Orientador: Sérgio Vicente Motta / Banca: Marcos Antonio Siscar / Banca: Fábio Akcelrud Durão / Resumo: Este trabalho estuda a poética de A Hora da Estrela, aqui intitulada Estilo S.M., sempre em tensão com uma busca própria de linguagem, uma linguagem que se arrisque e, assim, possa corresponder às exigências tensivas de seu "objeto" de estudo. O estudo desse Estilo S.M. fundamenta-se num deslocamento conceitual: a cena do obsceno. Essa expressão foi eleita por sua dupla operação: obsceno significa tanto algo indecente, erótico ou imoral, quanto algo que está "fora de cena". No primeiro sentido, o obsceno inverte a primazia do bem escrever e das belas-letras retóricos. No segundo sentido, o obsceno "entra em cena": as experiências transbordantes do gozo, do erotismo e da crueldade são adotadas como técnica de ressensibilização da escrita. Além disso, outros elementos, que deveriam permanecer "fora de cena", tais como a assinatura autoral e o prefácio, também encenam, atuam na semântica textual: a assinatura torna-se um título, elemento limítrofe que acentua o indefinível da escritura; da mesma forma em que o prefácio é apenas encenado, ou seja, deixa de ser prefácio ao retirar do centro sua função instrutiva, permitindo novamente um questionamento acerca da escritura. São deslocamentos que permitem refletir sobre o texto ao repensar visões que seriam classificadas como fora do texto", não fossem os desvios desse estilo obsceno. São elas as considerações sobre o texto como objeto de consumo e de desejo, apreensões estritamente vinculadas. Sendo assim, A Hora da Estrela exige deste trabalho um estudo ambíguo, ao mesmo tempo teórico e analítico, pois o obsceno (aquilo que não seria "analisável") desloca-se para a cena por meio de um estilo. Esse estilo perverte "funções normais", desarticulando paradigmas e permitindo que os sentidos se espraiem. Com esses desvios, o estilo deixa de ser apenas textualmente analisável,...(Resumo completo, clicar acesso eletrônico abaixo) / Abstract: This paper is centered on the analysis of A Hora da Estrela’s poetics, here named S.M. Style, in tension with the search of a language, one that takes risks and, because of that, may answer to the tensive needs of the "object" of study. The study of this S.M. Style is based upon the displacement of a concept: the scene of the obscene. This expression was elected for its double operation: obscene primarily means something indecent, erotic or immoral, but it also means something that is "out of scene". In the first sense, the obscene inverts the primacy of the rhetoric well writing and belles-lettres. In the second sense, the obscene "enters the scene": the overflowing experiences of orgasm (bliss), eroticism and cruelty are adopted as the writing’s re-sensitizing technique. Besides, other elements, that were supposed to stay "out of scene", such as the author’s signature and the preface, also act in the text’s semantics: the signature becomes a title, element that, being in a limit, accentuates the indefinable nature of the text; the same way as the preface becomes ficcional, that is, it’s not a preface anymore, since it’s instructive function has been displaced from the center, allowing us to question the text’s nature again. These displacements allow us to think about the text as a consumption object, which is strictly connected with the idea of text as an object of desire. Therefore, A Hora da Estrela demands from this paper an ambiguous study, simultaneously theoric and analytic, because the obscene (something that couldn’t be "analysed") enters the scene by means of a style. This style perverts "normal functions", disarticulating paradigms and allowing the senses to spread. With these displacements...(Complete abstract click eletronic access below) / Mestre

Made available in DSpace on 2014-06-11T19:22:20Z (GMT). No. of bitstreams: 0 Previous issue date: 2007-01-26Bitstream added on 2014-06-13T20:09:22Z : No. of bitstreams: 1 souza_vrog_me_sjrp.pdf: 1268117 bytes, checksum: cbb91e8454ce2c8438cf4503c27443c1 (MD5) / Este trabalho é dedicado ao estudo de um dos campos lexicais ditos especiais: o das zonas erógenas das línguas italiana e portuguesa, especificamente dos órgãos sexuais masculino e feminino, para o qual elaboramos e apresentamos a proposta de um vocabulário eróticoobsceno em português-italiano e italiano-português. Para concretizá-lo, realizamos um levantamento desses itens lexicais, fornecendo as variações, além de sua respectiva tradução, coletadas de diversos dicionários especializados e Internet. Tendo como base a Lexicologia e a Lexicografia, optamos por confeccionar um vocabulário onomasiológico, isto é, organizado por conceitos que abrangem um mesmo campo semântico -o da vulva e o do pênis. Um dos motivos que nos impulsionou a estudar esse léxico foi, além da intensidade de uso na sociedade atual, a grande quantidade de unidades lexicais existentes referentes a ele. Assim, buscamos desvendar e organizar a linguagem erótico-obscena, investigando as bases de sua formação as metáforas, motivo pelo qual há necessidade de se partir sempre de uma pressuposição erótica, e as limitações morais de seu emprego - os tabus. Uma das razões de essa linguagem ainda ser relegada a um estudo secundário e prescindível se deve ao fato mencionado de ser concebida como tabu lingüístico, ou seja, é proibida de ser dita na maior parte dos contextos sociais. Ao contrário do que se pensa, essa mentalidade tabuística não se restringe a comunidades consideradas primitivas ou ignaras. Em nossa própria sociedade ocidental percebe-se claramente a repulsa por pronunciar determinada unidade lexical. Almejamos ultrapassar essa barreira e despertar reflexões sobre o processo de criação, sobre o uso e sobre as traduções dessas unidades lexicais desprestigiadas socialmente, e servir de fonte de consulta e pesquisa para tradutores, lingüistas, professores de língua portuguesa ou italiana, estudantes, entre outros. / This work is dedicated to the study of one of the lexical fields called special: the male and female erogene zones in Italian and Portuguese languages, for which we elaborated and present now the proposal of an erotical-obscene vocabulary in Portuguese-Italian and Italian- Portuguese. To materialize it we made a gathering of these words, presenting its variations, beyond its respective translation, collected from some specialized dictionaries and from the internet. Having as base the Lexicology and the Lexicography Sciences, we have chosen to organize an onomasiologic vocabulary, separated by concepts that enclose one same semantic field - the vulva and the penis. One of the reasons that stimulated us to study this lexicon was, beyond the intensity of its use in the current society, the great amount of words about this subject. Thus, we search to reveal and to organize the erotical-obscene language, investigating the bases of its formation - the metaphors - the reason that it is always required an erotical presupposition, and the moral limitations of its use - the taboos. Another motive of this language still is relegated to a secondary and dispensable study it is attributed to the fact mentioned of being understood as a linguistic taboo, in other words, something forbidden to be said in the most part of the social contexts. But this tabooistic mentality is not limited to the primitive or ignorant communities. In our modern occidental society we recognize clearly this repulse for pronouncing determined lexical unit. We intend to exceed this barrier and stimulate other reflections on the process of creation, the use and the translations of these socially despised words, and became a source for consultation available to translators, linguists, teachers of Portuguese or Italian languages, students, among others.

袁立宜. / "2003年7月". / 論文(哲學碩士)--香港中文大學, 2003. / 參考文獻 (leaves 128-131). / 附中英文摘要. / "2003 nian 7 yue". / Yuan Liyi. / Lun wen (zhe xue shuo shi)--Xianggang Zhong wen da xue, 2003. / Can kao wen xian (leaves 128-131). / Fu Zhong Ying wen zhai yao. / 中文摘要 --- p.i / 英文摘要 --- p.ii / 致謝 --- p.in / 圖表 --- p.vii / Chapter 第一章 --- 導論 / 硏究動機 --- p.1 / 硏究方向 --- p.3 / 粗口是甚麼？ --- p.5 / 理論背景回顧 --- p.8 / 硏究方法 --- p.18 / 問卷調查 --- p.20 / 參與觀察及深入訪談 --- p.23 / 訪問 --- p.23 / 專題小組討論 --- p.25 / 出版刊物資料收集 --- p.26 / 觀察記錄 --- p.27 / 本文章節內容 --- p.28 / Chapter 第二章 --- 廣東話髒話的本質 --- p.29 / 香港的語言和方言 --- p.29 / 香港廣東話與大陸廣東話的細分 --- p.30 / 香港的廣東話粗口詞彙 --- p.32 / 廣東話粗口的使用方式.》 --- p.36 / 五個主要粗口詞及其用法 --- p.36 / 髒話的使用和避用 --- p.50 / “講粗口´ح情況 --- p.51 / 粗口的咒罵性 --- p.53 / 結語 --- p.64 / Chapter 第三章 --- 兩性在說髒話方面的差異 --- p.66 / 社會結構：男性與女性和男性化與女性化 --- p.67 / 社會語言的行爲差異 --- p.71 / 深入訪談一 --- p.76 / 深入訪談二 --- p.76 / 深入訪談三 --- p.77 / 漫畫資料 --- p.77 / 訪談觀察一 --- p.79 / 訪談觀察二 --- p.81 / 髒話在兩性之間引起的問題 / 語言中的權力 --- p.84 / 語言強勢對比語言暴力 --- p.85 / 結語 --- p.87 / Chapter 第四章 --- 髒話的非攻擊和非侮辱使用 --- p.89 / 粗口字有娛樂性 --- p.89 / 觀察訪談 --- p.90 / 粗口字歇後語 --- p.94 / 粗口字笑話 --- p.95 / 笑話一 --- p.96 / 笑話二 --- p.96 / 笑話三 --- p.97 / 粗口歌曲 --- p.97 / 粗口時裝 --- p.100 / 粗口打招呼 --- p.102 / 結語 --- p.104 / Chapter 第五章 --- 講粗口 ´Ø是耶？非耶？ --- p.106 / 公共空間及私人空間 --- p.106 / 公共空間的髒話 --- p.106 / 粗口與運動 --- p.109 / 粗口與賭博 --- p.109 / 私人空間的髒話 --- p.110 / 個人形象 --- p.112 / 說髒話犯法 --- p.113 / 正規道德教化 --- p.115 / 如何去分辨社會公認的對錯標準？ --- p.116 / 粗口字詞咒罵性所表現的中國親屬關係 --- p.117 / 禽獸不如？ --- p.119 / 敬神罵鬼 --- p.120 / 粗口與創作 --- p.120 / 結語 --- p.122 / Chapter 第六章 --- 後結 --- p.123 / 髒話的演變 --- p.123 / 髒話的使用界線 --- p.124 / 髒話的價値 --- p.125 / “粗口´ح會消失嗎？ --- p.126 / 參考書目 --- p.127

Il s'agit d'une étude transhistorique des phénomènes de fanatisme selon une perspective psychanalytique. A partir de l'étude d'un corpus littéraire, politique, artistique, cinématographique et de faits historiques ou d'actualité, nous montrons comment le fanatisme s'articule à la manière dont le dispositif symbolique et culturel d'une société contrôle l'évacuation de l'abject sous la forme de l'obscène, dont la pornographie est l'avatar moderne. En dernière instance, cette thèse jette une lumière nouvelle sur l'islamisme radical contemporain. / This research addresses the issue of fanaticism throughout history, from a psychoanalytic standpoint which analyses various speech data: litterature, politics, arts, cinema, historical facts and news items. We intend to demonstrate that fanaticism is linked to the containment of obscenity and abjectness by the symbolic and cultural strutures of society, and that pornography reveals the modern crisis of the abjection containment process. Ultimately, the thesis sheds a new light on contemporary radical jihadism.

Taboo English is an area of inquiry that has been overlooked in the research literature. Little appears to be published on the phenomenon of taboo language and its teaching implications for adult ESL/EFL students learning conversational English. This study aimed to investigate the attitudes and opinions of 80 ESOL teachers from 10 language schools in Auckland, New Zealand, towards the use of Taboo English in society and their attitudes towards teaching about taboo language to adult learners of conversational English. The project used a questionnaire designed to elicit a combination of both qualitative and quantitative data. Results showed that Taboo English was a valuable aspect of ESOL teachers' linguistic repertoire and that both males and females used taboo words in complex and diverse ways to communicate ideas quickly and efficiently. One of the key findings of the study contradicted the typical stereotype that females are more conservative in their taboo use than males. Another major theme that emerged was the linguistic prejudice towards teaching about Taboo English in the second language classroom. The vast majority of ESOL teachers in the study displayed little, if any, enthusiasm for teaching about taboo words to adult learners of conversational English despite acknowledging that taboo words are frequently heard in society today. This study concludes that Taboo language is an undeniable reality of English language use and that ESOL teachers, preparing adult learners to understand everyday language they will be exposed to in the 'real' world, need to address Taboo English to some degree. By not addressing this controversial language, teachers are insufficiently preparing learners to become empowered communicators in English.

This thesis makes use of an online survey to study the current state of language use among newspapers in the American Midwest. Specifically, it examines editors’ attitudes toward and adaptation to changed language over the course of the last fifteen years. Those years have seen a general relaxation of language-use standards in the allowance of profanity, as well as changes brought about by emerging electronic media including the Internet and text messaging. The survey results indicate editors are gradually reacting to these changes, as opposed to leading the charge for change themselves. / Department of Journalism

Taboo English is an area of inquiry that has been overlooked in the research literature. Little appears to be published on the phenomenon of taboo language and its teaching implications for adult ESL/EFL students learning conversational English. This study aimed to investigate the attitudes and opinions of 80 ESOL teachers from 10 language schools in Auckland, New Zealand, towards the use of Taboo English in society and their attitudes towards teaching about taboo language to adult learners of conversational English. The project used a questionnaire designed to elicit a combination of both qualitative and quantitative data. Results showed that Taboo English was a valuable aspect of ESOL teachers' linguistic repertoire and that both males and females used taboo words in complex and diverse ways to communicate ideas quickly and efficiently. One of the key findings of the study contradicted the typical stereotype that females are more conservative in their taboo use than males. Another major theme that emerged was the linguistic prejudice towards teaching about Taboo English in the second language classroom. The vast majority of ESOL teachers in the study displayed little, if any, enthusiasm for teaching about taboo words to adult learners of conversational English despite acknowledging that taboo words are frequently heard in society today. This study concludes that Taboo language is an undeniable reality of English language use and that ESOL teachers, preparing adult learners to understand everyday language they will be exposed to in the 'real' world, need to address Taboo English to some degree. By not addressing this controversial language, teachers are insufficiently preparing learners to become empowered communicators in English.

Made available in DSpace on 2014-06-11T19:30:28Z (GMT). No. of bitstreams: 0 Previous issue date: 2009-11-13Bitstream added on 2014-06-13T19:19:18Z : No. of bitstreams: 1 orsi_v_dr_sjrp.pdf: 1516295 bytes, checksum: 66a0389794a4f3c192ed91f3ff975817 (MD5) / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / A língua em uso numa sociedade é produto de uma cultura e reflete o pensamento de um povo. Desse modo, as unidades léxicas, por meio dos significados atribuídos por um grupo social, determinam um olhar específico do universo e um sistema de valores. Com esse embasamento, nosso trabalho centra sua atenção num tipo de item lexical específico: as unidades lexicais que nominam os órgãos referentes às zonas erógenas, dos quais destacamos o pênis, a vulva, as nádegas, o ânus, os testículos e os seios, em língua italiana e em língua portuguesa, variante brasileira, partindo da análise do corpus coletado. Intencionamos demonstrar que para a denominação dos órgãos sexuais do corpo humano tende-se a evitar a terminologia anatômica oficial – relegada a contextos de grande formalidade – e adotar outros itens lexicais em situações informais, que possam denominar as referidas partes do corpo com conotação sexual. Muitas das lexias recolhidas não são aceitas em todos os contextos, mas entre pessoas afeiçoadas, encontra-se um emprego mais intenso e que assinala intimidade. Por essa razão usam-se inúmeros sinônimos que servem para suavizar uma determinada unidade lexical, na tentativa de mascarar preconceitos sociais historicamente construídos. Principiamos nossa pesquisa examinando os referidos itens lexicais sob a luz da teoria da metáfora conceitual – pois muitos dos itens empregados têm base metafórica e, na maioria das vezes, eufemística. O produto de nossa pesquisa é a amostragem de um dicionário onomasiológico especial bilíngue, abrangendo o mencionado tipo de unidade lexical estudado. Apresentamos, ainda, dentro dos verbetes quais são os semas (unidades mínimas de significação) presentes nas principais metáforas relativas aos mencionados órgãos. O acréscimo destes se mostra uma inovação em meio ao argumento erótico-obsceno, praticamente... / The language in use in a society is product of a culture and reflects the way a community thinks. Therefore, the lexical units, through the meanings assigned by a social group, establish a specific look of the universe and a system of values. With this basement, our work centers its attention in a specific lexical type: the lexical units that nominates the organs from the erotic zone, that are the penis, the vulva, the buttocks, the anus, the testicles and the breast, in Italian and Portuguese language, Brazilian variety, by analysing our corpus. We intend to demonstrate that for the denomination of the sexual organs of the human body it usual to avoid the official anatomical terminology – relegated to the contexts of great formality – and to adopt other lexical items during informal situations. Many of the collected items are not accepted in all the contexts, but between known people, they may designate familiarity. Thus, innumerable synonymous are used to alleviate one lexical unit, trying to mask social prejudices historically constructed. We begin our research examinating the cited lexical items under the light of the theory of the conceptual metaphor – because many of the employed items have a metaphorical and also euphemistics basis. The product of our research is a special onomasiological bilingual dictionary, enclosing part of the mentioned studied of the lexical type. We introduce also in the entries of it semes (minimal meaning unit) present in the main metaphors related to these organs. The addition of these semes reveals an innovation in the study of the erotical-obscene argument, practically unexplored by the linguists. We intend, with this research, to be able to collaborate to demystify some prejudices related to the erotical-obscene lexicon, its use and its creation and to stimulate reflections of it, whose examination of the metaphors... (Complete abstract click electronic access below)

A tese propõe um encontro da trilogia pornográfica da escritora brasileira Hilda Hilst com o pesquisador, e decidiu-se pela forma do ensaio. A trilogia, composta pelos livros O Caderno Rosa de Lori Lamby (1990), Cartas de um Sedutor (1991) e Contos d’escárnio/Textos Grotescos (1992) apresentam uma mudança na trajetória da escritora, que anuncia na passagem para a escrita pornográfica, uma desistência da “literatura séria” e, por fim, entre os anos 1998 - 2004, a escritora assume um novo discurso: a desistência da literatura, quando declara publicamente: “não tenho mais nada a dizer”. Para investigar esses períodos, foi feita uma imersão nos arquivos pessoais da escritora, além da leitura das obras, seguindo a proposição de Didi-Huberman sobre as imagens: o regime da imagem e da imaginação é um local de luta política, principalmente aquelas imagens que portam memórias e têm um poder de transmitir algo de um tempo que se passou. O confronto de diferentes temporalidades se dá como uma estratégia de análise do material de arquivo, uma vez que a hipótese da tese é que, quando Hilda Hilst se “sente livre para fracassar”, acontece junto uma mudança de formato no uso do humor em sua literatura. Através de ferramentas teóricas do campo da psicanálise, da arte, da literatura e da crítica, a pesquisa investiga as noções de erótico, pornográfico e obsceno que compõe o universo da escritora, junto dos seguintes eixos de análise: problematização de imagem, escrita, arquivo, sobrevivência e do realismo grotesco como estratégia para o risível. O método utilizado foi o ensaio, com o objetivo de desenvolver uma pesquisa poética no processo de trabalho. A escrita hilstiana desse período tem por objetivo acordar o leitor com um soco, e aqui, acabou por acertá-lo em cheio. Desse choque se operou uma queda no espaço e uma desestabilização. Diante desta literatura, a tese se constituiu como um percurso de investigação da queda, propondo “Os estudos da gravidade - oscilações entre o peso e a leveza”, como resultados da pesquisa poética. / The thesis proposes a meeting between the Hilda Hilst’s pornography trilogy and the researcher in the essay form. The trilogy is composed by the books “The Pink Book of Lori Lamby (1990)”, “Letters of a seductive (1991)” e “Mockery Short Story/Grotesque Writing (1992)” presenting a change in the author’s trajectory, which is announced in the route to the pornography writings, a called forsake of the “serious literature”, and lastly, between the years 1998 – 2004, the writer assumes a new speech; the forsake of literature, when she declares publicly: “I have nothing else to say”. To investigate these periods of time, an immersion work was made in the personal archives of the author, besides the reading of the author’s works, followed by the proposition of Didi- Huberman about the images: the image system of imagination is a place of political fight mainly in those images that carry memories and have the strength to transmit something of a lost time. The confrontation of different times is an analyses strategy of the archives material, once the thesis hypothesis is that when Hilda Hilst “feels free to fail” occurs together a change of the format in the use of humor in her literature. By the theoretical tools of the psychoanalyses field, the art, the literature and the critic, the research investigates the concepts of erotic, pornography and obscene, that composes the authors universe, along with the following analysis axes: questioning of image, writing, archive, survival and the grotesque realism as a strategy for the laughable. The method was the essay as an objective to develop a poetic research in the work progress. The hilstian writing of this period has as an objective wake up the reader with a punch, and here in this work has just hit her (the author Hilda) in the face. From this shock, a falling into the space and a destabilization operated. Thereby having in mind this literature, the thesis was built as a route in the investigation of fall, proposing The studies of gravity - fluctuation between the weight and lightness, as the results of this poetic research.

A tese propõe um encontro da trilogia pornográfica da escritora brasileira Hilda Hilst com o pesquisador, e decidiu-se pela forma do ensaio. A trilogia, composta pelos livros O Caderno Rosa de Lori Lamby (1990), Cartas de um Sedutor (1991) e Contos d’escárnio/Textos Grotescos (1992) apresentam uma mudança na trajetória da escritora, que anuncia na passagem para a escrita pornográfica, uma desistência da “literatura séria” e, por fim, entre os anos 1998 - 2004, a escritora assume um novo discurso: a desistência da literatura, quando declara publicamente: “não tenho mais nada a dizer”. Para investigar esses períodos, foi feita uma imersão nos arquivos pessoais da escritora, além da leitura das obras, seguindo a proposição de Didi-Huberman sobre as imagens: o regime da imagem e da imaginação é um local de luta política, principalmente aquelas imagens que portam memórias e têm um poder de transmitir algo de um tempo que se passou. O confronto de diferentes temporalidades se dá como uma estratégia de análise do material de arquivo, uma vez que a hipótese da tese é que, quando Hilda Hilst se “sente livre para fracassar”, acontece junto uma mudança de formato no uso do humor em sua literatura. Através de ferramentas teóricas do campo da psicanálise, da arte, da literatura e da crítica, a pesquisa investiga as noções de erótico, pornográfico e obsceno que compõe o universo da escritora, junto dos seguintes eixos de análise: problematização de imagem, escrita, arquivo, sobrevivência e do realismo grotesco como estratégia para o risível. O método utilizado foi o ensaio, com o objetivo de desenvolver uma pesquisa poética no processo de trabalho. A escrita hilstiana desse período tem por objetivo acordar o leitor com um soco, e aqui, acabou por acertá-lo em cheio. Desse choque se operou uma queda no espaço e uma desestabilização. Diante desta literatura, a tese se constituiu como um percurso de investigação da queda, propondo “Os estudos da gravidade - oscilações entre o peso e a leveza”, como resultados da pesquisa poética. / The thesis proposes a meeting between the Hilda Hilst’s pornography trilogy and the researcher in the essay form. The trilogy is composed by the books “The Pink Book of Lori Lamby (1990)”, “Letters of a seductive (1991)” e “Mockery Short Story/Grotesque Writing (1992)” presenting a change in the author’s trajectory, which is announced in the route to the pornography writings, a called forsake of the “serious literature”, and lastly, between the years 1998 – 2004, the writer assumes a new speech; the forsake of literature, when she declares publicly: “I have nothing else to say”. To investigate these periods of time, an immersion work was made in the personal archives of the author, besides the reading of the author’s works, followed by the proposition of Didi- Huberman about the images: the image system of imagination is a place of political fight mainly in those images that carry memories and have the strength to transmit something of a lost time. The confrontation of different times is an analyses strategy of the archives material, once the thesis hypothesis is that when Hilda Hilst “feels free to fail” occurs together a change of the format in the use of humor in her literature. By the theoretical tools of the psychoanalyses field, the art, the literature and the critic, the research investigates the concepts of erotic, pornography and obscene, that composes the authors universe, along with the following analysis axes: questioning of image, writing, archive, survival and the grotesque realism as a strategy for the laughable. The method was the essay as an objective to develop a poetic research in the work progress. The hilstian writing of this period has as an objective wake up the reader with a punch, and here in this work has just hit her (the author Hilda) in the face. From this shock, a falling into the space and a destabilization operated. Thereby having in mind this literature, the thesis was built as a route in the investigation of fall, proposing The studies of gravity - fluctuation between the weight and lightness, as the results of this poetic research.