Le silence devient une substance matérielle dans l'œuvre de Maria Ondina Braga,qui en fait un objet à son usage, voire à son image. Ecivaine de l'absence, de la mort et de cette énigmatique "jouissance Autre" (que phallique), ses textes sont modulés par un exotisme oriental qui ajoute du mystère et de la pudeur au langage de l'ineffable qui les caractérise. La "mise au mots" du silence émotionnel,les réticences de son écriture, située en permanence sur la frontière entre le dit et le non dit, le secret qui entoure le ses personnages permettent de définir Maria Ondina Braga comme une écrivaine de l' "intime". Dans cette étude, nous nous interrogeons avant tout sur l'émergence du silence chez l'écrivaine, née en 1922 au nord du Portugal. Le climat dans lequel elle "s'éveille tout d’abord aux choses et aux êtres" ainsi que le drame de son enfance la conduisent au silence comme refuge sensible mais aussi comme ravissement identitaire traumatique. Les voyages réels s'imposent alors comme une quête désespérée des imites de son Moi hétérogène. Ils fournissent des matériaux à son évasion imaginaire. Une écriture du silence, que nous analysons dans une deuxième partie, prend forme. La dépression signée par le silence érotique qui marque l'écrivaine, devenue une sorte d’organisation narcissique du vide qui l'habite, relance l’écriture : l'écho du silence dit alors inlassablement le deuil impossible et l'absence devenue corps envahissant. Dans son œuvre comme dans sa vie, le silence est bien cet "être-au-monde" propre à l’écrivaine, condition indispensable à sa survie. / Silence becomes material in Maria Ondina Braga's work, transforms it into an object to her use or even in her own image. Writer of absence, death and that egnigmatic "other ecstasy", her texts are shaped by an oriental exotism which adds mystery and a sense of decency to this language of the ineffable that characterizes them. The wording of the emotional silence, the reticences of her writing, permanently located on the edge between the said and the unsaid, the secrecy surrounding her characters enable to define Maria Ondina Braga as a writer of "intimacy". In this study, we mainly wonder about the incoming of silence in the work of the writer, born in 1922 in nothern Portugal. The circumstances in which she "wakes up first to things and beings" and her childhood drama led her to silence as a sensitive refuge as well as a self traumatic ravishing. Her real-life trips result from a desperate quest of her self heterogeneous limits. They provide support to her virtual escapes. A writing of silence takes place and this is analyzed in a second part. Depression underlined by her erotic silence, signature of the writer, turns into a kind of a narcissistic organisation of her characteristic "unbeing". That depression revives the writing : the echo of silence endlessly tells the impossible mourning and how absence becomes a physical invader. In her work such as in her life, silence really is that "being in the world" specific to the writer and an absolute prerequisite to her survival.

Considérés pendant de longues décennies comme étant « inéducables », les Sourds ont dû subir la farouche volonté des « Entendant » : les faire parler à tous prix. Faire oublier qu’ils étaient sourds. Sans doute faut-il considérer que la surdité représente « l’handicap de la communication », handicap qui ne se voit pas d’emblée. C’est ainsi qu’au fil des années, il apparu comme nécessaire de faire parler les sourds. Les faire parler pour qu’ils puissent appartenir à cette « normalité » prônée par les Entendant Oralistes ( comme Heinicke au XVIIIème siècle) : « La normalité réside dans la parole vocale et l’anormalité dans la surdité. » Au même moment l’Abbé de l’Épée recommandait la « méthode gestuelle ». La Langue des Signes naissante devint le frontispice de ce que les sourds revendiquent : L’ « Identité Culturelle Sourde ». Actuellement la loi promulgue le « tout intégration », intégrer des enfants sourds en « milieu ordinaire » Cette intégration semble représenter un certain danger pour la communauté sourde qui pressent une atteinte à cette notion d’identité. D’autant que les idées reçues concernant la surdité vont « bon train ». Nous verrons que celles-ci ne correspondent pas à la réalité, que les sourds n’appartiennent pas à ce « monde du silence » dans lequel on veut paradoxalement les enfermer. Bien au contraire, ils vivent dans un monde sonre, allant même jusqu’à écouter et faire de la musique. Et cela c’est eux qui le disent, alors pourquoi ne pas tenir compte de leurs paroles. / Considered for many decades as "uneducable" Deaf people had to endure the fierce desire of "hearing" them to speak at all costs. To forget that they were deaf. Without doubt it should consider that deafness is "the handicap of communication," disability is not immediately. Thus, over the years, it seemed necessary to speak to the deaf. Talk to them they can belong to this "normalcy" advocated by hearing oral (Heinicke as in the eighteenth century): "Normality is the voice and speech abnormalities in deafness. " At the same time Father of the Sword recommended method gestures. " Sign language became the nascent frontispiece that deaf claim: The "Deaf Cultural Identity." Currently the law promulgates the "any integration, integration of deaf children in" mainstream " This integration appears to represent a certain danger for the deaf community to urge an attack on the notion of identity. Especially as the myths about deafness are "good". We will see that they do not correspond to reality, as the deaf do not belong to this "world of silence" which is, paradoxically, the lock. On the contrary, they live in a world of sounds, even listen to and make music. And it is they who say, why not heed their words.

The news media serve as the Canadian public’s main source of information about the Israeli-Palestinian conflict. This thesis examines the ways in which the Canadian media portray the conflict, through a lens of Habermas’ (1962) public sphere theory, Foucault’s (1926 – 1984) ideas on discourse, and Rawls’ (1921 – 2002) conceptions of equality and justice. Building on these theories, Noelle-Neumann’s Spiral of Silence theory (1974), Said’s Orientalism (1978), and d’Arcy’s (1913 – 1983) conception of the right to communicate are examined to arrive at a framework for analyzing Canadian news. Looking at ideological representations, power manifestations, issue framing, and social responsibility within the media, this thesis explores whether the Canadian media portray the conflict in such a way that fosters a downward spiral of opinions within the Canadian public. A Critical Discourse Analysis of coverage in two national English Canadian newspapers, The Globe and Mail and the National Post, during three separate timeframes of increased violence in Israel and Palestine between 2000 and 2009 reveals that newspaper representations of the Israeli-Palestinian conflict are often entrenched in predefined ways of portraying the Other, fostering an Israeli-Palestinian spiral of silence in Canadian media.

Dans les oeuvres de la tétralogie de la Gândara de Carlos de Oliveira, tout se passe comme si l’auteur,l’autorité narrative ou quelque intelligence démiurgique eût ouvert, dès Casa na Duna, une abominable Boîtede Pandore d’où s’échapperaient des incantations maléfiques aussitôt dissoutes dans une écriture brouillée. Lesdifférentes catégories narratives du récit se présentent ainsi comme autant d’édifices voués à la dégradationpar l’effet pernicieux de la temporalité. Parleuse de sortilèges, l’écriture de la tétralogie appelle la médiation del’interprète, seule capable d’exorciser ses funestes desseins. Voici toute la poignante ironie dont est constelléel’écriture de Carlos de Oliveira, portée par des artefacts ludiques : jeux de temps, d’actants, jeux d’espace, devie et de mort, dans lesquels la promesse d’une décadence universelle miroite ses augures. Ce travail tente dedéchiffrer sur un mode à la fois sémiotique, symbolique et psychocritique, le mécanisme des schèmes du déclinen se recommandant des thèses de Phillip Hamon sur le statut sémiologique du personnage, des théoriescratyléennes sur l’onomastique, des hypothèses de Durand et de Malebranche relatives à la phobie dumouvement indiscipliné ou encore des réflexions de Ricoeur sur les stratégies de l’utopie. / In the works of the tetralogy of gândara of Carlos de Oliveira, everything happens as if the author – thenarrative authority, or some other demiurgic intelligence – had opened since Casa na Duna, a terriblePandora’s Box from which escape evil incantations immediately dissolved in a blurred writing. The narrativecategories are buildings dedicated to degradation by the pernicious effects of temporality. Spells, writing of thetetralogy of gândara speaker calls the divinatrice mediation of the interpreter, only able to exorcise his evildesigns. Here is the poignant irony which is capable writing of Carlos de Oliveira, proclaimed forcefully andworn by playful artefacts: time, actants games, space games, life and death, in which the promise of a universaldecadence shines his omens. This work analyzes in a mode both semiotics, symbolic and allegorical, themechanism of the schemes of the decline. We resort Phillip Hamon these on the semiotic status of thecharacter, cratyl’s theories on onomastic, the phobia of the indiscipline movement of Durand and Malebrancheassumptions, and also Ricoeur reflections on the strategies of utopia.

Orientador: Antonio Miguel / Tese (doutorado) - Universidade Estadual de Campinas, Faculdade de Educação / Made available in DSpace on 2018-08-27T00:11:35Z (GMT). No. of bitstreams: 1 FerreiradeSantana_DianaPatricia_D.pdf: 61557598 bytes, checksum: d70e3e9305614149df56a017a6270c4c (MD5) Previous issue date: 2015 / Resumo: O objetivo deste trabalho é fazer uma leitura das idéias de Ludwig Wittgenstein sobre a linguagem, tendo o silêncio como fio condutor das nossas considerações. Temos uma dupla finalidade: a primeira é identificar as formas de silêncio na vida e obra do filósofo austríaco como uma tentativa de compreender o autor e seu estilo idiossincrático, marcado por uma escrita assistemática e aforística; a segunda é identificar as formas de silêncio expressos na aprendizagem da matemática escolar a partir da afirmação feita por Michael Peters de que há um potencial pedagógico na forma como o filósofo empreende sua crítica. Procuramos, através de uma perspectiva não convencional "mostrada" por Wittgenstein, identificar o não-dito, mostrá-lo e desvelar o feitiço por meio da linguagem que ainda prevalece na aprendizagem da matemática escolar / Abstract: The aim of this work is to make a reading of Ludwig Wittgenstein¿s ideas onlanguage taking the silence as thread of our considerations. We have a dual purpose: the first is to identify the forms of silence in the life and work of Austrian philosopher as an attempt to understand the author and his idiosyncratic style marked by an unsystematic and aphoristic writing; the second is to identify the forms of silence expressed in the learning of school mathematics from the assertion made by Michael Peters that there are pedagogical potential in how the philosopher makes his criticism. We seek, through unconventional perspective "shown" by Wittgenstein, identify the unspoken, show it and unveil the bewitchment by language that still prevails in the learning of school mathematics / Doutorado / Ensino e Práticas Culturais / Doutora em Educação

Submitted by Ricardo Cedraz Duque Moliterno (ricardo.moliterno@uefs.br) on 2016-08-22T22:16:21Z No. of bitstreams: 1 DISSERTA??O FINAL - PALLOMA RIOS DA SILVA.pdf: 3524067 bytes, checksum: bf44b3aafab6cf6b635ecc09241d1cb3 (MD5) / Made available in DSpace on 2016-08-22T22:16:21Z (GMT). No. of bitstreams: 1 DISSERTA??O FINAL - PALLOMA RIOS DA SILVA.pdf: 3524067 bytes, checksum: bf44b3aafab6cf6b635ecc09241d1cb3 (MD5) Previous issue date: 2016-03-01 / The authorship is one of the roles taken by the subject in the discursive activity. However, it is also, paradoxically, in this function, that lies the annulment of the subject, its dispersion. Under the influence of French Discourse Analysis (DA), more specifically guided by P?cheux?s (1999; 2009), Orlandi?s (1996; 2012; 2013), Pac?fico?s (2012) and Indursky?s (1999) studies, the current research aims to analyze the development of the student?s authorship in the school environment. Here, the authorship was discussed under three perspectives: 1) its relationship with the text; 2) its relationship with the polissemic reading; 3) its relationship with the interdict of the speech. Assuming the hypothesis that the school does not offer proper conditions for the student to develop the ?subject-author?s? position, for the school is immersed in the Ideological Formation (IF), in which understands the Language as impeccable, not susceptible to mistakes, different understandings and that the Text is an immutable thing. Bound to verify the effects of the senses in the teacher?s discourse regarding the student?s (non) authorship, meaning that the teacher?s discourse, when immersed in the dominant IF, may interdict on the student?s authorship. It was analyzed three materialities: the discourse of two participating teachers and the 4th and 5th grades student?s oral and written productions in two textual production classes. The activity proposed in said classes was to create a narrative text for one speechless comic strip. The same comic strip was given to both teachers so they could plan their classes. Evidences of attempts of interdict were verified and analyzed in the discourse of both teachers, even if one of them adopted a discourse that could give more chances to the senses? polysemy in the orality, such as: concernment about the formal aspect of the text, requesting the students to perform a superficial description of the images in the comic strip and not the preset objective to do a narrative text production. Based on the retrieved data it is safe to assume that the students did not fully develop authorship, because: 1) The polissemic reading concept was not motivated; 2) The Text was not seen as heterogeneous, crossed by many discourses; 3) There were attempts of interdict in the teachers? discourse. To the DA, the text is crossed by many discourses and produces various senses? effects that vary accordingly to the reader and in what production conditions this reading process happens. When the text is seen as an immutable thing, as if there was a preset sense, the polissemic reading does not occur. The polissemic reading gives condition so the student can produce interpretation gestures, mobilizes the memory and may as well feel responsible for ?his own? discourse. It is pertinent to conclude, therefore, that the student?s authorship was silenced. / A autoria ? uma das posi??es tomadas pelo sujeito dentro da atividade discursiva. No entanto ? tamb?m, paradoxalmente, nessa fun??o que est? o apagamento do sujeito, sua dispers?o. ? luz da An?lise de Discurso de Linha Francesa, mais especificamente os estudos de P?cheux (1999; 2009), Orlandi (1996; 2012; 2013), Pac?fico (2012), Indursky (1999), a presente pesquisa busca analisar o processo de assun??o da autoria no ambiente escolar em sua rela??o com a leitura, o texto e a interdi??o. A autoria aqui foi discutida sob tr?s perspectivas: 1) Sua rela??o com o texto; 2) Sua rela??o com a leitura polissemia; 3) Sua rela??o com a interdi??o do dizer. Partindo da hip?tese de que a escola n?o oferece condi??es para que o aluno assuma a posi??o de sujeito-autor, por estar inserida na Forma??o Ideol?gica (FI) a qual entende a l?ngua como transparente n?o sujeita ao equ?voco, aos deslizes de sentidos e o que o texto ? visto como um produto pronto e acabado. A fim de verificar os efeitos de sentidos do discurso do professor na (n?o) assun??o da autoria por parte dos alunos, por entender que o discurso do professor, quando inserido na FI dominante pode gerar efeitos de interdi??o na autoria dos alunos, foram analisadas tr?s materialidades: o discurso dos dois professores participantes, a fala e produ??es escritas dos alunos em duas aulas de produ??o textual para alunos de 4? e 5? anos do Ensino Fundamental I. A atividade consistia na produ??o textual de uma narrativa com base numa tirinha sem falas, a mesma tirinha foi fornecida aos dois professores para que pudessem planejar suas aulas. Ind?cios de tentativa de interdi??o foram analisados e verificados nos discursos dos dois professores, ainda que um deles tenha produzido um discurso que forneceu maior abertura para a polissemia dos sentidos na oralidade, tais como: preocupa??o com o aspecto formal do texto, solicita??o para que fosse realizada uma descri??o das imagens e n?o a produ??o de uma narrativa com base na tirinha. Diante das an?lises apresentadas e dos dados levantados ? poss?vel afirmar que os alunos n?o constru?ram plenamente a autoria, pois: 1) A leitura poliss?mica n?o foi motivada; 2) O texto n?o foi visto como heterog?neo, atravessado por diversos discursos; 3) Houve, por conseguinte, tentativa de interdi??o no discurso dos professores. Para a AD, o texto ? atravessado por diversos discursos e produz efeitos de sentidos diversos que variam de acordo com quem l? e em que condi??es de produ??o essa leitura acontece. Quando o texto ? visto como produto pronto e acabado, como se j? houvesse um sentido pr?-estabelecido, a leitura poliss?mica n?o acontece. A leitura poliss?mica fornece condi??es para que o aluno produza gestos de interpreta??o, mobilize a mem?ria e possa sentir-se respons?vel por ?seu? dizer. ? pertinente concluir, portanto, que a autoria dos alunos foi silenciada.

This dissertation seeks to understand how culture of silence effect the Swedish suburb and it's undermining effects. By interviewing people that work within different organisations in the suburb, we strive to pursue a deeper understanding on how they are affected by the culture of silence in their daily work. In comparison to the different areas, the Swedish suburb are faced with socioeconomic differences, high crime rate, as well as high unemployment. These and others factors that we are going to present shows that culture of silence consciously and/or unconsciously effects the Swedish suburb society. When we initially started this bachelor thesis, we found a limited research about culture of silence and its social effects on the society. Therefore, we seek to contribute to wider knowledge within the academic field of culture of silence. The study is based on a qualitative research method in which eight chosen interviews conducted among social workers, teachers, and police officers, all whom work preventatively. Additionally, we tried to understand if culture of silence was experienced within their organisation. Furthermore, the theoretical framework for this dissertation comprise of symbolic interaction, role theory, and labeling theory. Culture of silence is believed to have an unfavorable effect on the society, as the result of the study shows that it interrupts the interviewees daily work. But also that culture of silence exist within organisations and the suburb.

The concept of silence in Ludwig Wittgenstein's early work Abstract The work deals with the concept of silence in the early work of Ludwig Wittgenstein (Tractatus Logico-Philosophicus). The aim is to explore the dichotomy of being silent-speaking and describe cases that fall into each category. Work will concentrate on the criteria of meaningfulness and meaninglessness, according to which the individual sentences classified in one category or the other. The work also offers a comparison of the reference theory in Tractatus and cognitive realism proposed by G. Lakoff and on their background shows the role and importance of silence in shaping the semantic theory of language.

The Sound and the Fury is a noisy book. Through the audible, the barely audible, and the silence, William Faulkner supports his narrative design with sound beyond dialog to inform and inflect the destabilizing narrative voices. This essay explores Faulkner's use of the sound and noise of the novel as another narrative voice. Faulkner's rich use of sound as a recurring motif, almost a persona or narrator itself, functions not merely to animate the action, the characters, and the title; it also speaks in the "hush" and the freighted "stiffly sibilant" whispers of those who dare not speak, or are "trying to say," while simultaneously running as a voiceless current beneath the disjunctive narrative. The range and quality of sound wavers throughout, from the musical to the "indescribable," as the past and present repeatedly segue forward and back to this soundtrack. Like the otherworldly racket of Macbeth, the noise of the novel plays beneath the surface, begging to be heard. Much scholarship has been devoted to exploring Faulkner's The Sound and the Fury, yet the text continues to reveal layers of meaning and resonance to yet another generation. This study seeks to interrogate the nature, function, and musicality of the sound, noise, and silence of the text as adumbrated in the rhetoric of Reverend Shegog's Easter sermon, Luster's valiant attempts to play on the saw the "inaudible tune," the ubiquitous bells, and Dilsey's determination through it all to sing. This study hopes to enter into the conversation on Faulkner's enduring work by listening to what the text is "trying to say."

This paper concerns the ordinary stories. It is about the forgotten and the things that have gone unnoticed. It is about female history and is a political exploration into what and who is allowed to take space. I focus on everyday life in a domestic space, where I see these things that are discarded, often are overlooked and not talked about. I explore society from a kitchen point of view with a grandmother’s life in focus. It is a story about everyday rituals in the home, which are of an important cultural deed. The objects support her in these rituals, and they also help me to tell. I investigate the memorial space and with my artistic practice I create a room to remember those who are soon no longer with us. In this project I work within the craft-field of corpus. I use the tradition of corpus as a method of working but also as a tool to discuss my subject. As corpus is talking about class and hierarchies it creates a counterweight to my project.