and journalistic domain, for example, from a dialogic approach of the text/discourse and based on the assumption that all discourse has several voices and consequently points of view, we understand that nominal expressions are extremely important (they play an important role) to the argumentation in these genres. In other words, we understand that this resort contributes to the establishment of enunciative positions and to the subjectivity expression in a clash dialogal-argumentative context. Seen in these terms, it is important to analyze the relation among enunciators in a discourse, like: how the lawyers as a locutor/enunciator, as the main enunciator, manages the points of view in a discourse and contributes to putting a perspective of the objects of discourse (facts and characters). So, it is important to investigate how this narratorial instance mobilizes the nominal expressions to assume a point of view responsible for the argumentative orientation of a text. In these different voices (a game of voices), the locator/enunciator coenunciates with his client, and the other person (the opponent) is a subenunciator. The corpus of this research will be an initial petition and plea (answer) in consensual marriage legal action - both documents are from 2012 and they belong to the 4 Vara da Família e Registro Civil da Comarca da Capital, Estado de Pernambuco. The results found in this research confirmed Rabatels theory: in argumentative contexto, the prevalente point of view is the affirmed point of view.

CFS/ME (Chronic Fatigue Syndrome/Myalgic Encephalomyelitis) is a distressing and potentially debilitating condition. It can also be understood as a contested condition, surrounded by controversy about its nature, causes and treatment. Previous research indicates that those affected experience this climate of contestation as a troubling and discrediting assault, not only on the nature of their condition, but also on their identities. However, little attention has been paid to the voices of young people living with CFS/ME. This thesis extends a relatively small literature in new directions, focusing a constructionist, discursive narrative lens on the accounts of ten young people (aged 13-18) living with a diagnosis of CFS/ME. Narratives constructed during repeated interviews over a year, and drawing on multimodal materials collected by participants over that period, were analysed for their content, structure and performance, with reference to the local and broader contexts of their production. This analysis demonstrates that teenagers construct rich, multi-layered narratives with the potential to enhance understanding of their situation and broader features of the social world. As they speak of the onset of illness, attempts to live with enduring, unpredictable symptoms and their psychosocial consequences, and (for some) the possibility of 'moving on' from the worst of illness, this analysis throws new light on how young people's narratives can be understood as simultaneously constructing the condition ('M.E.') and the identities of those involved ('me' and others), in ways that engage with, reflect and resist prevailing discourses. It is argued that the discursive contexts of CFS/ME and adolescence raise particular challenges for young people as they try to construct credible narratives that convey the full extent of their difficulties, while resisting stigmatising identities (eg, as 'complaining', 'lazy' or otherwise 'not normal'). This analysis highlights implications for them, their families and those who work professionally with them; and for the ongoing social construction of CFS/ME in young people.

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Made available in DSpace on 2017-06-01T18:24:37Z (GMT). No. of bitstreams: 1 dissertacao_maria_do_carmo.pdf: 1347046 bytes, checksum: fb69e511087e5bcc66d8c7e0c7e2a559 (MD5) Previous issue date: 2011-05-18 / This linguistic investigation aims to study the conceptions of language and teaching interiorized by teachers from the first grades of basic education acting in the public teaching networks. They are protagonists of the graduation program in plain pedagogy. The program aims to attend the determination of law, 9.394/96, that has the purpose of improving the basic education rates, qualifying the teaching activity, which is based upon the theoretical-practical relation. Facing this phenomenon, we bring again the hypothesis: what language conceptions subsidize the subject‟s reflections when they are narrating their experiences theoretical-practical? We take as a referential the language supported by theoretical contributions and authors that discuss the teaching of maternal language, circumstanced by the language conceptions that base the practice of teachers in this area of the knowledge. We also chose to accomplish a theoretical sturdy of the memorial, in order to give visibility in text. The sample is made of 24 selected memorials, which build the corpus. It was analyzed through four categories that constitute the fundamental activities of Portuguese language teaching orality, writing, reading and grammar. The results of the research confirm that the conditions of the memorials production were decisive in order to answer the raised hypothesis. Thus, the language conception inside the narrative discourses has an interactionist approach, considering the way they auto refer the reconstruction of the practice of maternal language teaching / Esta investigação linguística tem como objeto de estudo as concepções de linguagem e ensino dos professores das séries iniciais do Ensino Fundamental, em exercício nas Redes Públicas de Ensino, protagonistas do Programa de Graduação Plena em Pedagogia. Este programa tinha como objetivo atender ao disposto na Lei de Diretrizes e Bases da Educação Nacional-LDB 9.394/96, com a finalidade de melhorar os índices da Educação Básica, qualificando o fazer docente, fundamentado na relação teoria-prática. Diante desse fenômeno, nos voltamos para levantar a hipótese: que concepções de linguagem subsidiam as reflexões dos sujeitos ao narrarem as suas experiências teórico-práticas no Memorial? Tomamos como referencial a Linguagem apoiada nas contribuições de teóricos e autores que discutem o Ensino da Língua Materna, circunstanciado pelas concepções de linguagem que embasam a prática do professor dessa área do conhecimento. Optamos fazer um estudo teórico do Memorial para dar visibilidade a este gênero textual. A amostra se constitui de 24 memoriais selecionados, na Instituição Formadora. Para a consecução dos objetivos tomamos como principio metodológico a análise qualitativa por possibilitar a interação entre a pesquisadora, os autores e o texto. Efetuamos um corte epistemológico nos memoriais para constituir o corpus. Este foi analisado a partir de quatro categorias que constituem os eixos de ensino da Língua Portuguesa, a oralidade, a escrita, a leitura e a gramática. Os resultados dessa pesquisa confirmam que as condições de produção dos memoriais foram determinantes para responder à hipótese levantada. Assim, a concepção de linguagem predominante no discurso das narrativas é de abordagem interacionista, pela forma que autoreferenciam a reconstrução da prática de ensino da Língua Materna

Understanding Gilgamesh – brokenly – is to understand life brokenly. The Epic of Gilgamesh is the narrative of life. It records the full cycle of the nerve and aplomb of youth, of the doubt and crisis of midlife, of the acceptance and quiescience of maturity. Moreover, this understanding is a broken understanding. It starts with the clay tablets that are broken in a literal sense of the word. Further, the narrative is a narrative of broken-ness – the story ends in tears. A man has lost his last chance of obtaining life everlasting. Yet he manages to recuperate despite his failure. The first part of this thesis examined the world of Gilgamesh. Initially he was known as the Sumerian king Bilgames. He makes his appearance in the form of oral compositions that are recited or sung in the royal courts of kings during the Sumerian period: sheer entertainment, nothing really serious. At his side is his loyal servant Enkidu who supports his master in everything he does. Akkadian gradually ousts Sumerian as vernacular, yet the latter continues to dominate as the language of culture and court. Bilgames survives the reign of the Sargonic dynasty, and even revives during the glorious Ur III period of Shulgi and of Ur-Nammu. Sumerian Bilgames-poems are recorded in writing. However, by the time that Hammurapi draws up his legal codex, the Sumerian Bilgames is known as the vibrant Akkadian king Gilgamesh. His servant Enkidu is elevated to the status of friend. Together they defy men, gods, monsters. When Enkidu dies, Gilgamesh goes even further in search of life everlasting. He reaches Uta-napishtim the Distant in order to learn the secret of eternal life. The optimism of the Old Babylonian Kingdom is replaced by the reflection and introspection of the Middle period. Life is difficult. Life is complex. The Gilgamesh Epic is once again re-interpreted and supplemented by a prologue and an epilogue: both begin and end at the same place, at the walls of Uruk. Here Gilgamesh looks back and forward to his life and contemplates about the meaning of life in general. The second part of this thesis dealt more specifically with the story – the literary aspects of the Epic. Genette’s theory illuminated several interesting literary devices with regards to the rhythm and pace of the narrative. However, much of the reflective nature of the Epic was also revealed. There were moments of looking forward, and looking backward: after Gilgamesh broke down in tears at the end of the Epic, he suddely gained perspective on life. Somehow a broken narrative focused into a meaningful whole that may just make future sense. Jauss’s theory illuminated why Gilgamesh refuses to be forgotten, why he is once again alive and well in the twenty first century. Although he was buried in the ruins of Nineveh for a thousand plus years, he is suddenly back on the scene – and not for academic reasons only. Not only scholars of the Ancient Near East take an interest in the old Epic, but also people from all sectors of life. Somehow Gilgamesh seems to respond to questions that are asked even by those who understand nuclear physics – but who grapple with the paradox of living meaningfully. Understanding Gilgamesh – brokenly – understands life. / Thesis (DLitt)--University of Pretoria, 2006. / Ancient Languages / unrestricted

This thesis deals with a motive, very frequent in the novels of Haruki Murakami: a male protagonist trying to save his spouse, who has disappeared in a "different world". This can be of course interpreted as an orphic myth variation. However, the version used by Murakami resembles the story of Izanagi and Izanami deities in the Kojiki, ancient Japanese chronicle, more than the Greek orphic myth. Therefore, the motive is treated like a specific "Izanagi myth" variation here in the thesis, and the examination of its function is focused on the novels, the most important segment of Murakami's work. Murakami intentionally uses a very complicated form of narration in the novels. Therefore, to examine the exact function of Izanagi myth motive in the novel stories, a method of abstraction of these stories from their narrative discourses is used, based on the theories of Seymour Chatman. According to these theories, stories are strictly chronological sequences of events, while narrative discourses are more specific forms of these sequences, processed by the narrators. To abstract "exact" stories from Murakami's novels' specific discourses, we concentrate on all time-related data in their texts and use them to reconstruct the minute chronological orders of events - the stories of the novels. After that, we...

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