Orientador: Nelson Luís Ramos / Resumo: A tese que se pretende defender, na comparação entre as obras (Cemitério dos vivos (1956), de Lima Barreto e Recordações da casa dos mortos (1862), de Fiódor Dostoievski, é a de que os diferentes lugares de onde narram os narradores protagonistas têm idêntica função procedimental: são lugares onde vozes dissonantes e contraditórias têm liberdade de se expressar apesar da repressão; a liberdade acaba sendo a característica fundamental e basilar nesses ambientes, a saber: o hospício e a prisão. Considera-se que, neste contexto, “cemitério dos vivos” e “casa dos mortos” são expressões sinonímicas: representam, ambos, o lugar onde os indesejados são postos para que fiquem separados e esquecidos do restante da sociedade. Entretanto, nestes locais, os narradores encontram espaço para expressar suas opiniões, tornando-se vozes discordantes e fazendo de seus claustros, lugares de existência do contraditório. Em Cemitério dos vivos prevalece a angústia, a culpa, a dor, o sofrimento, decorrentes da introspecção do protagonista Vicente Mascarenhas. É de grande pertinência a comparação entre ambas pois, pelo título, já demonstram interessante diálogo: quem são estas pessoas que habitam a “casa dos mortos” e o “cemitério dos vivos”? Por que estão mortas em vida? Trata-se da morte pelo ostracismo, silêncio como punição para os diferentes e os contraditórios. A busca pela homogeneidade pede lugares como estes. Importante estar atento para estes protagonistas narrando o horror do “inenarráve... (Resumo completo, clicar acesso eletrônico abaixo) / Abstract: The thesis that is intended to defend, in the comparison between the works (Cemetery of the Living (1956), by Lima Barreto and Memories of the House of the Dead (1862), by Fiódor Dostoievski, is that the different places from which the narrator-protagonists narrate have the same procedural function: they are places where dissonant and contradictory voices are free to express themselves in spite of repression; freedom ends up being the fundamental and basic characteristic in these environments, namely: the hospice and the prison. It is considered that, in this context, "cemetery of the living" and "house of the dead" are synonymous expressions: both represent the place where the unwanted are placed so that they are separated and forgotten from the rest of society. However, in these places, narrators find space to express their opinions, becoming discordant voices and making their cloisters places of existence of the contradictory. In the Cemetery of the Living, the anguish, the guilt, the pain, the suffering, arising from the introspection of the protagonist Vicente Mascarenhas, prevails. The comparison between the two is of great relevance because, by the title, they already show an interesting dialogue: who are these people who inhabit the "house of the dead" and the "cemetery of the living"? Why are they dead in life? It is death by ostracism, silence as a punishment for those who are different and contradictory. The search for homogeneity asks for places like these. It is ... (Complete abstract click electronic access below) / Doutor

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On April 16, 2007, Virginia Tech became the site of the deadliest school shooting in U.S. history (Breed, 2007). Because of the tragedy at Virginia Tech, news reports all over the U.S. probed about what caused the perpetrator, Seung-Hui Cho, to kill 32 students and faculty members. As the mainstream media talked about the possible causes, they ultimately pointed out that Cho's silence should have been detected as a warning sign to his violent rampage. As a result, the media named Cho a "silent killer." Due to the U.S. media's construction of silence through Cho, I argue that the news coverage helped perpetuate the notion that silence is not only a negative attribute in education, but it is also a dangerous behavior that can pose a threat to people's safety. Therefore, I ask in this dissertation, how did the news coverage of Virginia Tech serve as a public pedagogy of silence? That is, I argue that the news coverage of Virginia Tech served as what Giroux (1994) calls "public pedagogy" in which the media educate and influence the public about how silence should be understood in the classroom. With the media's construction of silence through Cho, it is timely to address how the meaning of silence has changed pedagogically. Even though numerous scholars have written about silence, very few--if any--frame silence within the performance paradigm, specifically in pedagogy. In this dissertation, I introduce silence as a pedagogical performance by using critical communication pedagogy as a theoretical framework to deconstruct problematic media constructions of silence. Through the use of cultural criticism, I analyze 36 mainstream U.S. mediated texts (e.g., newspapers, magazines, and news transcripts) to understand how the media rhetorically defined and constructed silence as a dangerous behavior. I also use an interview as part of multi-methodological approach to cultural criticism, adding clarification on how the surveillance of student behaviors, bodies, and pedagogical practices that do not fit the image of safety affect students in university classrooms.

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Asian international students (AIS) are becoming increasingly more populous in American universities each year. While AIS are enrolled in the same required classes as American students, it has been observed that frequent interaction between AIS and American students is rather uncommon. Due to obvious social hesitation between the two groups of students during classroom discussion, the study presented was initiated in order to unveil possible reasons for this social integration dilemma. Social Attractiveness, Perceived Homophily and Attributional Confidence scales were selected in order to determine possible factors contributing to this dilemma. In order to pursue explanations for the dormant socialization between the two groups of students during class, a survey was administered to a convenience sampling of 426 undergraduate students enrolled in upper-level courses at the University of Central Florida. Results indicated that passive classroom behavior was perceived as less socially desirable by American students. In fact, participants determined that students reflecting passive classroom behavior were less socially attractive, less similar, and less predictable than students that demonstrated active classroom behavior. Ethnicity factors did not play a key role in determining social appeal. These findings provide evidence that the social integration dilemma facing AIS and American students has much more to do with perceived social behavior and cultural differences regarding classroom behavior than with racial prejudice or ethnicity factors.

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Begreppet organisatorisk tystnadskultur betyder att anställda inom offentlig och privat sektor inte vågar uttrycka sig kritiskt på arbetsplatsen på grund av exempelvis osäkra anställningsförhållanden, försämrade karriärmöjligheter samt rädsla för repressalier. Studiens syfte var att undersöka hur före detta anställda och anställda uppfattar att en eventuell tystnadskultur manifesterar sig och vilka konsekvenser det kan medföra inom rättspsykiatrin. Åtta intervjuer genomfördes med personal inom den rättspsykiatriska vården. Materialet analyserades tematiskt där fem huvudteman identifierades: Tystnad kopplat till meningslöshet, tystnad relaterat till repressalier, tystnad relaterat till ett bristande förtroende, tystnadens emotionella påverkan samt tystnadens påverkan kopplat till säkerhet. Resultatet visade bland annat att den upplevda tystnaden inom organisationen främst orsakas av faktorer som en känsla av meningslöshet, rädsla för repressalier och ett bristande förtroende för arbetsledningen. Känslomässig påverkan samt tystnadens säkerhetspåverkan indikerar att det finns arbetsmiljöbrister knutna till den organisatoriska och psykosociala arbetsmiljön.

The thread between the immigrant experience and the concept of silence has survived centuries of migrant stories, proving itself as one of the largest cultural barriers challenging the immigrant's sense of belonging. Scholars and essayists have thoroughly examined silence as a theme in immigrant and diaspora literature. Yet, the work that immigrant poets have performed to navigate silence and negative space through the manipulation of language has received little academic attention. This thesis studies the work of Latinx and Asian-American poets and their interpretations of silence as either a source of empowerment or oppression. When considering silence's contrasting functions in poetry—to either mute or heighten the possibility of language—the thesis found that silence can establish tensions that complicate the immigrant experience, evidenced further by the poets' use of themes representing loss, fear, place, and memory as negatives and positives in the immigrant's journey. The creative part of this thesis follows a chapbook of poems that examine and apply restrictive form into the study of silence and negative space as poetic devices. These poems form a Latinx quilt that embraces silence as a means for communication—like a brother to language—rather than as an oppressor. The resulting work will delineate the journey out of shame and out of hiding that undocumented immigrants must traverse to achieve the freedom of identity in their own self-carved third space.

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Contested interactions between social acoustic spaces and the appropriate methods of listening within them are pervasive in everyday life. This dissertation answers two questions within this expanding field of inquiry. How are sounds phenomenologically interpreted into perceptual categories? Why are these private categories reflected in shared acoustic space, configuring the possible conditions for future sounds? For the first, I propose a phenomenology of audition within which sounds are categorized into three modes: affective, symbolic, and excessive. This classification technique enables the perceptive listener to objectify, parse, interpret, and respond to the sounding world. Second, I argue that these categories are projected and reflected in the socio-political concept of "acoustic orders". Organizations of sound in social space emerge from the tensions between interpretive agents and pre-existing acoustic configurations; in return, the habits and techniques of auditors are fundamentally influenced by these acoustic orders. Henri Lefebvre's spatial theory will be utilized to develop this descriptive framework. The reciprocity outlined between listener and context suggests dual theoretical revisions. In the first part, phenomenology is shown to benefit from the inclusion of its socially generated influences. Alternately, I argue that acoustic orders exist in part because of spatial actions intended to resolve excessive perceptions into a unified experience. / Ph. D.