Zugleich: Diss. Heidelberg, 2008. / Register. Literaturverz.

Thesis (Ph.D.)--Ohio University, June, 2009. / Title from PDF t.p. Includes bibliographical references.

Thesis (D.W.S.)--Institute for Worship Studies, 2006. / Abstract and vita. Includes bibliographical references (leaves 133-142).

Thesis (D. Ed. Min.)--New Orleans Baptist Theological Seminary, 2007. / Includes abstract and vita. Includes final project proposal. Includes bibliographical references (leaves [128]-135, 194-200).

Diss.--Phil.Fak.--Saarbrücken--Universität des Saarlandes, 1998. / Résumé en allemand. Bibliogr. p. 277-296.

This dissertation investigates speech, silence, and power in the Tereus, Procne, and Philomela myth in four sources: Sophocles’ Tereus, Aristophanes’ Birds, Ovid’s Metamorphoses, and the Pervigilium Veneris. I pose three questions about each work: 1. Whom does the author allow to speak, and whom does he silence? 2. How do speech and silence influence characterization, authority, and power? 3. How does the author’s socio-cultural environment influence the construction of those power hierarchies? Each author constructs a hierarchy of agency determined by communicative and silent roles. Sophocles’ Procne, Aristophanes’ Tereus, Ovid’s Philomela and Procne, and the Pervigilium’s Venus and swallow possess a heightened level of narrative agency that cannot be taken away, even if the ability to speak disappears; on the other hand, conspicuous silencing by the author reduces the narrative agency of characters like Aristophanes’ Procne, Ovid’s Tereus, or the Pervigilium’s narrator. These authorial decisions regarding speech and silence evince shifting engagements with each author’s socio-cultural environment and opportunities for artistic output. Moreover, these four authors also engage in an escalating series of mythic reversals and re-appropriations as they mold the details of the Tereus, Procne, and Philomela story into their narratives. First, Aristophanes reverses Sophocles’ empowerment of Procne and Philomela by effacing the violence of Sophocles’ tragedy; he mutes and objectifies Procne, erases Philomela entirely, and elevates Tereus into the bird-man-ruler paradigm that Peisetaerus hopes to emulate, thereby presenting a normative relationship of vocal man with silent woman in service of the movement of his plot. Then, in Augustan Rome, Ovid comments on the princeps’ increasing control over artistic output by acting as an arbiter of speech and silence, as he affords Philomela and Procne eloquent voices while conspicuously silencing Tereus; he “corrects” the Aristophanic “correction” of Sophocles. Finally, in Late Antiquity, the narrator of the Pervigilium laments his silence caused by constraints within panegyric, a genre that lacks a personal voice, such as that possessed by the swallow. He “corrects” Ovid’s presentation of the swallow’s song as the result of Philomela’s brutalization by casting it as a positive exemplum for his own poetry.

A presente pesquisa perseguiu as possibilidades abertas pela pergunta: o que é preciso tramitar do silêncio que permeia o som para recolher os efeitos da pulsão invocante? A pergunta que nos norteou tomou contornos a partir das inquietações que emergiram na condução de diferentes oficinas de música destinadas a sujeitos em grave sofrimento psíquico. Se as inquietações surgiram dessa experiência, o horizonte da investigação não se restringiu ao campo particular da clínica com a psicose. A pesquisa buscou interrogar as incidências dos elementos que perfazem o campo da música sobre a emergência do sujeito, tendo como referencial os aportes da psicanálise freudiana e lacaniana. A pergunta fundante desta pesquisa se vale de uma torção temporal, na qual é pela emergência de efeitos atuais que se sustenta a origem de uma operação anterior, que se extravia ao alcance ao fundar-se. Fez-se necessário justificar o modo de colocação da pergunta tecendo um percurso conceitual a respeito da temporalidade e da origem. O aporte de Freud protagonizou a elaboração de uma temporalidade a posteriori, tecida pela descontinuidade e pela torção. A abordagem de Lacan acerca do tempo lógico impôs radicalidade à valorização da antecipação. A ruptura operada pelo a posteriori nos levou a concebê-lo como uma temporalidade própria à emergência do sujeito sustentada na escansão. A origem foi posta em jogo na antecipação da significação do Outro num tempo de passividade anterior ao tempo do sujeito, e foi concebida como uma ficção do impossível que desdobra o vazio que marca a origem do sujeito. A posteriori, vimos que a escansão nos conduz para além de uma questão de método e retorna sobre o conteúdo mesmo da pergunta. Nesse sentido, propusemos considerar a articulação entre silêncio e pulsão invocante à luz de uma mesma operação de descontinuidade. Discorremos acerca da voz como um excedente real do Outro e consideramos o traço unário como uma escansão inaugural que funda um silêncio estruturante. Situamos a operatória que possibilita a fundação de uma zona de silêncio ou um ponto surdo, que permite ao sujeito esquecer o timbre originário da voz do Outro. A abertura dessa zona inaudita inaugura o circuito da pulsão invocante, a partir da qual o sujeito, depois de esquecer o chamado do Outro, poderá chamar. A música surge como resposta singular que um sujeito pode formular diante do impossível do encontro com a voz em sua dimensão de objeto a. A criação musical é endereçada ao Outro, mas também inclui um terceiro, o ouvinte, no retorno do circuito da invocação. Fechando o trabalho, recolhemos algumas cenas da experiência para dar um contorno singular ao percurso conceitual, remetendo-nos ao final, novamente, ao abismo do silêncio do Outro enquanto enigma que desliza na cultura. / The present study has pursued the possibilities derived from the following question: what is there to be processed of the silence within sound in order to perceive effects of the invocatory drive? The question that guided us had its contours built by inquietudes that emerged throughout the conduction of different therapeutic music workshops aimed for subjects in severe psychic suffering. While the interrogations arose from this experience, the aim of the research wasn’t restricted to the clinic of psychosis’ particular field. The research intended to examine how the elements that constitute the musical field have incidence in the emergence of the subject, having in Freudian and Lacanian psychoanalysis its main theoretical reference. The initial question is based upon a time torsion, by which the appearance of current effects underlies the origin of a previous operation, which becomes lost by the time it’s founded. In order to justify such collocation, a conceptual path on temporality and origin is held. Freud’s contributions play a leading role in conceiving the temporality of the deferred action composed by discontinuity and torsion. Lacan’s approach to the logical time amplifies it by valuing the anticipation and leading us to assess the deferred action as the temporality of the subject’s emergence, supported by the scansion. Origin was placed in reference to the anticipation of the Other’s signification in a time of passiveness, previous to the subject’s constitution, conceived therefore as a fiction of the impossible that veils the subject’s original void. Henceforth it’s seen that the scansion leads us to the content of our question itself, from which it’s possible to consider the articulation between silence and invocatory drive in the light of its very operation of rupture. Discussion is held on the voice being a surplus of the Other’s Real and the unary trait as an original rupture founding a structural silence, defined as a zone of silence or a deaf spot – as an unheard zone that allows the subject to forget the Other’s original timbre. This unheard zone inaugurates the invocatory drive’s circuit, whereby the subject, after hearing the Other’s call, will be able to address a call. The music arises as a singular answer that the subject may set down towards the impossible encounter with the voice as object a. A musical creation is addressed to the Other but also includes a third party, the listener, in the invocatory circuit’s return. As closing, scenes of the experience are collected in order to provide singular contours to the conceptual path, regarding anew the abyss of the Other’s silence as an enigma that resides in culture.

Submitted by Edileide Reis (leyde-landy@hotmail.com) on 2013-05-16T12:15:00Z No. of bitstreams: 1 Rosemary Lapa de Oliveira Campinho.pdf: 2091364 bytes, checksum: dd9b310ee665e175d6c6fd9e0b0b86e4 (MD5) / Approved for entry into archive by Alda Lima da Silva(sivalda@ufba.br) on 2013-05-28T19:26:15Z (GMT) No. of bitstreams: 1 Rosemary Lapa de Oliveira Campinho.pdf: 2091364 bytes, checksum: dd9b310ee665e175d6c6fd9e0b0b86e4 (MD5) / Made available in DSpace on 2013-05-28T19:26:15Z (GMT). No. of bitstreams: 1 Rosemary Lapa de Oliveira Campinho.pdf: 2091364 bytes, checksum: dd9b310ee665e175d6c6fd9e0b0b86e4 (MD5) Previous issue date: 2007 / Este trabalho pretendia, originalmente, verificar e analisar que concepção de leitura direciona os trabalhos do professor, da professora de língua portuguesa do ensino médio e que impacto causa, em suas aulas, a introdução inédita do livro didático de língua portuguesa nas escolas estaduais brasileiras, pelo Governo Federal. Na verdade, esse objetivo foi alcançado, mas, por ser uma pesquisa de cunho etnográfico, outras nuances desse processo explicitaram-se e procurei analisá-las. As pesquisas revelaram algumas categorias de silenciamento presentes na prática de ensino da língua materna, bem como nas orientações para o ensino veiculadas pelos documentos do MEC. É o que se encontra no último capítulo, quando são discutidas as relações entre os conceitos de silêncio e barulho no fazer pedagógico, sob a perspectiva de silenciamento. Ainda sob um olhar descritivo, é feita uma análise de como vem sendo apresentada a proposta de atribuição de sentidos aos textos trabalhados no livro Português: Linguagens, usado pelas professoras do primeiro ano do EM e seus alunos, na Escola estadual da Fonte Nova e qual a sua concepção de língua, linguagem, texto e ensino de língua. Para tanto, é feita uma abordagem histórico-bibliográfica, sintetizando a história oficial da educação formal e acadêmica no Brasil, a história do livro didático e as políticas a elereferentes. / Salvador

Each year, thousands of international students move to the United States to pursue higher education. Over the past few years in particular, the numbers of international students enrolled at U.S.-American universities has been on a constant incline. Two of the biggest changes that international students may experience are the different expectations of classroom etiquette and participation in the U.S.-American classroom setting. Impacted by many years of exposure to West-centric approaches to pedagogical praxis, the U.S.-American classroom has been created as a privileged space in which, more often than not, West-centric epistemologies, approaches to pedagogy, and ways of knowledge production are privileged over others. For international students, the majority of whom do not come from Western cultures, this can be a very tough space to negotiate. In this dissertation, I look at the conceptualizations of voice and silence, in particular, in order to gain a better understanding of how these two concepts are experienced and negotiated by international students within the U.S.-American classroom setting at a medium-sized U.S.-American university located in a small town in the Midwestern region of the country. While many West-centric cultures conceptualize voice and silence as dichotomous, I argue that they form a continuum that is dialogic, communicative, fluid, contextual, and at times paradoxical. Furthermore, I argue that the meanings of silence and voice within the U.S.-American classroom space can have multiple meanings and be understood as different forms of communication and participation. For the purpose of this project, I selected the three meta discourses of postcolonial theory, critical (communication) pedagogy, and international student-centered research to help deconstruct the notion of international students as the “Other,” as well as the misconceptions of silence within the classroom. Postcolonial theory as the main anchor of this research, in particular, allowed me to engage in an in-depth discussion of how we can decolonize West-centric, U.S.-American classrooms and create more dialogic, inclusive, and intercultural spaces in which different epistemologies and ways of knowing and knowledge production can be included. Furthermore, I bring into dialogue the three selected meta discourses in order to create a more nuanced and inclusive conceptualization of voice and silence that moves away from West-centric binaries. I used critical complete-member ethnography (CCME), as developed by Dr. Satoshi Toyosaki (2011), as the main method for critical inquiry. CCME argues for the value that is derived from combining different ethnographic methods in order to create an accurate account of cultural practices, as well as “focus on communicative practices and processes” (p. 66). I incorporated an autoethnographic account that functions to position myself as a researcher as well as autoethnographic narratives and reflections throughout my data analysis. In addition, I extend the notion of membership as it is currently conceptualized within CCME to make the argument for CCME as a method for critical inquiry within intercultural communication, and not just intracultural communication, research. My research findings demonstrate that the West-centric, binaristic conceptualization of voice and silence within the U.S.-American educational system can create unwelcoming learning environments for international students who may feel positioned as the Other who do not fit in, or may feel excluded from dominant discourse by being silenced. The participants’ narratives indicate the meanings of and reasons for international students’ embodiments of silence within classroom settings are as multiple, contextual, and dialogic as the conceptualization of silence itself. The collected data support the argument of the complexity and contextuality of voice and silence, and further call for a reconceptualization of voice and silence as acceptable forms of classroom participation. Furthermore, the international student participants identified several reasons as to why they may choose to perform silence in the classroom. Finally, through the interviews I tried to create a dialogue among international students and instructors in order to address and deconstruct issues pertaining to the struggles of international students caused by U.S.-centric approaches to pedagogy as well as conceptualizations of voice, silence, and classroom participation. My research showed that it is imperative for us to engage in more inclusive, critical, yet compassionate dialogues across our differences in order to create glocalized, intercultural learning communities within U.S.-/Euro-/West-centric educational systems. We must attempt to create intercultural spaces within our classrooms that allow for and cherish diverse narratives, epistemologies, different ways of knowing, and different conceptualizations of voice, silence, and classroom participation within the U.S.-American classroom setting, in particular at a medium-sized U.S.-American university located in a small town in the Midwestern region of the country. This dissertation research privileges such dialogue by centering the narratives of international students, thus, moving them from the periphery to the center and allowing them the agency to address exclusionary pedagogical practices within the U.S.-American educational system that exclude them from dominant discourse.

A presente pesquisa perseguiu as possibilidades abertas pela pergunta: o que é preciso tramitar do silêncio que permeia o som para recolher os efeitos da pulsão invocante? A pergunta que nos norteou tomou contornos a partir das inquietações que emergiram na condução de diferentes oficinas de música destinadas a sujeitos em grave sofrimento psíquico. Se as inquietações surgiram dessa experiência, o horizonte da investigação não se restringiu ao campo particular da clínica com a psicose. A pesquisa buscou interrogar as incidências dos elementos que perfazem o campo da música sobre a emergência do sujeito, tendo como referencial os aportes da psicanálise freudiana e lacaniana. A pergunta fundante desta pesquisa se vale de uma torção temporal, na qual é pela emergência de efeitos atuais que se sustenta a origem de uma operação anterior, que se extravia ao alcance ao fundar-se. Fez-se necessário justificar o modo de colocação da pergunta tecendo um percurso conceitual a respeito da temporalidade e da origem. O aporte de Freud protagonizou a elaboração de uma temporalidade a posteriori, tecida pela descontinuidade e pela torção. A abordagem de Lacan acerca do tempo lógico impôs radicalidade à valorização da antecipação. A ruptura operada pelo a posteriori nos levou a concebê-lo como uma temporalidade própria à emergência do sujeito sustentada na escansão. A origem foi posta em jogo na antecipação da significação do Outro num tempo de passividade anterior ao tempo do sujeito, e foi concebida como uma ficção do impossível que desdobra o vazio que marca a origem do sujeito. A posteriori, vimos que a escansão nos conduz para além de uma questão de método e retorna sobre o conteúdo mesmo da pergunta. Nesse sentido, propusemos considerar a articulação entre silêncio e pulsão invocante à luz de uma mesma operação de descontinuidade. Discorremos acerca da voz como um excedente real do Outro e consideramos o traço unário como uma escansão inaugural que funda um silêncio estruturante. Situamos a operatória que possibilita a fundação de uma zona de silêncio ou um ponto surdo, que permite ao sujeito esquecer o timbre originário da voz do Outro. A abertura dessa zona inaudita inaugura o circuito da pulsão invocante, a partir da qual o sujeito, depois de esquecer o chamado do Outro, poderá chamar. A música surge como resposta singular que um sujeito pode formular diante do impossível do encontro com a voz em sua dimensão de objeto a. A criação musical é endereçada ao Outro, mas também inclui um terceiro, o ouvinte, no retorno do circuito da invocação. Fechando o trabalho, recolhemos algumas cenas da experiência para dar um contorno singular ao percurso conceitual, remetendo-nos ao final, novamente, ao abismo do silêncio do Outro enquanto enigma que desliza na cultura. / The present study has pursued the possibilities derived from the following question: what is there to be processed of the silence within sound in order to perceive effects of the invocatory drive? The question that guided us had its contours built by inquietudes that emerged throughout the conduction of different therapeutic music workshops aimed for subjects in severe psychic suffering. While the interrogations arose from this experience, the aim of the research wasn’t restricted to the clinic of psychosis’ particular field. The research intended to examine how the elements that constitute the musical field have incidence in the emergence of the subject, having in Freudian and Lacanian psychoanalysis its main theoretical reference. The initial question is based upon a time torsion, by which the appearance of current effects underlies the origin of a previous operation, which becomes lost by the time it’s founded. In order to justify such collocation, a conceptual path on temporality and origin is held. Freud’s contributions play a leading role in conceiving the temporality of the deferred action composed by discontinuity and torsion. Lacan’s approach to the logical time amplifies it by valuing the anticipation and leading us to assess the deferred action as the temporality of the subject’s emergence, supported by the scansion. Origin was placed in reference to the anticipation of the Other’s signification in a time of passiveness, previous to the subject’s constitution, conceived therefore as a fiction of the impossible that veils the subject’s original void. Henceforth it’s seen that the scansion leads us to the content of our question itself, from which it’s possible to consider the articulation between silence and invocatory drive in the light of its very operation of rupture. Discussion is held on the voice being a surplus of the Other’s Real and the unary trait as an original rupture founding a structural silence, defined as a zone of silence or a deaf spot – as an unheard zone that allows the subject to forget the Other’s original timbre. This unheard zone inaugurates the invocatory drive’s circuit, whereby the subject, after hearing the Other’s call, will be able to address a call. The music arises as a singular answer that the subject may set down towards the impossible encounter with the voice as object a. A musical creation is addressed to the Other but also includes a third party, the listener, in the invocatory circuit’s return. As closing, scenes of the experience are collected in order to provide singular contours to the conceptual path, regarding anew the abyss of the Other’s silence as an enigma that resides in culture.