Journal articles on the topic 'Anna (n.1949)'

The notion of ‘rhetorical bodies’ argues the cause of the rhetorical elements in the material and the material elements in the rhetorical in ways that can be seen as analogous to the bi-partite modes of Deleuzian film philosophy, ‘movement-image’ and ‘time-image’. Tamil films of the 1940s and 1950s bear the strong imprints of the rhetorical elements of the Self-Respect Movement and Dravidian Movement, which took root in different versions during the 1920s–60s. The narrative locations of the bodies (both male and female) in the Tamil films of the 1940s and 1950s provide interesting theoretical and analytical challenges if one seeks to combine the Deleuzian notions of ‘movement-image’ with the notions of material rhetorics. The coming together of these notions provides new pointers to the understanding of an important phase in the history of Tamil cinema for its implications on the long-running nexus between politics and films in the state of Tamil Nadu. The Deleuzian trajectory in film philosophy provides more than enough pointers to examine early Tamil cinema's attempts to construct ‘movement-images’ through rhetorical bodies. This paper seeks to examine the contexts of ‘movement-images’ and the role of ‘rhetorical bodies’ in constructing the same in Velaikari (1949), scripted by C. N. Annadurai. Popularly known as Aringnar Anna, C. N. Annadurai was the former Chief Minister of Tamil Nadu and the Founder of DMK (Dravida Munnetra Kazhakam), the party which unseated Congress from power in Tamil Nadu in 1967, and the state remains out of reach of the national parties ever since.

N. V. Krandievskaya (1888–1963; her last name became Tolstaya after her second marriage with a writer А. N. Tolstoy) was a Russian poet, the author of three books of verse published during her life (1913, 1919, 1922), an outstanding collection of poems dedicated to the Siege of Leningrad (now St Petersburg) and a memoir. The article is dedicated to one of the longstanding poetical conversations between Natalia Krandievskaya and Anna Akhmatova. In July 1922 Akhmatova wrote a poem “They’re not my kind who left the land / To enemies and plundering...”. The poem can be called a “late reply” or “delayed response” to Krandievskaya, and an “urgent answer” to other addressees, among whom there was Aleksey Tolstoy first of all. A 1913 collection of poems by Krandievskaya includes the following one: “They’re not my kind who meet the life, / As like a dream...”. In this poem, the author speaks about her creative independence from two mainstreams in literature of that time: an emerging acmeism and a seasoned symbolism. Being an acmeist, Akhmatova treated the poem with a strong sense of offence. Besides, criticism of 1910 contributed to the origin of the rivalry between these two young poets. From summer 1918 until summer 1923, Krandievskaya stayed out of Soviet Russia with Tolstoy and their children, from October 1921 they were in Germany. When the publishing of the “Nakanune” newspaper, which actively advocated for coming back to Soviet Russia, started in March 1922 in Berlin, Tolstoy headed its literature department, and then he became an editor of its Sunday supplement. Two poems by Akhmatova were published on the first page of the first newspaper’s supplement on April 30. In response, an open letter by Akhmatova was published on August 1, 1922 in the “Notes on Literary Life” in Petrograd magazine, in which she spoke out against the publication of her poems without her knowledge and consent. The reason was an improper political role of the “Nakanune” newspaper and some Tolstoy’s misdeeds. Thus, the verse “I will not give them my poems” in the poem published in July 1922 and the answer of Akhmatova to the “Nakanune” newspaper in the “Notes on Literary Life” are directly interrelated. The similarity of the verse by Akhmatova with the poem by Krandievskaya suggests that the head of the arrow was aimed at the Tolstoy – Krandievskaya partnership first of all. However, the text by Akhmatova has many more addressees, and its meaning spreads far beyond the boundaries of a simple war of words. It’s “a poetic declaration on behalf of those who decided to stay, not evading a single blow” (R. Timenchick).

Annak ellenére, hogy az élet értelmessége kiemelt fejlődés-lélektani cél, a szakirodalom elenyészően keveset foglalkozik az élet értelmességét meghatározó tényezőkkel serdülőkorban. Jelen tanulmányunkban egyéni szintű, szociokognitív és család szintű, kapcsolati tényezők szerepét vizsgáltuk az élet értelmességének a megélésében 15–19 éves (47,8%-a fiúk) erdélyi középiskolásoknál (N=1944). Míg az énhatékonyság, az önszabályozott viselkedés, a szülői társas támogatottsággal való elégedettség és az anyai elfogadó bánásmód pozitív, az apai ellenőrző bánásmód negatív összefüggést mutatott az élet megélt értelmességével, a vizsgált mintában. Ugyanakkor a társas összehasonlítás csak a fiúk, az apai elfogadó bánásmód pedig csak a lányok esetében függött össze az élet értelmességével. A talált eredmények felhívják a figyelmet azokra a szociokulturális hatásokra, amelyek a nemiszerep-szocializáció által érvényesülnek az élet értelmességének a megélésében serdülőkorban, egyben támpontokat adva a preventív és fejlesztő célú beavatkozások számára.

Background:Severe acute respiratory syndrome coronavirus 2 (SARS-CoV-2), also known as COVID-19, is now in the spotlight of the medical community. Obtaining the most complete data on COVID-19 in the rheumatic diseases (RD) is an urgent task, and the data received directly from patients seems to be is extremely important.Objectives:To study the factors, associated with the possibility of COVID-19 in patients with RDs.Methods:We conduct COVID-19 Russian rheumatology patient experience survey to create a registry of “Patient’s Opinion on Covid-19 in Rheumatic Diseases (POPCORD)”. This ongoing project is based on the data collected directly from Russian-speaking patients with different RDs who fill out a special questionnaire via the https://revmo-covid.ru/. The questionnaire was developed by the national patient organization – Russian Rheumatology Association “Nadezhda” in collaboration with Moscow regional rheumatology center and department of rheumatology of Moscow Regional Research and clinical institute n.a. M.F. Vladimirsky (MONIKI). The anonymous questionnaire includes information on whether the patient had COVID-19, as well as information on rheumatic disease, its treatment, and information on social distancing and compliance with other anti-epidemic measures.Results:At the moment, 1050 patients (92% from Russia, 8% from other countries) completed the survey, including residents of 74 regions of Russia, most of them from Moscow (20%), Moscow region (8%) and St. Petersburg (8%). In total, there were 93% females, with mean age 40,28±11,26 (M±SD, median 38 [32;48]), BMI 24,52±5,38 (median 23,42 [21;27]), disease duration 7,91±8,46 (median 5,00 [2;11]). The main diagnoses reported: rheumatoid arthritis (49%), ankylosing spondylitis (14%), systemic lupus erythematosus (13%), psoriatic arthritis (6%), Sjogren’s disease (5%), systemic sclerosis (3%), other (10%). 344 (31,8%) patients reported COVID-19 or suspected SASR-CoV-2 viral pneumonia. Relatives or physicians reported 3 cases of death related to COVID-19. The most important results of the survey presented in Table 1.Table 1.Main results of the patients survey, n=1050.ItemResults (n, %)p, chi-squareNo COVID-19/ pneumonia reported (n=716)COVID-19/ pneumonia (n=334)Smoking status0,003•Current smoker118, 16,5%25, 7,5%•Never smoke359, 50,1%199, 59,6%•Quit smoking239, 33,4%110, 32,9%Vaccination during last 3 years against Influenza, Pneumococcus and others0,265•No531, 74,2%236, 70,7%•Yes185, 25,8%98, 29,3%Social distancing0,003•I avoid crowds and large gatherings of people412, 57,5%172, 51,5%•Self-isolation219, 30,6%96, 28,7%•No social distancing85, 11,9%66, 19,9%Hygiene0,031•wearing a mask, hand washing/ using a sanitizer, gloves etc.705, 98,5%321, 96,1%•nothing11, 1,5%13, 3,9%Withdrawal of anti-rheumatic medication last weeks for fear of infection<0,001•Yes124, 17,3%104, 31,1%•No592, 82,7%230, 68,9%Possible contacts with COVID-19 infected persons<0,001•Yes203, 28,4%205, 61,4%•No299, 41,8%65, 19,5%•Don’t know214, 29,9%64, 19,1%Conclusion:According to patient-reported data, lack of adherence to social distancing and hygienic measures, higher possibility of contacts with infected persons, as well as withdrawal of anti-rheumatic medication for fear of infection and smoking status were the factors, significantly associated with the possibility of COVID-19/viral pneumonia in patients with rheumatic diseases.Acknowledgements:Dr Anna S Misiyuk from V.A. Nasonova Institute of Rheumatology, Moscow, Russia.The COVID-19 Russian patient experience survey is conducted on behalf of Russian Rheumatology Association “Nadezhda”. The project was partially granted by BIOCAD.Disclosure of Interests:None declared

CONTENTS I. PROBLEMS AND SOLUTIONSDanguolė Melnikienė (Lithuania). The Issue of the Addressee in Receptive and Productive Dictionaries...11Eleonora Lassan (Lithuania). The Time of Losers...21Yelena G. Zadvornaya (Belarus). Russian Litanies: Types and Characteristics of the Genre...35Evgeny E. Anikin (France). The 2008 US Presidential Election in the Mirror of Sports Metaphor (in the French Press)...46 II. FACTS AND REFLECTIONSZinaida D. Popova (Russia). The Ways of Representation of Concepts as a Problem of Cognitive Linguistics... 56Marzena Marczewska (Poland). The Willow Tree in the Medical Folk Rituals...62Natalia Solovyova (Belarus). The Concepts of “War” and “Peace” in the Old Russian Language Picture of the World: The Genesis of Antonymous Relations...73Olga N. Charykova (Russia). National Specificity of Metaphorical Conceptualization of the World...82Dalia Eigirdienė (Lithuania). On the Peculiarities of the Worldview Reflected In Lithuanian and Russian Zoonymic Phraseology...90Aleksandras Krasnovas (Lithuania). Reception Theory and Practice of Reading...96Asija Kovtun (Lithuania). Parallels Between Deconstructionist and Creator – Paul de Man and Czeslaw Milosz...104Lidia Mazur-Mierzwa (Poland). Wislawa Szymborska in Russian Translation...116Jolanta Chwastyk-Kowalczyk (Poland). Memoirs of Lwów Citizens in Exile Published after the World War II...126Gabija Bankauskaitė-Sereikienė, Žydrė Dargužytė (Lithuania). Rainer Maria Rilke’s Ideas in Father Stanislovas’ Sermons...137Tatsiana V. Eromeitchik (Belarus). The Evaluative Focus of Social Advertising in Belarus...150Laima Kalėdienė (Lithuania). The Statistical Approach to Vernacularisms in The Dictionary Of Modern Lithuanian Language...159Asta Kazlauskienė, Gailius Raškinis (Lithuania). Phone Frequency in Standard Lithuanian...169 III. OPINIONAlgis Braun (Lithuania). Lithuanian Grammar, English Words: Cross-Linguistic Influence and Students’ Written Errors...183 IV. OUR TRANSLATIONSPatrick Seriot (Switzerland). Oxymoran or Misundersanding. Anna Wierzbicka’s Universal Relativism of Natural Semantic Metalanguage. Translated by Vilhelmina Vitkauskienė...193 V. SCIENTIFIC LIFE CHRONICLEConferences , eventsEleonora Lassan (Lithuania). Once Upon a Time in Ekaterinburg…203Books reviewsPavel Lavrinec (Lithuania). БРИО, Валентина, 2008. Поэзия и поэтика города: Wilno – הנליו – Vilnius...205Kazimierz Luciński (Poland). Bulat Okudzhava’s memory will live on for ever in Poland. MAZUR-MERZWA, Lidia, 2008. Булат Окуджава в польских переводах. Когнитивные стратегии польского переводоведения...209Ina Kažuro (Lithuania). ЛАССАН, Элеонора, 2008. Лингвокультурология. Очерк русской концептологии...213Wiesław Caban (Lenkija / Polska). ILGIEWICZ, Henryka, 2008. Societates Academicae Vilnenses. Towarzystwo Przyjaciół Nauk w Wilnie (1907-1939) i jego poprzednicy...216Vilnius University Kaunas Faculty of Humanities: journal of scientific lifeDaiva Aliūkaitė (Lithuania). Emotions suppressed by language: Joviality without a smile...220Skirmantė Biržietienė, Saulutė Juzelėnienė (Lithuania). Linguistics, Literature Studies and advertising or tracing back to the ideas of young linguists of VU KHF...222 Announce...224 VI. REQUIREMENTS FOR PUBLICATION...226VII. OUR AUTHORS... 234

The use of visual communication documents is one of the data collection techniques, in addition to interviews and observations, in a research method conducted by a researcher. In visual communication documents, there is a type of book cover containing information that a researcher can obtain and analyze. Before the existence of internet-sourced technology, people only communicated physically or face-to-face so that the visual communication document for the book cover obtained by a researcher was also physical. Community communication methods are now changing, using internet-sourced technology that provides visual communication services based on social media applications, such as Whatsapp, Facebook, and Tokopedia. Changing community communication methods affect the form of book cover visual communication documents in qualitative research, initially physically now transforming into digital. Through Whatsapp, Facebook, and Tokopedia, a researcher collected data on visual communication documents on digital book covers. The research method in this paper uses a mixed research method, first, conventional ethnography and, second, virtual ethnography as a way of investigation through observation and examination of physical and digital book cover visual communication documents on the object of research in order to obtain the necessary data. Based on the analysis, there is one old phenomenon, namely (1) visual communication documents on physical book covers; and there are two new phenomena, namely (1) physical book cover visual communication documents which are documented by means of digital copies and (2) digital book cover visual communication documents. There is another phenomenon, namely the transformation of the digital book cover visual communication document affecting the character of the research subject, the procedures and processes in data collection techniques, and changing and adding to the theoretical repertoire of qualitative research methods.Keywords: digital transformation, data collection technique.AbstrakPada dokumen komunikasi visual terdapat jenis sampul buku berisi informasi yang bisa diperoleh dan dianalisis seorang peneliti. Sebelum adanya teknologi bersumber internet, masyarakat hanya berkomunikasi secara fisik atau tatap muka sehingga dokumen komunikasi visual sampul buku yang diperoleh seorang peneliti juga berbentuk fisik. Metode komunikasi masyarakat kini berubah, dengan menggunakan teknologi bersumber internet yang menyediakan layanan jasa komunikasi visual berbasis aplikasi media sosial, seperti Whatsapp, Facebook, dan Tokopedia. Metode komunikasi masyarakat yang berubah memengaruhi bentuk dokumen komunikasi visual sampul buku dalam penelitian kualitatif, awalnya fisik kini bertransformasi menjadi digital. Melalui Whatsapp, Facebook, dan Tokopedia, seorang peneliti melakukan pengambilan data dokumen komunikasi visual sampul buku digital. Metode penelitian pada tulisan ini, menggunakan metode penelitian campuran antara, pertama, etnografi konvensional dan, kedua, etnografi virtual sebagai cara penyelidikan melalui observasi dan pemeriksaan dokumen komunikasi visual sampul buku fisik maupun digital pada objek penelitian dengan tujuan untuk mendapatkan data-data yang diperlukan. Berdasarkan hasil analisis, terdapat satu fenomena lama, yaitu (1) dokumen komunikasi visual sampul buku fisik; dan terdapat dua fenomena baru, yaitu (1) dokumen komunikasi visual sampul buku fisik yang didokumentasikan dengan cara digandakan berbentuk digital dan (2) dokumen komunikasi visual sampul buku digital. Terdapat fenomena lainnya, yaitu transformasi dokumen komunikasi visual sampul buku digital memengaruhi karakter subjek peneliti, prosedur serta proses dalam teknik pengambilan data, dan mengubah serta menambah khazanah teoretis pada metode penelitian kualitatif. Kata Kunci: transformasi digital, teknik pengumpulan data. Author:Sujud Puji Nur Rahmat : Universitas Mercu Buana References:Adian, D.G. (2016). Pengantar Fenomenologi. Depok: Koekoesan.Andarningtyas, N. (2020). Menyambut Era Transformasi Digital 2021. dihttps://www.antaranews.com/berita/1921172/menyambut-era-transform asi-digital-2021 (diakses tanggal 26 Mei 2021).Anggito, A., & Setiawan, J. (2018). Metodologi Penelitian Kualitatif. Sukabumi: CV Jejak.Brooke, Auxier and Monica Anderson. (2021). A majority of Americans say they use of Instagram. Snapchat and Tiktok is especially common amongadultsunder30.http://www.pewresearch.org/internet/2021/04/07/social-media-use-in2021/ (diakses tanggal 07 April 2021). Christiani, L.C., & Ikasari, P.N. (2020). Generasi Z dan Pemeliharaan Relasi Antar Generasi dalam Perspektif Budaya Jawa. Jurnal Komunikasi danKajianMedia,4(2),85105.http://dx.doi.org/10.31002/jkkm.v4i2.3326.Hasanah, H. (2016). Teknik-teknik Observasi (Sebuah Alternatif Metode Pengumpulan Data Kualitatif Ilmu-ilmu Sosial). Jurnal at-Taqaddum, 8(1), 21-46.Karmanis & Karjono. (2020). Buku Pedeman Belajar: Metode Penelitian. Semarang: CV Pilar Utama.Kistanto, N. H. (2018). Transformasi Sosial-Budaya Masyarakat Indonesia. Sabda: Jurnal Kajian Kebudayaan, 13(2), 169-178. https://doi.org/10.14710/sabda.13.2.169-178.Nasrullah, R. (2016). Teori dan Riset Media Siber (Cybermedia). Jakarta: Prenadamedia Group.Nugroho, A. (2020). New Normal, Momentum Transformasi Sosial Budaya. https://ugm.ac.id/id/berit a/19479-new-normal-momentum-transformasisosialbudaya(diaksestanggal26Mei2021).Mahmuddin. (2017). Transformasi Sosial Aplikasi Dakwah Muhammadiyah Terhadap Budaya Lokal. Makassar: Penerbit Alaudin Press.Maulaa, M. (2020). 11 Bulan Pandemi Covid-19 Melanda Dunia, Berikut 6 Hal yang Perlu Anda Ketahui Saat Ini. https://www.pikiran-rakyat.c om/nasional/pr-01922691/11-bulan-pandemi-covid-19-melanda-dunia-berikutberikut-6-hal-yang-perlu-anda-ketahui-saat-ini (diakses tanggal 26 Mei 2021).Pratama, B.I. (2017). Etnografi Dunia Maya Internet. Malang: UB Press.Putra, R.W. (2020). Pengantar Desain Komunikasi Visual dalam Penerapan. Yogyakarta: Andi Offset.Rahmat, Sujud Puji Nur. (2021). “Karakter Penyebaran Sampul Buku”. Hasil Dokumentasi Pribadi: Mei 2021, Yogyakarta.Rastati, R. (2018). Media Literasi Bagi Digital Natives: Perspektif Generasi Z di Jakarta. Kwangsan, 6(1), 60-73. http://dx.doi.org/10.31800/jtp.kw.v6n1.p60--73.Sachari, A., & Sunarya, Y.Y. (2001). Desain dan Dunia Kesenirupaan Indonesia dalam Wacana-Wacana Transformasi Budaya. Bandung: Penertbit ITB.Sas. (2021). 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Introduction Nun habe ich Euch genug geschrieben, diesen Brief wenn sei [sic] lesen würden, dann würde ich den Genickschuß bekommen.Now I have written you enough, this letter if they would read it, I would get the neck shot. (M., all translations from German sources and quotations by the author) When the German soldier Otto M. wrote these lines from Russia to his family on 3 September 1943 during the Second World War, he knew that his war letter would not be subject to the National Socialist censorship apparatus. The letter contains, inter alia, detailed information about the course of the war on the front, troop locations, and warnings about the Nazi regime. M., as he wrote in the letter, smuggled it past the censorship via a “comrade”. As a German soldier, M. was a member of the Volksgemeinschaft—a National Socialist concept that drew a “racist and anti-Semitic borderline” (Wildt 48)—and was thus not socially excluded due to his status. Nevertheless, in the sentence quoted above, M. anticipates possible future consequences of his deviant actions, which would be carried out by “them”—potentially leading to his violent death. This article investigates how social and societal exclusion is brought forth by everyday media practices such as writing letters. After an introduction to the thesis under discussion, I will briefly outline the linguistic research on National Socialism that underlies the approach presented. In the second section, the key concepts of agency and dispositif applied in this work are discussed. This is followed by two sections in which infrastructural and interactional practices of exclusion are analysed. The article closes with some concluding remarks. During the Second World War, Wehrmacht soldiers and their relatives could not write and receive letters that were not potentially subject to controls. Therefore, the blunt openness with which M. anticipated the brutal sanctions of behavioural deviations in the correspondence quoted above was an exception in the everyday practice of war letter communication. This article will thus pursue the following thesis: private communication in war letters was subject to specific discourse conditions under National Socialism, and this brought forth excluding agency, which has two intertwined readings. Firstly, “excluding” is to be understood as an attribute of “agency” in the sense of an acting entity that either is included and potentially excludes or is excluded due to its ascribed agency. For example, German soldiers who actively participated in patriotic service were included in the Volksgemeinschaft. By contrast, Jews or Communists, to name but a few groups that, from the perspective of racist Nazi ideology, did not contribute to the community, were excluded from it. Such excluding agencies are based on specific practices of dispositional arrangement, which I refer to as infrastructural exclusion of agency. Secondly, excluding agency describes a linguistic practice that developed under National Socialism and has an equally stabilising effect on it. Excluding agency means that agents, and hence protagonists, are excluded by means of linguistic mitigation and omission. This second reading emphasises practices of linguistic construction of agency in interaction, which is described as interactional exclusion of agency. In either sense, exclusion is inextricably tied to the notion of agency, which is illustrated in this article by using data from field post letters of the Second World War. Social exclusion, along with its most extreme manifestations under fascism, is both legitimised and carried out predominantly through discursive practices. This includes for the public domain, on the one hand, executive language use such as in laws, decrees, orders, court hearings, and verdicts, and on the other hand, texts such as ideological writings, speeches, radio addresses, folk literature, etc. Linguistic research on National Socialism and its mechanisms of inclusion and exclusion has long focussed on the power of a regulated public use of language that seemed to be shaped by a few protagonists, most notably Hitler and Goebbels (Schlosser; Scholl). More recent works, however, are increasingly devoted to the differentiation of heterogeneous communities of practice, which were primarily established through discursive practices and are manifested accordingly in texts of that time (Horan, Practice). Contrary to a justifiably criticised “exculpation of the speakers” (Sauer 975) by linguistic research, which focusses on language but not on situated, interactional language use, such a perspective is increasingly interested in “discourse in National Socialism, with a particular emphasis on language use in context as a shared, communicative phenomenon” (Horan, Letter 45). To understand the phenomenon of social and societal exclusion, which was constitutive for National Socialism, it is also necessary to analyse those discursive practices of inclusion and exclusion through which the speakers co-constitute everyday life. I will do this by relating the discourse conditions, based on Foucault’s concept of dispositif (Confessions 194), to the agency of the correspondents of war letters, i.e. field post letters. On Agency and Dispositif Agency and dispositif are key concepts for the analysis of social exclusion, because they can be applied to analyse the situated practices of exclusion both in terms of the different capacities for action of various agents, i.e. acting entities, and the inevitably asymmetrical arrangement within which actions are performed. Let me first, very briefly, outline some linguistic conceptions of agency. While Ahearn states that “agency refers to the socioculturally mediated capacity to act” (28) and thus conceives agency as a potential, Duranti understands agency “as the property of those entities (i) that have some degree of control over their own behavior, (ii) whose actions in the world affect other entities’ (and sometimes their own), and (iii) whose actions are the object of evaluation (e.g. in terms of their responsibility for a given outcome)” (453). Deppermann considers agency to be a means of social and situational positioning: “‘agency’ is to capture properties of the subject as agent, that is, its role with respect to the events in which it is involved” (429–30). This is done by linguistic attribution. Following Duranti, this analysis is based on the understanding that agency is established by the ascription of action to an entity which is thereby made or considered accountable for the action. This allows a practice-theoretical reference to Garfinkel’s concept of accountability and identifies agentive practices as “visibly-rational-and-reportable-for-all-practical purposes” (7). The writing of letters in wartime is one such reflexive discursive practice through which agents constitute social reality by means of ascribing agency. The concept of semantic roles (Fillmore; von Polenz), offers another, distinctly linguistic access to agency. By semantic roles, agency in situated interaction is established syntactically and semantically. Put simply, a distinction is made between an Agent, as someone who performs an action, and a Patient, as someone to whom an action occurs (von Polenz 170; semantic roles such as Agent, Patient, Experiencer, etc. are capitalised by convention). Using linguistic data from war letters, this concept is discussed in more detail below. In the following, “field post” is considered as dispositif, by which Foucault means a thoroughly heterogeneous ensemble consisting of discourses, institutions, architectural forms, regulatory decisions, laws, administrative measures, scientific statements, philosophical, moral and philanthropic propositions – in short, the said as much as the unsaid. Such are the elements of the apparatus [dispositif]. The apparatus [dispositif] itself is the system of relations that can be established between these elements. (Foucault, Confessions 194) The English translation of the French “dispositif” as “apparatus” encourages an understanding of dispositif as a rather rigid structure. In contrast, the field post service of the Second World War will be used here to show how such dispositifs enable practices of exclusion or restrict access to practices of inclusion, while these characteristics themselves are in turn established by practices or, as Foucault calls them, procedures (Foucault, Discourse). An important and potentially enlightening notion related to dispositif is that of agencement, which in turn is borrowed from Deleuze and Guattari and was further developed in particular in actor-network theory (Çalışkan and Callon; Gherardi). What Çalışkan and Callon state about markets serves as a general description of agencement, which can be defined as an “arrangement of heterogeneous constituents that deploys the following: rules and conventions; technical devices; metrological systems; logistical infrastructures; texts, discourses and narratives …; technical and scientific knowledge (including social scientific methods), as well as the competencies and skills embodied in living beings” (3). This resembles Foucault’s concept of dispositif (Foucault, Confessions; see above), which “denotes a heterogeneous ensemble of discursive and nondiscursive elements with neither an originary subject not [sic] a determinant causality” (Coté 384). Considered morphosemantically, agencement expresses an important interrelation: in that it is derived from both the French agencer (to construct; to arrange) and agence (agency; cf. Hardie and MacKenzie 58) and is concretised and nominalised by the suffix -ment, agencement elegantly integrates structure and action according to Giddens’s ‘duality of structure’. While this tying aspect certainly contributes to a better understanding of dispositional arrangements and should therefore be considered, agencement, as applied in actor-network theory, emphasises above all “the fact that agencies and arrangements are not separate” (Çalışkan and Callon) and is, moreover, often employed to ascribe agency to material objects, things, media, etc. This approach has proven to be very fruitful for analyses of socio-technical arrangements in actor-network theory and practice theory (Çalışkan and Callon; Gherardi). However, within the presented discourse-oriented study on letter writing and field post in National Socialism, a clear analytical differentiation between agency and arrangement, precisely in order to point out their interrelation, is essential to analyse practices of exclusion. This is why I prefer dispositif to agencement as the analytical concept here. Infrastructural Exclusion of Agency in Field Post Letters In the Second World War, writing letters between the “homeland” and the “frontline” was a fundamental everyday media practice with an estimated total of 30 to 40 billion letters in Germany (Kilian 97). War letters were known as field post (Feldpost), which was processed by the field post service. The dispositif “field post” was, in opposition to the traditional postal service, subject to specific conditions regarding charges, transport, and above all censorship. No transportation costs arose for field post letters up to a weight of 250 grams. Letters could only be sent by or to soldiers with a field post number that encoded the addresses of the field post offices. Only soldiers who were deployed outside the Reich’s borders received a field post number (Kilian 114). Thus, the soldiers were socially included as interactants due to their military status. The entire organisation of the field post was geared towards enabling members of the Volksgemeinschaft to communicatively shape, maintain, and continue their social relationships during the war (Bergerson et al.). Applying Foucault, the dispositif “field post” establishes selection and exclusion mechanisms in which “procedures of exclusion” (Discourse 52) become manifest, two of which are to be related to the field post: “exclusion from discourse” and “scarcity of speaking subjects” (Spitzmüller and Warnke 73). Firstly, “procedures of exclusion ensure that only certain statements can be made in discourse” (Spitzmüller and Warnke 73). This exclusion procedure ought to be implemented by controlling and, ultimately, censoring field post letters. Reviews were carried out by censorship offices (Feldpostprüfstellen), which were military units independent of the field post offices responsible for delivery. Censorship initially focussed on military information. However, “in the course of the war, censorship shifted from a control measure aimed at defence towards a political-ideological review” (Kilian 101). Critical remarks could be legally prosecuted and punished with prison, penitentiary, or death (Kilian 99). Hence, it is assumed that self-censorship played a role not only for public media, such as newspapers, but also for writing private letters (Dodd). As the introductory quotation from Otto M. shows, writers who spread undesirable information in their letters anticipated the harshest consequences. In this respect, randomised censorship—although only a very small proportion of the high volume of mail was actually opened by censors (Kilian)—established a permanent disposition of control that resulted in a potentially discourse-excluding social stratification of private communication. Secondly, the dispositif “field post” was inherently exclusive and excluding, as those who did not belong to the Volksgemeinschaft could not use the service and thus could not acquire agentive capacity. The “scarcity of speaking subjects” (Spitzmüller and Warnke 73) was achieved by restricting participation in the field post system to members of the Volksgemeinschaft. Since agency is based on the most basic prerequisite, namely the ability to act linguistically at all, the mere possibility of exercising agency was infrastructurally restricted by the field post system. Excluding people from “agency-through-language” means excluding them from an “agency of an existential sort” (Duranti 455), which is described here, regarding the field post system, as infrastructural exclusion of agency. Interactional Exclusion of Agency in Field Post Letters In this section, I will elaborate how agency is brought forth interactionally through linguistic means on the basis of data from a field post corpus that was compiled in the project “Linguistic Social History 1933 to 1945” (Kämper). The aim of the project is an actor-based description of discursive practices and patterns at the time of National Socialism, which takes into account the fact that society in the years 1933 to 1945 consisted of heterogeneous communities of practice (Horan, Practice). Letter communication is considered to be an interaction that is characterised by mediated indexicality, accountability, reflexivity, sequentiality, and reciprocity (Dang-Anh) and is performed as situated social practice (Barton and Hall). The corpus of field letters examined here provides access to the everyday communication of members of the ‘integrated society’, i.e. those who were neither high-ranking members of the Nazi apparatus nor exposed to the repressions of the fascist dictatorship. The corpus consists of about 3,500 letters and about 2.5 million tokens. The data were obtained by digitising letter editions using OCR scans and in cooperation with the field post archive of the Museum for Communication Berlin (cf. sources below). We combine qualitative and quantitative methods, the latter providing heuristic indicators for in-depth hermeneutical analysis (Felder; Teubert). We apply corpus linguistic methods such as keyword, collocation and concordance analysis to the digitised full texts in order to analyse the data intersubjectively by means of corpus-based hermeneutic discourse analysis (Dang-Anh and Scholl). However, the selected excerpts of the corpus do not comprise larger data sets or complete sequences, but isolated fragments. Nevertheless, they illustrate the linguistic (non-)constitution of agency and thus distinctively exemplify exclusionary practices in field post letter writing. From a linguistic point of view, the exclusion of actors from action is achieved syntactically and semantically by deagentivisation (Bernárdez; von Polenz 186), as will be shown below. The following lines were written by Albert N. to his sister Johanna S. and are dated 25 June 1941, shortly after the beginning of the German Wehrmacht’s military campaign in Russia (Russlandfeldzug) a few days earlier. Vor den russ. Gefangenen bekommt man einen Ekel, d.h. viele Gefangene werden nicht gemacht.One gets disgusted by the Russian prisoners, i.e. many prisoners are not made. (N.) In the first part of the utterance, “mitigation of agency” (Duranti 465) is carried out using the impersonal pronoun “man” (“one”) which does not specify its referent. Instead, by means of deagentivisation, the scope of the utterance is generalised to an indefinite in‑group of speakers, whereby the use of the impersonal pronoun implies that the proposition is valid or generally accepted. Moreover, the use of “one” generalises the emotional expression “disgust”, thus suggesting that the aversive emotion is a self-evident affect experienced by everyone who can be subsumed under “one”. In particular, this includes the author, who is implicitly displayed as primarily perceiving the emotion in question. This reveals a fundamental practice of inclusion and exclusion, the separating distinction between “us”/“we” and “them”/“the others” (Wodak). In terms of semantic roles, the inclusive and generalised formal Experiencer “one” is opposed to the Causative “Russian prisoner” in an exclusionary manner, implicitly indicating the prisoners as the cause of disgust. The subsequent utterance is introduced by “i.e.”, which marks the causal link between the two phrases. The wording “many prisoners are not made” strongly suggests that it refers to homicides, i.e. executions carried out at the beginning of the military campaign in Russia by German troops (Reddemann 222). The depiction of a quasi-universal disgust in the first part establishes a “negative characterization of the out-group” (Wodak 33) which, in the expressed causal relation with the second phrase, seems to morally legitimise or at least somehow justify the implied killings. The passive form entirely omits an acting entity. Here, deagentivisation obscures the agency of the perpetrators. However, this is not the only line between acting and non-acting entities the author draws. The omission of an agent, even the impersonal “one”, in the second part, and the fact that there is no talk of self-experienceable emotions, but war crimes are hinted at in a passive sentence, suggest the exclusion of oneself as a joint agent of the indicated actions. As further data from the corpus indicate, war crimes are usually not ascribed to the writer or his own unit as the agents but are usually attributed to “others” or not at all. Was Du von Juden schreibst, ist uns schon länger bekannt. Sie werden im Osten angesiedelt.What you write about Jews is already known to us for some time. They are being settled in the East. (G.) In this excerpt from a letter, which Ernst G. wrote to his wife on 22 February 1942, knowledge about the situation of the Jews in the war zone is discussed. The passage appears quite isolated with its cotext in the letter revolving around quite different, trivial, everyday topics. Apparently, G. refers in his utterance to an earlier letter from his wife, which has not been preserved and is therefore not part of the corpus. “Jews” are those about whom the two agents, the soldier and his wife, write, whereas “us” refers to the soldiers at the front. In the second part, agency is again obscured by deagentivisation. While “they” anaphorically refers to “Jews” as Patients, the agents of their alleged resettlement remain unnamed in this “agent-less passive construction” (Duranti 466). Jews are depicted here as objects being handled—without any agency of their own. The persecution of the Jews and the executions carried out on the Russian front (Reddemann 222), including those of Jews, are euphemistically played down here as “settlements”. “Trivialization” and “denial” are two common discursive practices of exclusion (Wodak 134) and emerge here, as interactional exclusion of agency, in one of their most severe manifestations. Conclusion Social and societal exclusion, as has been shown, are predominantly legitimised as well as constituted, maintained, and perpetuated by discursive practices. Field post letters can be analysed both in terms of the infrastructure—which is itself constituted by infrastructuring practices and is thus not rigid but dynamic—that underlies excluding letter-writing practices in times of war, and the extent to which linguistic excluding practices are performed in the letters. It has been shown that agency, which is established by the ascription of action to an entity, is a central concept for the analysis of practices of exclusion. While I propose the division into infrastructural and interactional exclusion of agency, it must be pointed out that this can only be an analytical distinction and both bundles of practices, that of infrastructuring and that of interacting, are intertwined and are to be thought of in relation to each other. Bringing together the two concepts of agency and dispositif, despite the fact that they are of quite different origins, allows an analysis of exclusionary practices, which I hope does justice to the relation of interaction and infrastructure. By definition, exclusion occurs against the background of an asymmetrical arrangement within which exclusionary practices are carried out. Thus, dispositif is understood as an arranged but flexible condition, wherein agency, as a discursively ascribed or infrastructurally arranged property, unfolds. Social and societal exclusion, which were constitutive for National Socialism, were accomplished not only in public media but also in field post letters. Writing letters was a fundamental everyday media practice and the field post was a central social medium during the National Socialist era. However, exclusion occurred on different infrastructural and interactional levels. As shown, it was possible to be excluded by agency, which means exclusion by societal status and role. People could linguistically perform an excluding agency by constituting a division between “us” and “them”. Also, specific discourses were excluded by the potential control and censorship of communication by the authorities, and those who did not suppress agency, for example by self-censoring, feared prosecution. Moreover, the purely linguistic practices of exclusion not only constituted or legitimised the occasionally fatal demarcations drawn under National Socialism, but also concealed and trivialised them. As discussed, it was the perpetrators whose agency was excluded in war letters, which led to a mitigation of their actions. In addition, social actors were depreciated and ostracised through deagentivisation, mitigation and omission of agency. In extreme cases of social exclusion, linguistic deagentivisation even prepared or resulted in the revocation of the right to exist of entire social groups. The German soldier Otto M. feared fatal punishment because he did not communicatively act according to the social stratification of the then regime towards a Volksgemeinschaft in a field post letter. This demonstrates how thin the line is between inclusion and exclusion in a fascist dictatorship. 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A preocupação em formar indivíduos competentes e autônomos, capazes de atuar nos diferentes campos e ocupar diversas posições frente aos discursos correntes na sociedade, tem colaborado para o surgimento de pesquisas voltadas ao ensino que privilegie práticas de letramento. A partir dessas considerações, esse artigo tem como objetivo discorrer sobre o conceito de letramento junto às práticas sociais, refletindo acerca das possibilidades do letramento literomusical na escola. Para este fim, propomos a análise do corpus constituído a partir das atividades sobre o gênero discursivo canção apresentadas por uma coleção didática de língua portuguesa para os anos finais do ensino fundamental, a saber, Português: Linguagens, aprovada pelo PNLD/2017 e adotada pelas escolas da rede pública municipal de Pinheiros/ES. De modo geral, a reflexão fundamenta-se nos conceitos de letramento (SOARES, 2000 [1998]), letramentos múltiplos (ROJO, 2009), letramento literomusical (COELHO DE SOUZA, 2014; 2015). Por sua vez, a análise do livro didático e das canções didatizadas apoia-se na perspectiva dialógica da linguagem (VOLOCHINOV, 2017 [1929]) e na concepção de gêneros do discurso (BAKHTIN, 2016 [1952-1953]). Os resultados alcançados indicam que a canção como objeto de ensino no livro didático não favorece o letramento literomusical, pois negligencia a linguagem musical e as práticas sociais que envolvem o gênero canção, limitando a canção a uma tarefa escolar tradicional. BAKHTIN, Mikhail. Os gêneros do discurso. Organização, tradução, posfácio e notas de Paulo Bezerra; notas de edição russa de Serguei Botcharov. São Paulo: Editora 34, 2016 [1952-1953]._______. Estética da criação verbal. Introdução e tradução do russo Paulo Bezerra; prefácio à edição francesa Tzvetan Todorov. 4. ed. 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Linguagem em (Dis)curso, Tubarão, v. 4, n. 1, jul./dez., p. 9-36, 2003._______. As letras e a letra: o gênero canção na mídia literária. In: DIONÍSIO, Ângela Paiva; MACHADO, Anna Rachel; BEZERRA, Maria Auxiliadora (Org.). Gêneros textuais e ensino. Rio de Janeiro: Lucerna, p. 107-121, 2007.KLEIMAN, Angela. Os significados do letramento: uma nova perspectiva sobre a prática social da escrita. Campinas: Mercado de Letras, 1995.KLEIMAN, A.; GRANDE, Paula B. Intersecções entre a linguística aplicada e os estudos de letramento: desenhos transdisciplinares, éticos e críticos de pesquisa? Revista Matraga, v. 22, p. 11-30, 2015. Disponível em: http://www.publicações.uerj.br/index.php/matraga/article/view/17045MTS. Método de teoria e solfejo com aplicação ao hinário. Distribuído pela Congregação Cristã no Brasil. Rua Visconde de Parnaíba, no1616 – Anexo: Bloco G, CEP 03164-300. São Paulo, 2014.MUNAKATA, Kazumi. Livro didático e formação do professor são incompatíveis? 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P. ; SILVA, Flávia Danielle S.; ALENCAR, Maria Aparecida M. A canção: roda-viva. In: ROJO, Roxane; MOURA, Eduardo (Org.). Multiletramentos na escola. São Paulo: Parábola Editorial, 2012, p. 181-198.VOLOCHINOV, Valentin. Marxismo e filosofia da linguagem: problemas fundamentais do método sociológico na ciência da linguagem. Tradução, notas e glossário de Sheila Grillo e Ekaterina Vólkova Américo; ensaio introdutório de Sheila Grillo. 1. ed. São Paulo: Editora 34, 2017 [1929].

<p><span lang="EN-US">H</span><span lang="EN-US">ukum<span>A</span>dm<span>i</span>n<span>i</span>st<span>r</span>asi<span>N</span>e<span>g</span>a<span>r</span>ame<span>r</span>u<span>p</span>ak<span>a</span>nhu<span>k</span>um<span>y</span>angse<span>l</span>a<span>l</span>ube<span>r</span>ka<span>i</span><span>t</span>an den<span>g</span>an akt<span>i</span><span>v</span><span>i</span>tas pe<span>ril</span>aku a<span>d</span>m<span>i</span>n<span>i</span>st<span>r</span>asi <span> </span><span>n</span>e<span>g</span>a<span>r</span>a <span> </span>dan <span> </span>k<span>e</span>bu<span>t</span>uh<span>a</span>n <span> </span><span>m</span><span>a</span>s<span>y</span>a<span>r</span>akat se<span>r</span>ta <span> </span><span>i</span>nte<span>r</span>aksi <span> </span>d<span>i</span>a<span>n</span>ta<span>r</span>a ked<span>u</span>an<span>y</span>a. <span> </span><span>D</span>i <span> </span>saat s<span>i</span>stem <span> </span>a<span>d</span>m<span>i</span>n<span>i</span>st<span>r</span>asi <span> </span><span>n</span>e<span>g</span>a<span>r</span>a <span> </span><span>y</span>ang men<span>j</span>adi <span> </span>p<span>il</span>ar <span> </span>pe<span>l</span>a<span>y</span>anan <span> </span>public m<span>e</span>n<span>g</span>ha<span>da</span>pi <span> </span>ma<span>s</span>a<span>l</span>ah <span> </span><span>y</span>ang fu<span>n</span>da<span>m</span>en<span>t</span>al maka <span>r</span>ekon<span>s</span>ep<span>t</span>ua<span>li</span><span>s</span>as<span>i</span>, <span>r</span>epos<span>i</span>si <span>d</span>an <span>r</span>e<span>v</span><span>i</span>ta<span>li</span>sasi kedudu<span>k</span>an huk<span>u</span>m adm<span>i</span>n<span>i</span>st<span>r</span>asine<span>g</span>a<span>r</span>a<span>m</span>en<span>j</span>adis<span>a</span>tuk<span>e</span>ha<span>r</span>us<span>a</span>nda<span>l</span><span>a</span>m<span>r</span>an<span>g</span>kap<span>e</span>n<span>y</span>e<span>l</span>en<span>gg</span>a<span>r</span>aan pe<span>m</span>e<span>ri</span>nt<span>a</span>hand<span>a</span>n<span>p</span>e<span>n</span>e<span>r</span>ap<span>a</span>n<span>g</span>oodgo<span>v</span>e<span>r</span>n<span>an</span>ce. Sistem Administrasi Negara Republik Indonesia (SANRI) secara luas memiliki arti Sistem Penyelenggaraan Negara Indonesia menurut UUD 1945, yang merupakan sistem penyelenggaraan kehidupan negara dan bangsa dalam segala aspeknya, sedangkan dalam arti sempit, SANRI adalah idiil Pancasila, Konstitusional – UUD 1945, operasional RPMJ Nasional serta kebijakan-kebijakan lainnya.Tujuan Penulisan Makalah ini dibuat untuk memenuhi salah satu tugas </span><span lang="EN-US"> </span><span lang="EN-US">pada mata kuliah </span><span lang="IN"> Hukum </span><span lang="EN-US">dan Kebijakan Publik </span><span lang="IN">Indonesia </span><span lang="EN-US">dan ingin lebih mengetahui </span><span lang="IN">serta </span><span lang="EN-US">mengkaji tentang </span><span lang="IN">Pelayanan Public dalam Konsep Good Governance</span><span>, </span><span lang="EN-US"> Penerapan Hukum Perizinan di Indonesia, Restrukturisasi Pelayanan Perizinan di Indonesia. Hukum tata usaha (administrasi) negara adalah hukum yang mengatur kegiatan administrasi negara. Yaitu hukum yang mengatur tata pelaksanaan pemerintah dalam menjalankan tugasnya. </span><span lang="IN">Hukum Administrasi telah berkembang dalam suasana manakala pihak Pemerintah mulai menata masyarakat dan dalam kaitan itu menggunakan sarana hukum, umpamanya dengan menetapkan keputusan-keputusan larangan tertentu atau dengan menerbitkan sistem-sistem perizinan.</span><strong></strong><span lang="IN">Karena izin merupakan suatu hubungan antara Pemerintah dengan masyarakat </span><span>maka </span><span lang="IN">Pemerintah dalam rangka meningkatkan pelayanan publik</span><span> atau pelayanan kepada masyarakat </span><span lang="IN"> dan perekonomian daerah perlu meningkatkan profesionalisme, termasuk penataan bidang perizinan guna meningkatkan pelayanan publik karena perizinan adalah elemen yang sangat diperhatikan para pelaku bisnis dalam menanamkan investasinya didaerah. </span><span>Khusus dalam Restruturisasi dan revitalisasi di bidang perizinan Pemerintah telah menerbitkan Peraturan Pemerintah Nomor 24 Tahun 2018 tentang Pelayanan Perizinan Berusaha Terintegrasi Secara Elektronik ( Online Single Submission /OSS ). Sistem </span><span lang="X-NONE">OSS mengintegrasikan seluruh pelayanan perizinan berusaha yang menjadi kewenangan Menteri/Pimpinan Lembaga, Gubernur, atau Bupati/Walikota yang dilakukan melalui elektronik</span><span lang="EN-US"> dan Peraturan Presiden Republik Indonesia Nomor 91 tahun 2017 tentang Percepatan Pelaksanaan Berusaha</span></p>

O presente artigo discute textos que retratam a mulher dentro dos valores do mundo patriarcal brasileiro, juntamente, com textos em que as personagens ousam arrostar esse mesmo ideário. Em dois retratos feitos em forma de canções, as duas mulheres apresentadas não têm sequer nomes próprios e suas vidas existem em função do homem. Em outros dois, o conto A fuga, de Clarice Lispector, escrito em 1940 e publicado em 1979 e o cordel A mulher que vendeu o marido por 1,99, de Janduhi Dantas, duas mulheres protagonistas demandam em busca de autodeterminação. Ambas as personagens são casadas e são infelizes no casamento; ambas suportam condições adversas que as inquietam e oprimem e das quais desejam sair. Será utilizado o conceito do dominante de (JAKOBSON, 1983), como ferramenta teórica, assim como ferramentas dos estudos de gêneros (BUTLER, 2003; LOURO, 1997) e da literatura comparada (CARVALHAL, 1986).REFERÊNCIAS:ASSIS, Machado. Dom Casmurro. São Paulo: Editora Ática, 1996 [1899].BADINTER, Elisabeth. Um Amor conquistado: o mito do amor materno. Rio de Janeiro: Nova Fronteira, 1985.BARTHES, Roland. Mitologias. 9. ed. Rio de Janeiro: Bertrand Brasil, 1993.BUTLER, Judith P. Problemas de gênero: feminismo e subversão da identidade. Tradução de Renato Aguiar. Rio de Janeiro: Editora Civilização Brasileira, 2003.CALDEIRA, Teresa Pires do Rio. Cidade de Muros: crime, segregação e cidadania em São Paulo. São Paulo: Edusp/Ed. 34, 2000.CANEVACCI, M. Introdução. In: Dialética da Família: gênese, estrutura e dinâmica de uma instituição repressiva. São Paulo: Brasiliense, 1981.CARNEIRO, Sueli. Racismo, sexismo e desigualdade no Brasil. São Paulo: Selo Negro, 2008.CARVALHAL, Tânia Franco. Literatura comparada. São Paulo: Ática, 1986.COLASSANTI, Marina. Mulher daqui pra a frente. Rio de Janeiro: Nórdica, 1981.DANTAS, Janduhi. A mulher que vendeu o marido por 1,99. Patos: Editora Patos, 2009.DEL PRIORI, Mary (Org.). História das mulheres no Brasil. São Paulo: Contexto, 2000.DELUMEAU, Jean. História do medo no Ocidente: 1300-1800 - uma cidade sitiada. Tradução de Maria Lucia Machado, tradução das notas de Heloisa Jahn. São Paulo: Cia das letras, 1989. FLAUBERT, G. Madame Bovary. Paris: Gallimard, Pléiade, 1951 [1857].FREUD, Sigmund. Obras Completas. São Paulo: Imago, 1974.FRIEDAN, Betty. A Mística Feminina. Petrópolis:Vozes, 1971.FRYE, Northrop. Anatomia da Crítica. Tradução de Péricles Eugênio da Silva Ramos. São Paulo: Cultrix, 1973.GOTLIB, Nádia Batella. Clarice uma vida que se conta. São Paulo: Ática, 1995.GUEDES, O.; DAROS, A. O cuidado como atribuição feminina: contribuições para um debate ético. Serv. Soc. Rev., Londrina, v. 12, n. 1, p. 122-134, jul./dez. 2009.HAHNER, J. E. Emancipating the female sex: The struggle for women’s rights in Brazil, 1850-1940. Durham: Duke University Press, 1990. HIRATA, H. Guimarães (Org.). Cuidado e cuidadoras: as várias facetas do trabalho do care. São Paulo: Atlas; 2012.JAKOBSON, Roman. O dominante. In: LIMA, Luiz Costa (Org.). Teoria da literatura em suas fontes. vol. 1; 2a ed. Rio de Janeiro: Francisco Alves, 1983.KAUFMANN, Jean-Claude. L’Entretien Compréhensif. Paris : Éditions Nathan, 1996.LABOV, Williams. Alguns passos iniciais na análise da narrativa. Trad. Waldemar Ferreira Neto. The Journal of Narrative and Life History, v. 7, p. 1-18, 1997. Disponível em: https://www.academia.edu/4598767/LABOV_William._Alguns_passos_iniciais_na_an%C3%A1lise_da_narrativa . Acesso em: 05 nov. 2018.LISPECTOR, Clarice. A Bela e Fera. Rio de Janeiro: Nova Fronteira, 1992.LISPECTOR, Clarice. A fuga. In: LISPECTOR, Clarice. A bela e a fera. Rio de Janeiro: Rocco, 1999.LISPECTOR, Clarice. Água Viva. Edição bilíngue. Paris: des femmes, 1973.LOURO, Guacira. Gênero, sexualidade e educação: uma perspectiva pós-estruturalista. Petrópolis: Vozes, 1997.MAINGUENEAU, Dominique. Análise de Textos da Comunicação. Tradução de Cecília P. de Souza-e-Silva e Décio Rocha. 6. ed. São Paulo: Cortez, 2011.MEJIA, Blanca Flor Demenjour Munoz; CONCEIÇÃO, Rute Izabel Simões. Qualidade discursiva concretude e projeções metonímicas: um estudo comparativo em narrativas. Revista Arredia, Dourados, Editora UFGD, v. 3, n. 4, p. 82-99, jan./jul. 2014.MOISÉS, Massaud. A Criação Literária. São Paulo: Melhoramentos, 1974.MONEGAL, Emir Rodríguez. Sexo y poesía en el Novecientos. Montevidéu: Alfa, 1969.NASCIMENTO, Evando. Clarice Lispector: uma literatura pensante. Rio de Janeiro, Civilização Brasileira, 2012.NASIO, J. D. A histeria: teoria e clínica psicanalítica. Rio de Janeiro: Zahar, 1991NUNES, A. B. Jr. Êxtase e clausura: sujeito místico, Psicanálise e estética. São Paulo: Annablume, 2005.OLIVEIRA, Valdeci Batista de Melo. Figurações da donzela-guerreira: Luzia-Homem e Dona Guidinha do Poço. São Paulo: Annablume, 2005.PAIVA, Oliveira. Dona Guidinha do Poço. São Paulo: Editora Ática, 2004 [1891].PÊCHEUX, Michel. Análise automática do discurso. Trad. Eni P.Orlandi. In: GADET, Françoise; HAK, Tony (Orgs.) Por uma análise automática do discurso: uma introdução à obra de Michel Pêcheux. Campinas: Unicamp, 1993.PÊCHEUX, Michel. Semântica e discurso: uma crítica à afirmação do óbvio. São Paulo: Unicamp, 1997.PÊCHEUX, Michel. Sob o pseudônimo de Thomas Herbert. Observações para uma teoria geral das ideologias. Trad. Carolina M. R. Zuccolillo; Eni P. Orlandi; José H. Nunes. RUA, nº 1, Campinas, 1995.QUEIRÓS, Eça de. O Primo Basílio. São Paulo: Ática, 1979 [1878].REIS, Carlos; LOPES, Ana Cristina M. Dicionário de narratologia. Coimbra: Almedina, 2007.SANT´ANNA, A. R. de. Paródia, paráfrase cia. 4a ed. Ática: São Paulo, 1991.SANTAELLA, L. Matrizes da linguagem e pensamento: sonora, visual, verbal: aplicações na hipermídia. São Paulo: Iluminuras e FAPESP, 2005.SCOTT, J. (1995). Gênero: uma categoria útil de análise histórica. Educação Realidade, 20, 71-99.TAVARES, Hênio. Teoria literária. 6. ed. Belo Horizonte: Itatiaia, 1978.TRILLAT, E. História da histeria. São Paulo: Escuta, 1991.VIANNA, Cynthia Semíramis Machado. A reforma sufragista: marco inicial da igualdade de direitos entre mulheres e homens no Brasil. Tese de doutorado. Universidade Federal de Minas Gerais: Belo Horizonte, 2017.VIDINHA de balada. Intérpretes: Henrique e Juliano. [S.l.]: Independente, 2017. (3 min.).ZOLIN, Lúcia Osana. Literatura de Autoria Feminina. In: ZOLIN, L. O.; BONNICI, T. (Orgs). Teoria Literária: abordagens históricas e tendências contemporâneas. 2a ed. rev. e amp. Maringá: Eduem, 2005.ENVIADO EM 24-04-19 | ACEITO EM 04-07-19

Introduction This paper offers a survey of familiar popular music performers and songwriters who reference coffee in their work. It examines three areas of discourse: the psychoactive effects of caffeine, coffee and courtship rituals, and the politics of coffee consumption. I claim that coffee carries a cultural and musicological significance comparable to that of the chemical stimulants and consumer goods more readily associated with popular music. Songs about coffee may not be as potent as those featuring drugs and alcohol (Primack; Schapiro), or as common as those referencing commodities like clothes and cars (Englis; McCracken), but they do feature across a wide range of genres, some of which enjoy archetypal associations with this beverage. m.o.m.m.y. Needs c.o.f.f.e.e.: The Psychoactive Effect of Coffee The act of performing and listening to popular music involves psychological elements comparable to the overwhelming sensory experience of drug taking: altered perceptions, repetitive grooves, improvisation, self-expression, and psychological empathy—such as that between musician and audience (Curry). Most popular music genres are, as a result, culturally and sociologically identified with the consumption of at least one mind-altering substance (Lyttle; Primack; Schapiro). While the analysis of lyrics referring to this theme has hitherto focused on illegal drugs and alcoholic beverages (Cooper), coffee and its psychoactive ingredient caffeine have been almost entirely overlooked (Summer). The most recent study of drugs in popular music, for example, defined substance use as “tobacco, alcohol, marijuana, cocaine and other stimulants, heroin and other opiates, hallucinogens, inhalants, prescription drugs, over-the-counter drugs, and nonspecific substances” (Primack 172), thereby ignoring a chemical stimulant consumed by 90 per cent of adult Americans every day (Lovett). The wide availability of coffee and the comparatively mild effect of caffeine means that its consumption rarely causes harm. One researcher has described it as a ubiquitous and unobtrusive “generalised public activity […] ‘invisible’ to analysts seeking distinctive social events” (Cooper 92). Coffee may provide only a relatively mild “buzz”—but it is now accepted that caffeine is an addictive substance (Juliano) and, due to its universal legality, coffee is also the world’s most extensively traded and enthusiastically consumed psychoactive consumer product (Juliano 1). The musical genre of jazz has a longstanding relationship with marijuana and narcotics (Curry; Singer; Tolson; Winick). Unsurprisingly, given its Round Midnight connotations, jazz standards also celebrate the restorative impact of coffee. Exemplary compositions include Burke/Webster’s insomniac torch song Black Coffee, which provided hits for Sarah Vaughan (1949), Ella Fitzgerald (1953), and Peggy Lee (1960); and Frank Sinatra’s recordings of Hilliard/Dick’s The Coffee Song (1946, 1960), which satirised the coffee surplus in Brazil at a time when this nation enjoyed a near monopoly on production. Sinatra joked that this ubiquitous drink was that country’s only means of liquid refreshment, in a refrain that has since become a headline writer’s phrasal template: “There’s an Awful Lot of Coffee in Vietnam,” “An Awful Lot of Coffee in the Bin,” and “There’s an Awful Lot of Taxes in Brazil.” Ethnographer Aaron Fox has shown how country music gives expression to the lived social experience of blue-collar and agrarian workers (Real 29). Coffee’s role in energising working class America (Cooper) is featured in such recordings as Dolly Parton’s Nine To Five (1980), which describes her morning routine using a memorable “kitchen/cup of ambition” rhyme, and Don't Forget the Coffee Billy Joe (1973) by Tom T. Hall which laments the hardship of unemployment, hunger, cold, and lack of healthcare. Country music’s “tired truck driver” is the most enduring blue-collar trope celebrating coffee’s analeptic powers. Versions include Truck Drivin' Man by Buck Owens (1964), host of the country TV show Hee Haw and pioneer of the Bakersfield sound, and Driving My Life Away from pop-country crossover star Eddie Rabbitt (1980). Both feature characteristically gendered stereotypes of male truck drivers pushing on through the night with the help of a truck stop waitress who has fuelled them with caffeine. Johnny Cash’s A Cup of Coffee (1966), recorded at the nadir of his addiction to pills and alcohol, has an incoherent improvised lyric on this subject; while Jerry Reed even prescribed amphetamines to keep drivers awake in Caffein [sic], Nicotine, Benzedrine (And Wish Me Luck) (1980). Doye O’Dell’s Diesel Smoke, Dangerous Curves (1952) is the archetypal “truck drivin’ country” song and the most exciting track of its type. It subsequently became a hit for the doyen of the subgenre, Red Simpson (1966). An exhausted driver, having spent the night with a woman whose name he cannot now recall, is fighting fatigue and wrestling his hot-rod low-loader around hairpin mountain curves in an attempt to rendezvous with a pretty truck stop waitress. The song’s palpable energy comes from its frenetic guitar picking and the danger implicit in trailing a heavy load downhill while falling asleep at the wheel. Tommy Faile’s Phantom 309, a hit for Red Sovine (1967) that was later covered by Tom Waits (Big Joe and the Phantom 309, 1975), elevates the “tired truck driver” narrative to gothic literary form. Reflecting country music’s moral code of citizenship and its culture of performative storytelling (Fox, Real 23), it tells of a drenched and exhausted young hitchhiker picked up by Big Joe—the driver of a handsome eighteen-wheeler. On arriving at a truck stop, Joe drops the traveller off, giving him money for a restorative coffee. The diner falls silent as the hitchhiker orders up his “cup of mud”. Big Joe, it transpires, is a phantom trucker. After running off the road to avoid a school bus, his distinctive ghost rig now only reappears to rescue stranded travellers. Punk rock, a genre closely associated with recreational amphetamines (McNeil 76, 87), also features a number of caffeine-as-stimulant songs. Californian punk band, Descendents, identified caffeine as their drug of choice in two 1996 releases, Coffee Mug and Kids on Coffee. These songs describe chugging the drink with much the same relish and energy that others might pull at the neck of a beer bottle, and vividly compare the effects of the drug to the intense rush of speed. The host of “New Music News” (a segment of MTV’s 120 Minutes) references this correlation in 1986 while introducing the band’s video—in which they literally bounce off the walls: “You know, while everybody is cracking down on crack, what about that most respectable of toxic substances or stimulants, the good old cup of coffee? That is the preferred high, actually, of California’s own Descendents—it is also the subject of their brand new video” (“New Music News”). Descendents’s Sessions EP (1997) featured an overflowing cup of coffee on the sleeve, while punk’s caffeine-as-amphetamine trope is also promulgated by Hellbender (Caffeinated 1996), Lagwagon (Mr. Coffee 1997), and Regatta 69 (Addicted to Coffee 2005). Coffee in the Morning and Kisses in the Night: Coffee and Courtship Coffee as romantic metaphor in song corroborates the findings of early researchers who examined courtship rituals in popular music. Donald Horton’s 1957 study found that hit songs codified the socially constructed self-image and limited life expectations of young people during the 1950s by depicting conservative, idealised, and traditional relationship scenarios. He summarised these as initial courtship, honeymoon period, uncertainty, and parting (570-4). Eleven years after this landmark analysis, James Carey replicated Horton’s method. His results revealed that pop lyrics had become more realistic and less bound by convention during the 1960s. They incorporated a wider variety of discourse including the temporariness of romantic commitment, the importance of individual autonomy in relationships, more liberal attitudes, and increasingly unconventional courtship behaviours (725). Socially conservative coffee songs include Coffee in the Morning and Kisses in the Night by The Boswell Sisters (1933) in which the protagonist swears fidelity to her partner on condition that this desire is expressed strictly in the appropriate social context of marriage. It encapsulates the restrictions Horton identified on courtship discourse in popular song prior to the arrival of rock and roll. The Henderson/DeSylva/Brown composition You're the Cream in My Coffee, recorded by Annette Hanshaw (1928) and by Nat King Cole (1946), also celebrates the social ideal of monogamous devotion. The persistence of such idealised traditional themes continued into the 1960s. American pop singer Don Cherry had a hit with Then You Can Tell Me Goodbye (1962) that used coffee as a metaphor for undying and everlasting love. Otis Redding’s version of Butler/Thomas/Walker’s Cigarettes and Coffee (1966)—arguably soul music’s exemplary romantic coffee song—carries a similar message as a couple proclaim their devotion in a late night conversation over coffee. Like much of the Stax catalogue, Cigarettes and Coffee, has a distinctly “down home” feel and timbre. The lovers are simply content with each other; they don’t need “cream” or “sugar.” Horton found 1950s blues and R&B lyrics much more sexually explicit than pop songs (567). Dawson (1994) subsequently characterised black popular music as a distinct public sphere, and Squires (2002) argued that it displayed elements of what she defined as “enclave” and “counterpublic” traits. Lawson (2010) has argued that marginalised and/or subversive blues artists offered a form of countercultural resistance against prevailing social norms. Indeed, several blues and R&B coffee songs disregard established courtship ideals and associate the product with non-normative and even transgressive relationship circumstances—including infidelity, divorce, and domestic violence. Lightnin’ Hopkins’s Coffee Blues (1950) references child neglect and spousal abuse, while the narrative of Muddy Waters’s scorching Iodine in my Coffee (1952) tells of an attempted poisoning by his Waters’s partner. In 40 Cups of Coffee (1953) Ella Mae Morse is waiting for her husband to return home, fuelling her anger and anxiety with caffeine. This song does eventually comply with traditional courtship ideals: when her lover eventually returns home at five in the morning, he is greeted with a relieved kiss. In Keep That Coffee Hot (1955), Scatman Crothers supplies a counterpoint to Morse’s late-night-abandonment narrative, asking his partner to keep his favourite drink warm during his adulterous absence. Brook Benton’s Another Cup of Coffee (1964) expresses acute feelings of regret and loneliness after a failed relationship. More obliquely, in Coffee Blues (1966) Mississippi John Hurt sings affectionately about his favourite brand, a “lovin’ spoonful” of Maxwell House. In this, he bequeathed the moniker of folk-rock band The Lovin’ Spoonful, whose hits included Do You Believe in Magic (1965) and Summer in the City (1966). However, an alternative reading of Hurt’s lyric suggests that this particular phrase is a metaphorical device proclaiming the author’s sexual potency. Hurt’s “lovin’ spoonful” may actually be a portion of his seminal emission. In the 1950s, Horton identified country as particularly “doleful” (570), and coffee provides a common metaphor for failed romance in a genre dominated by “metanarratives of loss and desire” (Fox, Jukebox 54). Claude Gray’s I'll Have Another Cup of Coffee (Then I’ll Go) (1961) tells of a protagonist delivering child support payments according to his divorce lawyer’s instructions. The couple share late night coffee as their children sleep through the conversation. This song was subsequently recorded by seventeen-year-old Bob Marley (One Cup of Coffee, 1962) under the pseudonym Bobby Martell, a decade prior to his breakthrough as an international reggae star. Marley’s youngest son Damian has also performed the track while, interestingly in the context of this discussion, his older sibling Rohan co-founded Marley Coffee, an organic farm in the Jamaican Blue Mountains. Following Carey’s demonstration of mainstream pop’s increasingly realistic depiction of courtship behaviours during the 1960s, songwriters continued to draw on coffee as a metaphor for failed romance. In Carly Simon’s You’re So Vain (1972), she dreams of clouds in her coffee while contemplating an ostentatious ex-lover. Squeeze’s Black Coffee In Bed (1982) uses a coffee stain metaphor to describe the end of what appears to be yet another dead-end relationship for the protagonist. Sarah Harmer’s Coffee Stain (1998) expands on this device by reworking the familiar “lipstick on your collar” trope, while Sexsmith & Kerr’s duet Raindrops in my Coffee (2005) superimposes teardrops in coffee and raindrops on the pavement with compelling effect. Kate Bush’s Coffee Homeground (1978) provides the most extreme narrative of relationship breakdown: the true story of Cora Henrietta Crippin’s poisoning. Researchers who replicated Horton’s and Carey’s methodology in the late 1970s (Bridges; Denisoff) were surprised to find their results dominated by traditional courtship ideals. The new liberal values unearthed by Carey in the late 1960s simply failed to materialise in subsequent decades. In this context, it is interesting to observe how romantic coffee songs in contemporary soul and jazz continue to disavow the post-1960s trend towards realistic social narratives, adopting instead a conspicuously consumerist outlook accompanied by smooth musical timbres. This phenomenon possibly betrays the influence of contemporary coffee advertising. From the 1980s, television commercials have sought to establish coffee as a desirable high end product, enjoyed by bohemian lovers in a conspicuously up-market environment (Werder). All Saints’s Black Coffee (2000) and Lebrado’s Coffee (2006) identify strongly with the culture industry’s image of coffee as a luxurious beverage whose consumption signifies prominent social status. All Saints’s promotional video is set in a opulent location (although its visuals emphasise the lyric’s romantic disharmony), while Natalie Cole’s Coffee Time (2008) might have been itself written as a commercial. Busting Up a Starbucks: The Politics of Coffee Politics and coffee meet most palpably at the coffee shop. This conjunction has a well-documented history beginning with the establishment of coffee houses in Europe and the birth of the public sphere (Habermas; Love; Pincus). The first popular songs to reference coffee shops include Jaybird Coleman’s Coffee Grinder Blues (1930), which boasts of skills that precede the contemporary notion of a barista by four decades; and Let's Have Another Cup of Coffee (1932) from Irving Berlin’s depression-era musical Face The Music, where the protagonists decide to stay in a restaurant drinking coffee and eating pie until the economy improves. Coffee in a Cardboard Cup (1971) from the Broadway musical 70 Girls 70 is an unambiguous condemnation of consumerism, however, it was written, recorded and produced a generation before Starbucks’ aggressive expansion and rapid dominance of the coffee house market during the 1990s. The growth of this company caused significant criticism and protest against what seemed to be a ruthless homogenising force that sought to overwhelm local competition (Holt; Thomson). In response, Starbucks has sought to be defined as a more responsive and interactive brand that encourages “glocalisation” (de Larios; Thompson). Koller, however, has characterised glocalisation as the manipulative fabrication of an “imagined community”—whose heterogeneity is in fact maintained by the aesthetics and purchasing choices of consumers who make distinctive and conscious anti-brand statements (114). Neat Capitalism is a more useful concept here, one that intercedes between corporate ideology and postmodern cultural logic, where such notions as community relations and customer satisfaction are deliberately and perhaps somewhat cynically conflated with the goal of profit maximisation (Rojek). As the world’s largest chain of coffee houses with over 19,400 stores in March 2012 (Loxcel), Starbucks is an exemplar of this phenomenon. Their apparent commitment to environmental stewardship, community relations, and ethical sourcing is outlined in the company’s annual “Global Responsibility Report” (Vimac). It is also demonstrated in their engagement with charitable and environmental non-governmental organisations such as Fairtrade and Co-operative for Assistance and Relief Everywhere (CARE). By emphasising this, Starbucks are able to interpellate (that is, “call forth”, “summon”, or “hail” in Althusserian terms) those consumers who value environmental protection, social justice and ethical business practices (Rojek 117). Bob Dylan and Sheryl Crow provide interesting case studies of the persuasive cultural influence evoked by Neat Capitalism. Dylan’s 1962 song Talkin’ New York satirised his formative experiences as an impoverished performer in Greenwich Village’s coffee houses. In 1995, however, his decision to distribute the Bob Dylan: Live At The Gaslight 1962 CD exclusively via Starbucks generated significant media controversy. Prominent commentators expressed their disapproval (Wilson Harris) and HMV Canada withdrew Dylan’s product from their shelves (Lynskey). Despite this, the success of this and other projects resulted in the launch of Starbucks’s in-house record company, Hear Music, which released entirely new recordings from major artists such as Ray Charles, Paul McCartney, Joni Mitchell, Carly Simon and Elvis Costello—although the company has recently announced a restructuring of their involvement in this venture (O’Neil). Sheryl Crow disparaged her former life as a waitress in Coffee Shop (1995), a song recorded for her second album. “Yes, I was a waitress. I was a waitress not so long ago; then I won a Grammy” she affirmed in a YouTube clip of a live performance from the same year. More recently, however, Crow has become an avowed self-proclaimed “Starbucks groupie” (Tickle), releasing an Artist’s Choice (2003) compilation album exclusively via Hear Music and performing at the company’s 2010 Annual Shareholders’s Meeting. Songs voicing more unequivocal dissatisfaction with Starbucks’s particular variant of Neat Capitalism include Busting Up a Starbucks (Mike Doughty, 2005), and Starbucks Takes All My Money (KJ-52, 2008). The most successful of these is undoubtedly Ron Sexsmith’s Jazz at the Bookstore (2006). Sexsmith bemoans the irony of intense original blues artists such as Leadbelly being drowned out by the cacophony of coffee grinding machines while customers queue up to purchase expensive coffees whose names they can’t pronounce. In this, he juxtaposes the progressive patina of corporate culture against the circumstances of African-American labour conditions in the deep South, the shocking incongruity of which eventually cause the old bluesman to turn in his grave. Fredric Jameson may have good reason to lament the depthless a-historical pastiche of postmodern popular culture, but this is no “nostalgia film”: Sexsmith articulates an artfully framed set of subtle, sensitive, and carefully contextualised observations. Songs about coffee also intersect with politics via lyrics that play on the mid-brown colour of the beverage, by employing it as a metaphor for the sociological meta-narratives of acculturation and assimilation. First popularised in Israel Zangwill’s 1905 stage play, The Melting Pot, this term is more commonly associated with Americanisation rather than miscegenation in the United States—a nuanced distinction that British band Blue Mink failed to grasp with their memorable invocation of “coffee-coloured people” in Melting Pot (1969). Re-titled in the US as People Are Together (Mickey Murray, 1970) the song was considered too extreme for mainstream radio airplay (Thompson). Ike and Tina Turner’s Black Coffee (1972) provided a more accomplished articulation of coffee as a signifier of racial identity; first by associating it with the history of slavery and the post-Civil Rights discourse of African-American autonomy, then by celebrating its role as an energising force for African-American workers seeking economic self-determination. Anyone familiar with the re-casting of black popular music in an industry dominated by Caucasian interests and aesthetics (Cashmore; Garofalo) will be unsurprised to find British super-group Humble Pie’s (1973) version of this song more recognisable. Conclusion Coffee-flavoured popular songs celebrate the stimulant effects of caffeine, provide metaphors for courtship rituals, and offer critiques of Neat Capitalism. Harold Love and Guthrie Ramsey have each argued (from different perspectives) that the cultural micro-narratives of small social groups allow us to identify important “ethnographic truths” (Ramsey 22). Aesthetically satisfying and intellectually stimulating coffee songs are found where these micro-narratives intersect with the ethnographic truths of coffee culture. 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