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1

McGaugh, Isabel Kugler. "NARRATIVE FRAME SHIFTING." Case Western Reserve University School of Graduate Studies / OhioLINK, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=case1618596908841112.

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DeMair, Jillian Marie. "Telling about the Truth: Negotiations of Credibility in German Narratives." Thesis, Harvard University, 2013. http://dissertations.umi.com/gsas.harvard:10826.

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This dissertation is a study of how various German narratives from the nineteenth century to the present tell stories that are interrupted or framed by discourse on storytelling itself. More specifically, I examine the various means by which authors in different periods have sought to address and undermine the idea that a story must be believable. The classic frame narrative is one example of how the problem of credibility has been confronted, and yet I suggest that frames are often employed by authors for the very reason that contrary to their perceived function, they are inherently unstable. Frame narratives, interwoven stories, unbelievable occurrences, or less than credible storytellers are all ways by which the texts examined here reflect on their own production and create ambiguity about levels of reality and the connections between different story levels.
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Trese, Kelly. "Beyond the Frame Tale: Shifting Paradigms in the Narrative Framing Tradition." Thesis, Boston College, 2018. http://hdl.handle.net/2345/bc-ir:108258.

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Thesis advisor: Elizabeth Rhodes<br>Historically, the narrative frame tale boasts a long and varied trajectory that originated in ancient India and includes texts such as the Panchatantra and the Arabian Nights. Eventually, many Eastern fables and the frame-tale structure that accompanied them entered the Western literary tradition through the cultural bridge that was medieval Spain. Considering the frame tale’s popularity in medieval texts, especially in fourteenth century Italian novella collections, it is curious to observe a decline in its use during the early-modern period in Europe. This study examines how the traditional framed novella collection dissolves into more fluid narrative forms. Novel, more structurally subtle types of framing devices, including the character-as-frame and the place-as-frame, maintain several consistent narratological functions with their historical counterparts. The frame tale’s form may have changed, but its function remains. The first chapter of this dissertation focuses on Boccaccio’s Decameron as the model for how a traditional frame tale functions. Four narratological framing functions – the aesthetic, the perspectivist, the metaleptic frame break, and the self-reflexive – work in concert to organize the text and engage readers in actively interpreting it. The remaining three chapters examine three exemplary moments in literary history when authors redesign and deploy the narrative frame: Lazarillo de Tormes, Part I of Don Quijote, and Cien años de soledad. These texts each create a paradigm shift by utilizing a well-known, well-established formal device in innovative ways. This dissertation argues that by understanding these works in a new light as framed texts, and by exposing the consistent functions at work within them, readers can better understand both the world of the text and the world outside it<br>Thesis (PhD) — Boston College, 2018<br>Submitted to: Boston College. Graduate School of Arts and Sciences<br>Discipline: Romance Languages and Literatures
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Miyakawa, Misako. "Narrative Frame in Conrad's Fiction : the Straggler, the Narrator, and the Audience." 京都大学 (Kyoto University), 2001. http://hdl.handle.net/2433/151376.

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Helmers, Maike. "A new narrative frame : sound design and conceptual storytelling in German film, 1930-1933." Thesis, Bournemouth University, 2018. http://eprints.bournemouth.ac.uk/31235/.

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During the final years of the Weimar Republic, precisely at a time when the democratic principles of German government came under increasing pressure from national as well as global political and economic forces, sound film became rapidly established as an innovative element in German cinema. With the arrival of technology enabling the production of synchronous sound for cinema film, the era of live sound accompaniment in cinemas drew to a close. This thesis discusses the period of Germany’s transition into the sound film era within a wider historical context of the late Weimar Republic and identifies the emergence of a new cinematic aesthetic in early sound films made in Germany. The term “sound film” or “sound cinema” in the context of this thesis refers to film with a continuous, synchronous soundtrack. Sound film featured dialogue as well as other sound elements, such as sound effects, atmospheres or music. This new film- making process arrived in Germany right at the end of the 1920s and introduced film-makers to the technology to record dialogue (and other synchronous sound elements) alongside the image at the time of filming, on location or on a specially- built studio set. This research project examines German films from the late Weimar Republic in terms of a newly emerging relationship between image and synchronous soundtrack. The central research question addressed by this thesis is: • Against the backdrop of a medium in transition, how does the relationship between sound and image manifest itself in early German sound film? My original contribution to knowledge is the combination of academic research with practice-based knowledge of sound design determinants, resulting in a new methodology for the understanding of an emerging sound aesthetic in narrative films produced in Germany during the transition into synchronous sound. At the centre of this thesis are four films, selected from a longer list of titles under consideration; in- depth engagement uncovers the presence of greater complexity in these films’ use of sound than has been recognised to date. These case studies are assessed in terms of their creative approach to sound. This process reveals that the relationship between image and sound became an important component for the development of greater narrative complexity, as well as introducing new potential in the use of sound and image from an editing perspective. Furthermore, these early German sound films demonstrate that integration of music was more conceptually ambitious than has been previously acknowledged. The films selected for closer analysis for this project were made between 1930 and 1933 and belong to the narrative fiction or drama genre (as opposed to factual or documentary film). The findings of the thesis are summarised as follows: • It challenges existing assumptions that early sound films were unable to develop a degree of complexity within their soundtracks; • It reveals how the relationship between image and sound enhanced the intricacy of narrative and emotive story elements; • It demonstrates that high cost of converting to sound film drove most small independent film studios out of the industry, leaving sound film production to big companies such as Ufa; • It revises the concept that eminent theorists of the Weimar period rejected sound film, in preference over silent film; • It refutes an assumption that the arrival of sound represented a retrograde step for editing and cinematography, or that early German sound films were inferior in creative ambition compared to the films of the silent era; • Furthermore, this project establishes that the arrival of technological innovation (inventions which facilitated the use of sound) was just the beginning of a more complex conceptual process during which film- makers developed a new film language to integrate the sonic domain. This thesis concludes that the transition from silent to sound film was of considerable public interest, and that the potential promise of sound for film was a topic of wide- ranging debate before, during and after the transition took place in Germany. The arrival of film sound technology was a revolution; harnessing the creative potential of this technology in order to enhance cinema’s narrative potential was a process of evolution.
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Maynard, Zachary C. "Designing Compressed Narrative using a Reactive Frame: The Influence of Spatial Relationships and Camera Composition on the Temporal Structure of Story Events." The Ohio State University, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=osu1345491195.

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Asay, Timothy. "The Phenomenology of Frames in Chaucer, Dante and Boccaccio." Thesis, University of Oregon, 2015. http://hdl.handle.net/1794/18728.

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When an author produces a frame narrative, she simultaneously makes language both a represented object and a representing agent; when we imagine framed speech, we imagine both the scene its words represent and a mouth that speaks those words. Framed language is thus perfectly mimetic: the words we imagine being spoken within the fictional world are the same we use to effect that fiction's representation. Since its first function is to represent itself, the framed word acts both to push us out of the frame into our own temporality and to draw us into fictional times and spaces. This dissertation explores how first Dante and subsequently his successors, Boccaccio and Chaucer, deploy this structural feature of frames to engage difficult philosophical and theological disputes of their age. In the Divine Comedy, framed language allows Dante to approach the perfect presence of God without transgressing into a spatial conception of the divine. Intensifying Dante's procedure in his House of Fame, Chaucer forecloses the possibility of representation; he transforms every speech act into an image of its utterer rather than its referent, thus violently thrusting us back into the time we pass as we read. Boccaccio--first in his Ameto then in the Decameron--eschews this framed temporality in favor of the temporality of the fetish: while his narratives threaten to dissolve into their basic linguistic matters, the erotic energy of the people that populate those narratives forces them to cohere as fully imagined spaces and times. Finally the Chaucer who writes the Canterbury Tales fuses his initial reading of Dante with Boccaccio's response to it; he constructs the Canterbury pilgrims as grotesques who each open up a limited angle of vision on the time and space they collectively inhabit. These angles overlap and stutter over one another, unsettling the easy assignations of identity any given pilgrim would enforce on a tale or agent within the narrative. In doing so, Chaucer makes the temporality within his Tales strange and poignant in a way that fully mimics our own experience of extra-narrative time.
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David, Hélène. "Le Songe au XVIIIe siècle, ou la mise à l’épreuve du sujet et de ses limites : l’exploration des confins." Thesis, Lille 3, 2016. http://www.theses.fr/2016LIL30045/document.

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Ce travail étudie les discours sur les songes dans la philosophie spéculative du siècle des Lumières jusqu’à Diderot, en revenant préalablement aux sources du cartésianisme. Puis il s’intéresse aux songes brefs comme récits-cadres des années 1730 à 1790.Dans un premier temps, il montre que le rêve est de plus en plus étudié comme un épisode de la vie de l’esprit ; il gagne la veille et en vient à éclairer le fonctionnement de l’esprit, dans les opérations de la mémoire ou de l’imagination. C’est un fonctionnement pétri par la matière et par le monde, qui devient comme chez Denis Diderot un modèle pour aborder l’esprit et un modèle de découverte scientifique. Dans un second temps, nous nous tournons vers les songes littéraires comme récits-cadre, petits textes désinvoltes, rassemblés en série comme chez d’Argens ou Mercier. Cette forme favorise l’exploration des confins obscurs du sujet, dans le pèlerinage amoureux, la satire ou le songe philosophique : hédonisme triomphant, sentiment océanique, pulsion scopique, pulsion de mort dirigé contre les autres ou contre soi<br>The Dream in the Eighteenth Century or the Testing of the Self This thesis investigates the discourse about dreams in philosophy of mind of the Enlightenment to Diderot, after an initial examination of the sources of Cartesianism. Next it proceeds to study the dream frame narratives produced in the 1730-1790 period.First, it shows that the dream is increasingly studied as an episode in the life of the mind; dreams pervade the wake, soon unfolding the operations of our mind, memory and imagination. They involve world and matter, and become a model reflecting all aspects of the mind, finally turning into a model of scientific discovery in Denis Diderot’s writings. Secondly, we turn to literary dreams as frame narratives, short flippant texts, significantly grouped together in series by Argens or by Mercier. This form favours the exploration of the dark confines of the self, in the love pilgrimage, in satirical or philosophical dreams : triumph of hedonism, Oceanic Feeling, scopic drive, drive towards death and self destruction
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Freitas, Elisângela Aneli Ramos de. "Dois pares narrativos de Lídia Jorge: uma tetralogia construída." Universidade de São Paulo, 2018. http://www.teses.usp.br/teses/disponiveis/8/8150/tde-22032019-124747/.

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Este estudo propõe-se a avaliar as relações existentes entre dois pares narrativos formados por uma narrativa curta e outra longa, da autora Lídia Jorge, compostos pelo conto Os Gafanhotos, inserido no romance A Costa dos Murmúrios (1988) e seu próprio romance, e o conto A Instrumentalina (1992) e o romance A Manta do Soldado (1996), fundando-se, desta forma, a nossa tetralogia construída. Esta análise procurou debruçar-se sobre as questões que a narrativa moldura, no primeiro par, incita, da mesma forma que dedicou-se a outras relações narrativas observadas nos dois pares, como a preocupação em denunciar o perigo da história única, a questão da emigração e da identidade portuguesa durante o período do Estado Novo, além da construção e utilização dos símbolos como potência dentro destas obras. Tendo como eixos de pesquisa identidade e alteridade, memória e herança, procuramos analisar como os conceitos impregnados nestas obras operam em sua elaboração, contribuindo para o melhor entendimento da complexidade da obra da autora.<br>This study intends to evaluate the relations between two narrative pairs formed by a short and a long story by Lídia Jorge, composed by the short story Os Gafanhotos, inserted in the novel A Costa dos Murmúrios (1988) and its own novel, and the tale A Instrumentalina (1992) and the novel A Manta do Soldado (1996), therefore, forming our constructed tetralogy. This analysis was looked for to focus on the issues of the narrative frame, in the first pair, as it was devoted to other narrative relations observed in the two pairs, such as concern to denounce the danger of single history, the question of emigration and Portuguese identity during the Estado Novo period, as well as the construction and use of symbols as power within these works. Having as axes of research identity and alterity, memory and inheritance, we try to analyze how the concepts that these works help in their elaboration, contributing to a better understanding of the complexity of the work of the author.
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Morsey, Faten I. "The frame-narrative and short fiction : a continuum from One Thousand and One Nights to Borges." Thesis, University of Essex, 1989. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.235576.

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11

Connor, Laura. "Frameworks: The Limits of Perception and Representation in Spanish Narrative and Painting, 1880-1920." Thesis, Harvard University, 2014. http://dissertations.umi.com/gsas.harvard:11486.

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Realism is a mode of representation that purports to depict contemporary society objectively and in its entirety. By contrast, modernist artists are often regarded as having turned away from external reality to represent subjective states and to emphasize the artistic (versus mimetic) qualities of art. Building on recent scholarship that has demonstrated that Spanish realist authors were mindful of the limitations of the realist project, this study examines frames as devices through which both realist and modernist authors and artists working in fin-de-siècle Spain signal the limits of perception and representation.<br>Romance Languages and Literatures
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Jones, Nicola Katherine. "Reading the frame/framing the reader : the negotiation of narrative authority in medieval Italian short story collections." Thesis, University of Cambridge, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.612253.

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Spear, Jennifer Akeley. "Narrative based fear appeals manipulating grammatical person and message frame to promote HPV awareness and responsible sexual conduct." Master's thesis, University of Central Florida, 2011. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/5045.

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The utility of narrative as a persuasive mechanism has been increasingly investigated in recent years especially within the context of health behaviors. Although many studies have noted the effectiveness of narrative-based persuasive appeals, conceptual inconsistencies have made it difficult to determine what specific aspects of narrative messages lead to the most effective persuasive outcomes. In the present study, 145 female college students were randomly assigned to read one of four narrative health messages about a female freshman college students experiences with the human papillomavirus (HPV). Two elements of the narrative message structure were manipulated: the message frame (gain framed vs. loss framed), and the grammatical person of the text (first-person vs. third-person). The messages were presented via the medium of an online blog. After reading a narrative participants responded to a brief questionnaire designed to measure perceptions of threat regarding HPV contraction, perceptions of efficacy regarding HPV prevention, and intentions to get the Gardasil vaccine. Participants exposed to loss framed messages reported higher levels of perceived threat (susceptibility and severity) than participants exposed to gain framed messages although participants in the gain framed message conditions reported higher levels of perceived self-efficacy. Significant correlations were also found between levels of reported character identification and the two threat variables. No effects were found for grammatical person.<br>ID: 030423180; System requirements: World Wide Web browser and PDF reader.; Mode of access: World Wide Web.; Thesis (M.A.)--University of Central Florida, 2011.; Includes bibliographical references (p. 96-112).<br>M.A.<br>Masters<br>Communication<br>Sciences
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Aerie, Joshua M. "A Narrative Epistemology of Sacred Frame Constructedness and Deconstruction: Exploratory Analyses of Ways of Knowing Sacred Interpretation and Understanding Through Context, Symbol/Concept, and Role." Oberlin College Honors Theses / OhioLINK, 2000. http://rave.ohiolink.edu/etdc/view?acc_num=oberlin1314107651.

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Fox, Chelise. "Worlds with Words: Discourse and Frame Analysis of Performance Storytelling." Digital Commons @ East Tennessee State University, 2018. https://dc.etsu.edu/etd/3424.

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In this thesis, I explore how performance storytellers create intense focus on imaginal realities through language—a phenomenon sometimes called “transport” or “realm-shift.” To this end, recordings of performances by two professional storytellers were transcribed and examined through the lens of frame theory and discourse analysis. Examination of these transcripts shows that storytellers employ clusters of linguistic involvement strategies around frame transitions, facilitating realm-shift. Additionally, it shows that throughout a telling, tellers shape discourse around frame shifts that draw attention to significant elements, particularly those that establish a story’s relevance to the occasion of its telling and those that contribute to meaningful story interpretation. This research highlights the ways that meaningful interpretation of a story depends on successful navigation of frames, revealing that the power of a storytelling event depends largely on the connections between realms of discourse.
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Fullmer, Alyson June. "The Archon(s) of Wildfell Hall: Memory and the Frame Narrative in Anne Brontë’s The Tenant of Wildfell Hall." BYU ScholarsArchive, 2016. https://scholarsarchive.byu.edu/etd/5993.

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In the first chapter of Anne Brontë’s The Tenant of Wildfell Hall, Gilbert Markham invites his reader to join him as he attempts to recall the past. Because Gilbert uses the journal of another to supplement his own memories, the novel's frame narrative structure becomes saturated with complex memory-based issues and problems. Thus, the complicated frame narrative provides fertile ground for exploring the novel through memory. In studying the frame narrative, scholars have typically devoted their criticism to Gilbert and how he shapes the frame. Few scholars afford the other primary narrator of the novel, Helen, any power in shaping that frame. However, both Gilbert's and Helen's narratives exist separately yet function codependently. Using recent studies in memory as well as Derridean and Foucaultian archive theory as a lens, I will explore how Tenant presents an anarchic narrative structure that simultaneously gives its own semblance of power and order without assigning complete narrative power to one person or to one gender.
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Rosenow, Cecilia. "Insoluble Ambiguity: Criticism and the Structure of the Frame Narrative in The Turn of the Screw by Henry James." PDXScholar, 1995. https://pdxscholar.library.pdx.edu/open_access_etds/4908.

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Since its publication in 1898, The Turn of the Screw has been the focus of diverse critical interpretation. It has reflected shifts in critical theory that include the Freudian, psychoanalytic, mythological, structuralist, reader-response, linguistic, and new-historical schools. The majority of critical interpretations have focused on the governess's narrative and have excluded the prologue, or frame narrative, that begins the novella. The critics who did examine the prologue overlooked James's departure from the traditional use of frame narration and the importance of the structure of the frame in creating a text of insoluble ambiguity. James departed from traditional frame narration in four ways. By using only an opening frame, the reader is forced to rely on the prologue in order to determine narrative reliability. By creating a condition of reciprocal authority between the unnamed narrator and Douglas, the opening frame denies the possibility of using either character to substantiate the reliability of the other. The condition of reciprocal authority is constructed through a dialogue pattern in which the narrator and Douglas interpret each other's gestures and comments and finish each other's sentences. It is the use of the pattern in the prologue that prepares the reader to accept it in the governess's narrative. The governess repeats the dialogue pattern with Mrs. Grose and Miles. Their discussions appear to validate the governess as a reliable narrator when in fact her reliability is as impossible to determine as the reliability of Douglas or the frame narrator. The result of these departures from traditional frame narration is the construction of a text of insoluble ambiguity.
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Meckes, Jessica L. "Telling My Truth: A Frame Analysis of Blame in Prisoner Accounts." Ohio : Ohio University, 2009. http://www.ohiolink.edu/etd/view.cgi?ohiou1250953955.

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Hanström, Sissel. "The Fear of the Fall: Degeneration and Social Inequality in the Frame Narrative of H. G. Wells’s The Time Machine." Thesis, Stockholms universitet, Engelska institutionen, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-100264.

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H. G Wells’s novel The Time Machine is a significant work of science fiction that dramatizes the themes of degeneration and social inequality, themes that were very relevant during the Victorian era in relation to the discovery of evolution. Degeneration was seen as the degradation of society into primitiveness far from the Victorian standards, and the problem of social difference, where the gap between poor and rich was very wide, became the visible proof of the difference between the evolved and civilized and the degenerated and primitive. The purpose of this essay is to analyse how the frame narrative, the story surrounding the main adventure, affects the theme of degeneration in the novel. The framework reveals the reactions of the people present at the dinner parties, where the Time Traveller recounts his journey into a degenerated future. The guests are all representing different factions of Victorian society, such as the Provincial Mayor, the Very Young Man and the Editor who all have their own motives and agendas in relation to degeneration, social differences and time travel. By examining the guests’ individual motives, the essay argues that they do not want to believe in time travel since it would include believing in a degenerated future where all the glory of their present-day Victorian era would crumble into chaos and pandemonium. This essay shows that by denying the relevance of the Time Traveller’s story, despite the evidence presented, the dinner guests are condemning themselves to the degenerated future they are afraid of, hence making the novel a warning example of not accepting new ideas.
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Osman, Youssef. "“TWO THOUSAND AND ONE NIGHTS” AN ACCENTED CINEMA IN THE SEARCH FOR IDENTITY." OpenSIUC, 2010. https://opensiuc.lib.siu.edu/theses/408.

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This paper examines the creative process behind the “2001 Nights”narrative film project. The filmmaker (Author) chose the ancient book TheThousand and One Nights, as a foundation and structure to tell a number ofcontemporary stories. Through these stories the author is hoping to explorea number of themes.The film mixes elements of magical realism with dramatic fiction toexplore the concepts of alienation, displacement and diaspora, trying tounderstand the concept of the “other”. Under the politicized, stressfulclimate of current world events, the film also examines identity. This piece ispersonal, in that the author is trying to take his own search for identity to amore global level.
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Blakley, J. Ted. "Incomprehension or resistance? : the Markan disciples and the narrative logic of Mark 4:1-8:30." Thesis, St Andrews, 2008. http://hdl.handle.net/10023/566.

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Carvalho, Eni Santos. "A NARRATIVA CURTA DE MIGUEL JORGE: ENTRE O LEGÍVEL E O ESCREVÍVEL." Pontifícia Universidade Católica de Goiás, 2018. http://tede2.pucgoias.edu.br:8080/handle/tede/3934.

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Submitted by admin tede (tede@pucgoias.edu.br) on 2018-04-18T13:09:46Z No. of bitstreams: 1 ENI SANTOS CARVALHO.pdf: 969626 bytes, checksum: bb13f968f892b50e4be787239b0f4a08 (MD5)<br>Made available in DSpace on 2018-04-18T13:09:46Z (GMT). No. of bitstreams: 1 ENI SANTOS CARVALHO.pdf: 969626 bytes, checksum: bb13f968f892b50e4be787239b0f4a08 (MD5) Previous issue date: 2018-02-22<br>The focus on this research was promote analytics and theories studies in short narratives, highlighted the instances of the narrative discourse meaning production, establish the relations of Lacraus’ short narratives textual construction, by Miguel Jorge, separating the frames and montage process and other arts approaching. The study emphasis was the textual architecture that promotes text and reader interaction, text effect and reception, as a contemporaneity conjunction: genre hybridization and verify the tension actions in narrative linear and non-linear discourse in focus. In way to accomplish the general and specifics objectives of this research, some Miguel Jorge’s narrative texts was used in a way to analyze the theory and analytic fundamentals. From Miguel Jorge’s works, it was observed the construction process adopted by the author on the character’s constructions as a way to capture and silence them. Between a variety of theory authors used in this study, Alfredo Bosi, Aguinaldo J. Gonçalves, Boris A. Uspênski, Eleazar M. Meletínski, Gerard Genette, Robert Humphrey, Roland Barthes and Tzvetan Todorov had an effective influence on the critical thinking.<br>O objetivo desta pesquisa é desenvolver estudos teóricos e análise de narrativas curtas, destacando as instâncias produtoras de significação do discurso narrativo, observando o constructo textual de contos da obra Lacraus, de Miguel Jorge, perpassado por linguagens de outras artes, destacando o processo de emolduragem e montagem. A ênfase de nosso estudo incidirá sobre a arquitetura textual em que se institui a interação entre texto e leitor, efeitos de sentido, numa conjunção de ingredientes da contemporaneidade: hibridização de gêneros; ações tensivas entre linearidade/não linearidade no discurso em questão. Para que cumpríssemos os objetivos gerais e específicos deste estudo, selecionamos textos narrativos do escritor goiano Miguel Jorge e, por meio deles, aplicamos os conceitos acima destacados. Da obra de Miguel Jorge são extraídos os procedimentos construtivos adotados pelo autor na constituição das personagens inscritas em situações que, ora as aprisionam, ora as silenciam. Dentre os vários teóricos utilizados neste trabalho, destacamos os que tiveram uma influência efetiva em nosso pensamento crítico: Alfredo Bosi, Aguinaldo J. Gonçalves, Boris A. Uspênski, Eleazar M. Meletínski, Gerard Genette, Robert Humphrey, Roland Barthes, Tzvetan Todorov.
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Hemberg, Göran. "Berättare, råttfångare och deras praktiska kunskap." Thesis, Södertörns högskola, Institutionen för kultur och lärande, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-22947.

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I den här essän söker jag svar på följande frågor: Vad gör egentligen en berättare? Närmare bestämt: vad utmärker professionellt, muntligt berättande jämfört med det publika berättande som författare och skådespelare ägnar sig åt? Vad är det som just en muntlig berättare kan? Jag använder forskning som studerat förutsättningarna för dessa yrken – särskilt hur berättelser konstrueras och berättande går till – och tillämpar studierna på ett konkret fall: mina egna erfarenheter av att förbereda och framföra sägnen om Råttfångaren från Hameln vid Ljungby berättarfestival 2012. Det jag då gjorde och hur jag såg på det efteråt, jämförs med fiktiva berättares verksamhet i Mario Vargas Llosas roman El Hablador och Ursula K. Le Guins The Telling. Jag prövar bilden av en råttfångare som metafor för en muntlig berättare och kommer till slutsatsen att berättaren kan vara lika fängslande och lika förledande. Även skådespelare och romanförfattare kan fängsla sin publik, men inte luras så som en berättare kan. Att kunna förleda är baksidan av den djupt mänskliga förmågan att kunna säga som det är. Till vardags är vi väl medvetna om detta och god berättare tar med sig den insikten även upp på scenen.<br>In this essay I seek answers to the following questions: What is a storyteller in fact accomplishing? What distinguishes professional, oral storytellers from other public narrators such as authors of fiction and actors? What can a storyteller do, that they can’t? I use research investigating the conditions of these professions – in particular how narratives are constructed and how narration works – and apply it to a real case: my own experiences in preparing and performing The Pied Piper of Hamlin at Ljungby storytelling festival 2012 . What I did and the way I looked at it afterwards, is compared to the activities of fictional storytellers in Mario Vargas Llosa’s novel The Storyteller and Ursula K. Le Guin’s The Telling. I test the image of a pied piper as a metaphor for an oral storyteller, and reach the conclusion that the teller can be just as captivating and deceitful. Authors of fiction and actors can also spellbind their public, but not deceive the way a storyteller can. This talent is the obverse to the human capacity of telling it like it is. We are well aware of this in our daily lives and a good storyteller keeps this insight in mind also on stage.
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24

Wright, Michelle. "Time, consciousness and narrative play in late medieval secular dream poetry and framed narratives." Thesis, University of South Wales, 2017. https://pure.southwales.ac.uk/en/studentthesis/time-consciousness-and-narrative-play-in-late-medieval-secular-dream-poetry-and-framed-narratives(7cbf5e12-c655-4177-84f8-1445f1ffef85).html.

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This thesis considers time and narrative play in dream poems and framed narratives. It begins with a chapter on the history of time perceptions and time-telling, and explores how ideas about time influenced medieval writers. It also surveys some modern views on the history of time-measurement a nd its influences on culture and the collective consciousness. Chapter two, after analysing the treatment of time in the Roman de la Rose, surveys some of the ways in which modern criticism has evaluated and conceived the genre of secular dream literature that developed from the Roman de la Rose. Chapter three examines the innovative use of the convention of beginning a poem with a seasonal opening and theorises that this becomes a `language' open to adaptation and variation. Chapter four looks in detail at Froissart's L`Orloge amoureus and discusses the clock as a new object which, contrary to the views of cultural historians, was embraced by medieval writers, religious and secular, to symbolise a range of virtues, qualities and ideas. I argue that the clock inspired creativity rather than heralding a rationalisation of the mind that would stifle imaginative responses to this new technology. Chapter five explores metafictional and self-reflexive devices in Froissart's Joli Buisson de Jonece and Chaucer's House of Fame. I consider how these texts play with narrative time and sequence by writing the genesis of the text into the poem. Finally, chapter six examines ideas of closure in medieval dream poetry and looks specifically at the reciprocity and inconclusiveness of the Judgement poems of Guillaume de Machaut. Because the second poem reverses the decision of the first poem, it brings into question the authority of the text and the unity of the authorial voice.
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25

PASSARELLI, CARLOS ANDRE FACCIOLLA. "FRAMED BODIES: AIDS AND CORPORALITY IN NARRATIVE MOVIES." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2007. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=10161@1.

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CONSELHO NACIONAL DE DESENVOLVIMENTO CIENTÍFICO E TECNOLÓGICO<br>Este estudo busca investigar o imaginário social formado sobre o corpo das pessoas afetadas pela Síndrome de Imunodeficiência Adquirida (AIDS) e criado a partir de filmes narrativos produzidos durante os últimos 26 anos. Em um primeiro momento, discorro sobre os modos de subjetivação corporal, a partir do referencial teórico estabelecido por Mikhail Bakhtin, pela fenomenologia de Merleau-Ponty e pelos estudos de Michel Foucault sobre a história da sexualidade e a biopolítica. A construção de um marco referencial para a metodologia desta pesquisa me foi possível a partir, de um lado, da leitura de autores que se debruçaram sobre as relações entre subjetividade e cinema e, de outro, dos textos sobre o papel da linguagem na constituição da subjetividade. Desse modo, a análise dos filmes pesquisados busca identificar as imagens, representações, metáforas e sentidos construídos desde o início da epidemia, por meio de um diálogo entre essas produções culturais e autores que se dedicaram à pesquisa dos discursos sobre a epidemia no âmbito da ciência médica e do ativismo político em AIDS. Situo, então, o conjunto de representações sobre a epidemia e sua relação com a corporeidade em quatro categorias: a) a dificuldade em fazer sentido à experiência da doença, na medida em que ela não se faz notar no corpo; b) a relação do sujeito com os sintomas que surgem no corpo, de modo que a doença se faz visível, para o doente e para o outro; c) as possíveis reações diante da sensação da morte eminente devido à deterioração do corpo, e as respostas subjetivas em face da culpa e do preconceito social e; d) as estratégias de resistência que não tentam burlar a morte, mas atribuir- lhe sentidos, implicando a corporeidade num ativo processo de produção, de poder.<br>This study tends to investigate the social imagery created upon the body of the people affected by the Acquired Immune Deficiency Syndrome (AIDS) and formed from narrative films featured during the last 26 years. Firstly, I discuss about the bodily subjectivity processes, from the theoretical framework established by Mikhail Bakhtin, through the Merleau- Ponty´s phenomenology and in the course of Michel Foucault´s studies over the history of sexuality and biopolitics. The reading of the authors who dedicated their attention to the interconnections among subjectivity and cinema, as well as the ones who discussed the language´s role within the constitution of the subjectivity, offered me the basis for this research´s methodological framework. Thus, the selected films´ analysis tries to identify the images, representations, metaphors and meanings that were collectively built since the beginning of the epidemic, throughout a dialogue among these cultural productions and the authors who were interested on the discourses over the epidemic, within the medical science and the political AIDS activism. I locate, then, the assemblage of representations over AIDS and their relation with corporality into four categories, as follows: a) the difficult to make sense to the experiences related to illness, as long as it is not perceived within the affected body; b) the subject´s relation with the symptoms which appear alongside the body, making visible the disease, for the wronged as well as for the other; c) the possible reactions in face of imminent death , and the subjective responses to deal with the guilty and the social prejudice and; d) the resistance strategies that don´t try to overcome death, but, instead, search for new meanings to it, by implicating the corporality in an active production process, of power.
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Oliveira, Giezi Alves de. "A narrativa que nos guia, o discurso que emerge: um estudo cognitivo acerca do processamento sem?ntico em f?bulas." PROGRAMA DE P?S-GRADUA??O EM ESTUDOS DA LINGUAGEM, 2016. https://repositorio.ufrn.br/jspui/handle/123456789/22677.

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Submitted by Automa??o e Estat?stica (sst@bczm.ufrn.br) on 2017-04-17T21:15:22Z No. of bitstreams: 1 GieziAlvesDeOliveira_TESE.pdf: 2890866 bytes, checksum: 07d5240682abe7c59ca3364faf7c96cb (MD5)<br>Approved for entry into archive by Arlan Eloi Leite Silva (eloihistoriador@yahoo.com.br) on 2017-04-18T19:33:26Z (GMT) No. of bitstreams: 1 GieziAlvesDeOliveira_TESE.pdf: 2890866 bytes, checksum: 07d5240682abe7c59ca3364faf7c96cb (MD5)<br>Made available in DSpace on 2017-04-18T19:33:26Z (GMT). No. of bitstreams: 1 GieziAlvesDeOliveira_TESE.pdf: 2890866 bytes, checksum: 07d5240682abe7c59ca3364faf7c96cb (MD5) Previous issue date: 2016-12-01<br>Este estudo investiga os processos de constru??o de sentido em narrativas com base nos pressupostos da Lingu?stica Cognitiva, cujo aporte te?rico defende o postulado de que a rela??o entre linguagem e mundo ? mediada pela cogni??o. Discute, assim, a concep??o de linguagem, formada na intera??o entre o aparato biol?gico humano e a experi?ncia sociocultural, componentes basilares no processo de constru??o de sentido, conforme estudos de Lakoff e Johnson (1999), Johnson (2007) e Dam?sio (2011). Defende, especificamente, que a intera??o comunicativa humana emerge da capacidade cognitiva de construir narrativas (TURNER, 1996, 2006; LAKOFF, 2008; LAKOFF e NARAYANAN, 2010) e ativar Frames Discursivos. Esses frames emergem do pareamento entre dom?nios conceptuais, estruturados por esquemas descritivos abstratos de espa?o e movimento (esquemas-I e esquemas-X) e molduras comunicativas (dimens?es dos frames). A tese prop?e, ainda, um modelo de An?lise Construcional da Narrativa, com base na descri??o dos mecanismos cognitivos que participam do processo de constru??o dos significados em narrativas fabulosas. A pesquisa ? de natureza qualitativa e a abordagem est? pautada na introspec??o, cujas an?lises se baseiam nas concep??es do pr?prio pesquisador (TALMY, 2005), mas ancoradas nas premissas te?ricas da LC e confrontadas com os dados coletados nos corpora. Este, por sua vez, foi constitu?do por um conjunto de f?bulas extra?das das obras de Esopo (2006), Fedro (2001), La Fontaine ([2008?]), Monteiro Lobato (2008) e S?rgio Caparrelli e M?rcia Schmaltz (2012). As an?lises dessas f?bulas apontaram para a centralidade dos frames (FILLMORE, 1977) e do processo de simula??o mental (BARSALOU, 1999a) na constru??o do sentido em narrativas. Tais an?lises sugeriram ainda que a influ?ncia dos discursos no processo de acultura??o social (VAN DIJK, 2012) ? estruturada, basicamente, pela combina??o de esquemas descritivos e pela confronta??o de Frames Discursivos. Por conseguinte, consideramos, neste trabalho, que contar hist?rias constitui um dos mecanismos cognitivos mais importantes no processo de constru??o e proje??o de experi?ncias reais ou fict?cias e que o ato de narrar parece nos conduzir, enquanto seres cognoscentes, a simular atitudes, causas, consequ?ncias dos agentes envolvidos na hist?ria. Pensamos que este trabalho possa contribuir para os estudos cognitivistas acerca da compreens?o de textos, dos discursos e da Gram?tica de Constru??es Corporificada.<br>This study investigates the meaning construction processes in narratives based on theoretical assumptions of Cognitive Linguistics (CL), which supports the principle that the relationship between language and the world is mediated by cognition. It discusses, therefore, the idea that language is formed on the interaction between the human biological apparatus and cultural experience, basic components in the process of construction of meaning, as studied by Lakoff and Johnson (1999); Johnson (2007), and Damasio (2011). We argue specifically that human communicative interaction arises from the cognitive ability to construct narratives (TURNER, 1996, 2006; LAKOFF, 2008; LAKOFF and NARAYANAN, 2010) and to activate speech frames. These frames arise from the match between conceptual domains, structured by abstract descriptive schemes of space and movement (scheme-I and X-schemes) and communicative frames (dimensions of frames). This work also proposes a constructional analysis model of narrative and discourse, based on the description of the cognitive mechanisms that participate in the process of meaning construction in fabulous narratives. The research is qualitative and the method employed is introspective, which is guided by the views of the researcher (TALMY, 2005), but anchored in the theoretical premises of CL and compared to data collected in corpora. The corpora, in turn, consisted of a set of fables drawn from the works of Aesop (2006), Phaedrus (2001), La Fontaine ([2008?]), Monteiro Lobato (2008) and Sergio Caparrelli, and Marcia Schmaltz (2012). The analyses of these fables pointed to the centrality of frames (FILLMORE, 1977) and to the process of mental simulation (BARSALOU, 1999) in the meaning construction process in narratives. They also suggest that the social cognitive role of speech in social acculturation process (VAN DIJK, 2012) is basically structured in the combination of descriptive schemes and by the confrontation of discursive frames. Therefore, we consider, in this work, that storytelling is one of the most important cognitive mechanisms in the construction process and in the projection of real or fictitious experiences; and that the action of storytelling seems to lead us, as cognitive beings, to simulate attitudes, causes, effects and intentions of the ones involved in the story. We believe that this work can contribute to cognitive studies about the comprehension of texts, speeches and embodied grammar.
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Pérez, Sánchez Rolando, Chavarría Diana Alfaro, and Pineda Melissa Mora. "Reception of films and the formation of social identities related to nation." Pontificia Universidad Católica del Perú, 2015. http://repositorio.pucp.edu.pe/index/handle/123456789/101404.

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This qualitative study addresses the relationship between film reception and the formation of social identity related to the nation in reference to two evocative films used for intergroup comparison purposes. Two American films were selected to facilitate the task of intergroup contrast. Five focus groups were created, and were composed of four to six persons each. Each group saw both films. Results indicate the presence of in-group favoritism after viewing both films. A common core identity related to the nation was built after viewing both films; however, differences arise in the description of social identity attributed to the narrative frame of each film. Results contribute to the study of social categorization processes associated with film reception.<br>Este estudio cualitativo aborda las relaciones entre la recepción fílmica y la construcción de la identidad social asociada a la categoría nación ante filmes evocadores de comparación intergrupal. Se seleccionaron dos películas estadounidenses que facilitaron la tarea de contraste intergrupal. Se organizaron cinco grupos de discusión de cuatro a seis personas. Cada grupo observó los dos filmes. Los resultados indican la presencia de favoritismo endogrupal luego de la exposición a ambos filmes. Se distinguió un núcleo común de la identidad asociada a la categoría nación. Sin embargo, se presentan diferencias en la descripción de la identidad social atribuibles al encuadre narrativo de ambos filmes. Las evidencias aportan alestudio contextualista de la categorización social asociados a la recepción fílmica.
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Finnie, Annabel Robin. "Framing the beast: human-animal narratives in selected works by Janet Frame." Thesis, University of Canterbury. Humanities, 2010. http://hdl.handle.net/10092/5676.

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This thesis explores the way Janet Frame uses animals to expose some of her primary concerns regarding the impact of modernity on the marginalised. Her work reveals scepticism towards modernity as progressive by exploring the underbelly of its so-called advancements. She questions the impact of capitalism, urbanisation, materialism, imperial expansion, agriculture, rational science and the clinical side of orthodox modern medicine by showing that these practices result in the dehumanisation of society. They ostracise certain groups as misfits and oddballs, or transform subjects into commodity goods. Many of the themes and ideas she tackles are retold through an animal framework which alludes to the plight of the real animal as well as using the figurative animal to discuss the predicament of the “other” in human terms. Animal representations appear in her work as allegories, metaphors and symbols. And yet there are also moments at which certain creatures emerge without the constrictions of a cultural affiliation and these animals are deemed authentic according to their apparent escape from the general project of modernity. In conjunction with these animal representations, Frame often uses the perspective of the child to defamiliarise taken-for-granted ideas of normality. I concentrate on those examples of Frame’s 6 writing which combine the child’s point of view with stories where animals predominate. But even the figure of the child – portrayed as bridging the gap between humanity and animality – proves limited as the violent hierarchies that exist between those deemed acceptable and those classified as marginalised are normalised through society’s collective amnesia. These distinctions are created by the divide between humanity and animality based on the concept of human dominion. Nonetheless, in certain works, Frame shows that these principles of dominance and control infiltrate the human sphere as well as the animal, and these points are played out through the animal narratives addressed in this thesis. It is important to make it clear that I am not suggesting Frame is a covert animal activist. But she clearly spells out that the horrors which manifest in modern western bourgeois societies have links to the horrors of current animal practices, whereby certain animals are imprisoned, tortured or slaughtered. References in Frame’s work to the treatment of animals in “advanced” societies operate as hints and evidence of the violence inherent in modernity.<br>Not available for download. Print copy available for consultation in the Macmillan Brown Library.
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Agostoni, Egede Carlo. "Blowing the Whistle : Narratives and Frames of Truth-Telling." Thesis, Perpignan, 2018. http://www.theses.fr/2018PERP0004.

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Cette thèse explore le phénomène de whistleblowing et comment il a été encadré, principalement du point de vue anglo-saxon, à travers des lectures proches de récits culturels et une vue critique sur l'érudition existante sur whistleblowing. À travers des lectures rapprochées d'une sélection de cas, la poursuite, l'importance et l'impact de la vérité apparaîtront comme le thème central dans les récits culturelles explorées, mais aussi les moments où la vérité est rendu impuissante, en raison de sa nature coercitive comme factualité. L'impuissance de la vérité vécue par les lanceurs d'alerte ("les whistleblowers") est ce qui relie d'autre part les récits culturels à l'art tragique. Les diseurs de vérité ne sont pas reconnus, et ils entrent dans un conflit tragique parce qu'elles révèlent des vérités qui ne sont pas pratiques pour les gens au pouvoir. En d'autres termes, les whistleblowers, en disant la vérité, cherchent à élargir l'espace épistémique dans la sphère publique et à tenir les gens et le pouvoir responsables. Cependant, ils sont continuellement négativement encadrés avec des métaphores conceptuelles qui obstruent la perception d'eux en tant que conteurs de la vérité<br>This dissertation posits that whistleblowing is factual truth-telling, or truthful public denunciation. In scholarship, media, and in the popular perception of whistleblowing, the truth-claim is often overlooked, and in many occasions hampered by the dominant ways it is framed (e.g. as leak, which is explored among other frames as a problematic conceptual metaphor). Interestingly, the representation of the whistleblower is different in cultural narratives. Through close readings of a selection of cases, the pursuit, importance, and impact of truth will appear as the central theme in the explored plots, but also the moments where truth becomes impotent, due to its coercive nature as factuality - a process that furthermore connects whistleblowing with the idea of the tragic. Put differently, the special literary interest of narratives of whistleblowing is to turn ignorance into knowledge, knowledge into telling, and how the unraveling of truth becomes a reversal of fortune for the truth-teller who enters a particular tragic conflict. As frame, as narrative, and as a modern phenomenon of truthful public denunciation, whistleblowing offers particular moments of truth, often about moments of falsehood, and ultimately seeks to be a moment of impetus: for the public to restore justice, and for readerships and audience of narrative and dramatic configurations to choose or to distance themselves from multiple proposals of justice emplotted - not only ethical justice, but also epistemic, hermeneutical, and testimonial justice. In other words, whistleblowers, by telling the truth, seek to expand the epistemic space in the public sphere and hold people and power accountable
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Hoareau, Emmanuelle. "Improviser sur son usage de drogue : la subjectivation des expériences de l'usage de substances psychoactives illicites en rave-parties (1990-2010)." Thesis, Paris 8, 2017. http://www.theses.fr/2017PA080125/document.

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La plus haute prévalence de l'usage de substances psychoactives illicites lors de l'entrée dans l'âge adulte a fait l'objet de nombreux travaux interprétatifs, s'inspirant des rites de passage dans d'autres sociétés mais ne considérant pas la spécificité des cadres de son expérience dans la nôtre. Cette thèse propose une approche compréhensive de la définition des incidences de cette pratique sur cette période de la vie auprès de trente personnes qui sont sorties en rave-parties entre 1990 et 2010. Il importe en effet de prendre en compte dans l'analyse les évolutions qu'ont connues, au cours de cette période historique, les catégories de pensée de l'usage de produits illicites et les interactions au sein de la rave et avec les représentants de l’État. A partir du travail de N. E. ZINBERG, cet usage est ici appréhendé comme une expérience sociale et la définition de ses incidences comme procédant d'une subjectivation selon la définition qu'en donne V. DE GAULEJAC. Après vérification de l'existence de différentes interprétations de l'expérience, il s'agit de mettre au jour les variables explicatives du 'choix' de l'une ou l'autre, et de saisir l'incidence du rapport au stigmate sur le récit de l'expérience et le sens qui lui est donné. La méthode repose sur deux principes de la sociologie clinique : la co-construction du savoir avec les personnes interviewées et l'analyse des effets possibles de l'interaction avec le chercheur sur leurs propos. L’analyse inductive et clinique des récits et des interprétations permet de saisir des variations dans l'expression des affects suscités par la conscience de posséder un attribut discréditable, et d’en proposer une explication à partir de la notion de définition de la situation<br>The higher rate of illicit psychoactives substances use during the entering adulthood is currently analysed with reference to rituals of passage to adulthood in other societies but without considering its frame of experience in our. This thesis suggest a comprehensive approach about definition of the impacts of this practice on entering adulthood by thirty persons who went to rave parties between 1990 and 2010. Really, evolutions of the rave and of categories of thought of the use of illicit psychoactives substances during this period have to be considered. In refer to work's N. E. ZINBERG, this use is defined as a social experience and and its individuals meanings are apprehended as results of subjectivation such as defined by V. DE GAULEJAC. After vérification of different meanings experience, the goal is incover the explanatory variables to the choice of one or other meaning, by integrating analysis of relation with stigma. Method is based on two principles of clinical sociology : the « co-construction » of the knowledge with interviewees and the analysis about impacts of interaction with the researcher on their remarks. The redirection toward a inductive and clinical analysis of stories and meanings provided an understanding of its variations expression of affects on an attribute what bring someone into disrepute, and an explaining its variations by “définition of situation”
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Cardoso, Caetana Araujo. "Narrativas humor?sticas: esquemas e frames na compreens?o do ris?vel." Universidade Federal do Rio Grande do Norte, 2014. http://repositorio.ufrn.br:8080/jspui/handle/123456789/16355.

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Made available in DSpace on 2014-12-17T15:07:12Z (GMT). No. of bitstreams: 1 CaetanaAC_DISSERT.pdf: 1293086 bytes, checksum: 2b15669b2841aa281b7abd5a832adf3a (MD5) Previous issue date: 2014-02-07<br>A Lingu?stica Cognitiva tem como um de seus principais objetivos descrever e analisar os processos de constru??o de sentido. Para isso, suas pesquisas pressup?em a exist?ncia de estruturas cognitivas oriundas das experi?ncias sens?rio-motoras e socioculturais dos usu?rios da l?ngua, as quais s?o acessadas pelo sujeito durante a compreens?o textual. Fundamentada teoricamente nesta abordagem cognitiva da linguagem, esta disserta??o tem como objetivo nuclear descrever e analisar como os dom?nios cognitivos - representados pelos esquemas e frames - permitem ao leitor depreender o ris?vel em textos humor?sticos. Entende-se por esquemas os dom?nios das informa??es constru?das e armazenadas na mente do sujeito, oriundas de sua experi?ncia corporal, como ao movimentar-se ou manipular objetos. Os frames, por sua vez, s?o os constructos que emergem a partir da intera??o, estabelecida de forma din?mica e consensual, entre os sujeitos em contextos socioculturais espec?ficos. Percorremos este caminho n?o somente por acreditarmos que o efeito de humor decorrente de um texto est? subordinado ? ativa??o e ao acionamento dos esquemas e frames armazenados na mente no leitor, como ainda por crermos na exist?ncia de v?rios n?veis de compreens?o, o que explica a recupera??o de trechos humor?sticos em um texto. Para confirmar a nossa hip?tese, utilizamo-nos da aplica??o de um experimento (uma atividade, com textos humor?sticos, para alunos dos ensinos Fundamental e M?dio registrarem sua compreens?o). Para a an?lise dos resultados dessa atividade, apropriamo-nos, metodologicamente, do processo da introspec??o (entendida como a intui??o do pesquisador e a respons?vel pela produ??o de ideias e racioc?nios ao manipular os dados). Durante a observa??o minuciosa do nosso experimento, chegamos ? conclus?o de que o humor ? apreendido intelectualmente quando os esquemas e frames s?o confrontados
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Anthérieu-Yagbasan, Caroline. "Le personnage dans l'oeuvre de Stefan Zweig : enjeux esthétiques et narratifs." Thesis, Aix-Marseille, 2015. http://www.theses.fr/2015AIXM3022.

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La plupart des problématiques évoquées en esthétique au XXIe siècle tournent autour de la question du personnage de fiction. Dans ce cadre, cette étude essaie d'examiner comment les stratégies esthétiques et la poétique de la réception sont liées, à travers l'œuvre d'un auteur autrichien, Stefan Zweig, qui écrivit non seulement un grand nombre de récits fictionnels (essentiellement des nouvelles et romans), mais également des essais historiques et géographiques. Sa poétique du récit construit des situations de communication, comme le récit enchâssé, dans lesquelles le lecteur est invité à s'impliquer, face à un personnage dont les propres mots forment la seule version des faits racontés dans la fiction. Dans le même ordre d'idée, les personnages, qu'il soient héros de fiction ou de biographie, sont souvent placés dans une situation de crise, qui à la fois révèle une destinée intérieure et se présente comme une conséquence inéluctable de leurs actes. Tous les éléments de leur vie et de leur personnalité convergent donc, et s'expliquent les uns les autres, comme si les personnages de Zweig devenaient des êtres totalement cohérents. En conclusion, il semblerait que les personnages de biographie s'inscrivent dans les problématiques touchant également la fiction, et même qu'ils appartiennent à la catégorie des personnages de fiction ; il sera donc productif de leur appliquer les outils de la critique narrative, par exemple en ce qui concerne la perspective du lecteur et les mécanismes affectifs de projection<br>Most of the aesthetics questions of the XXIst century are focalised on the issue of fictional character. In this frame, this study try to examine how aesthetical strategies and poetics of reception are connected through the case of an austrian author, Stefan Zweig, who wrote not only a lot of fictional narratives (essentially short stories and novels), but also historical and geographical essays.His narrative poetic draw situations of communication, like framed narrative, in which the reader is invited to implicate himself, face to a character whose words are the only one version of fictional facts. In the same order of ideas, characters, in fiction or in biographies, are often placed in a critical situation, that reveals in the same time an inner destiny and unaffordable consequence of the way they act. So all elements of life and personnality are convergent, and can explain each other, as if Zweig's characters were totally coherent beings. To conclude, it appears that biographical characters have fictional problematics, and more, they belong to the category of fictional characters ; consequently, it is productive to apply to it the tools of narrative critic, for instance in the perspective of reader and affectives mecanisms of projection
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Werner, Mirjam Danielle. "Why frames are not enough : frames, narratives and meaning making accounts or the discursive mechanisms through which political activists understand their actions." Thesis, University of Leeds, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.590151.

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This thesis elaborates theory on the understanding of meaning making processes at the micro level through which political activists come to understand, interpret and give meaning to their experiences. It argues that though framing theory offers insights into the strategic and instrumental use of contested meaning making processes in mounting actions, it is not enough to explain what happens before a contentious political situation is constructed strategically with the aim to mobilise others. By linking framing theory with a body of literature called sensemaking theory from organisation studies, however, it is possible to gain a better understanding of the dynamics that to come into play when and how individual activists come to interpret and understand their situation and actions in a certain way in a' self-referential manner. Integrating these two theoretical approaches in a theoretical framework thus captures both sides of the process of meaning making at the micro level, and allows for a deeper comprehension of the 'micro-foundations' of political activism. The thesis furthermore sets a first step to explore the implications of the theoretical framework in more detail, both methodologically and empirically, through a study of the meaning making accounts of Dutch political activists. The analysis of the discursive utterances of 23 in-depth interviews with activists from radical activist group GroenFront!, the more moderate activist network Referendum Platform Nederland and a group of individual citizen activists provided insights into the different dimensions which affect the form and content of meaning making accounts. The analysis has allowed for a refinement of the theoretical framework and the development of a typology of meaning making accounts which implies the need for a more dynamic and processual approach to understanding the meaning making of political activists. The thesis thus demonstrates the importance of studying the meaning making processes of activists which" precede any strategic and externally directed framing processes. As such, it allows for a much deeper understanding of the meaning making processes that underlie, activate and ultimately decide the success or failure of political activism. The implications for existing theory and research involve a fundamental extension of framing theory in the field of social movements and the need for interpretive and processual studies at the micro level of individual activists and the way in which they give meaning to their political reality
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Rodrigues, Kamila Rios da Hora. "FrAMC-i: Um framework de apoio à produção de conteúdo multimídia complementar interativo." Universidade Federal de São Carlos, 2014. https://repositorio.ufscar.br/handle/ufscar/293.

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Made available in DSpace on 2016-06-02T19:03:59Z (GMT). No. of bitstreams: 1 6447.pdf: 5392666 bytes, checksum: 6368d9dd4f5d4af844fe595173c0dbe2 (MD5) Previous issue date: 2014-08-27<br>Financiadora de Estudos e Projetos<br>The television is the medium of information and entertainment most utilized by Brazilians. Despite its great reach, this vehicle, which should be an instrument to promote social inclusion, often causes the opposite effect. The manner some television programs are produced, in particular movies and series, combined with the lack of prior knowledge about certain subjects and contexts, trigger some viewers not to appreciate or enjoy enough of the programming, which may lead to a possible dissatisfaction in the audience. Cultural and educational matters may also accentuate the viewer's discontentment during a television session. New technologies such as the Interactive Digital TV (IDTV) allow the enrichment of television media with additional contents that may provide greater fruition of the narratives. This PhD project benefits from the flexibility and interactivity offered by the IDTV to propose a solution of accessibility based on the offer of additional specific contents, here denominated interactive Additional Multimedia Content (AMC-i). The AMC-i are extra information associated with the television media that may be offered to the main program considering different aspects, such as whether the offer: is synchronous or asynchronous, on demand or compulsory, with or without pausing the original program, by combining one or more media formats, among others. Through case studies, groups of spectators with distinct profiles, in different scenarios and interacting with varying kinds of media, were observed and had their interaction difficulties and experiences evaluated. This thesis proposes and presents the FrAMC-i, a framework consisting of a set of guidelines that support the production of AMC-i and emerged from the experience acquired during the observation of spectators in the studies. In addition to the guidelines, the FrAMC-i also provides tools for the enrichment of the media with AMC-i and a mobile application that enables the interaction with such contents by usage of a second screen. The framework was submitted to assessment by sixteen graduate students in Computer Science in the role of designers. These evaluators used the FrAMC-i artifacts to enrich media, given a provided fictional scenario. The results suggest a positive evaluation considering the utility, adherence to the proposed design solutions and usability of the artifacts supplied by the framework for the different stages of the production of the AMC-i.<br>A televisão é o meio de informação e entretenimento mais utilizado pelos brasileiros. Apesar do grande alcance, esse veículo, que deveria ser um meio para promover a inclusão social, por diversas vezes causa o efeito oposto. A forma como alguns programas televisivos são elaborados, em particular filmes e seriados, somada à falta de conhecimento prévio sobre determinados assuntos e contextos, fazem com que alguns espectadores não apreciem ou não desfrutem o bastante da programação, o que pode conduzi-los a uma possível insatisfação na audiência. Questões culturais e educacionais também podem acentuar a insatisfação do espectador durante uma sessão televisiva. Novas tecnologias, como a TV Digital Interativa (TVDi), permitem o enriquecimento de mídias televisivas com conteúdos adicionais que podem proporcionar uma melhor fruição das narrativas. Este projeto de doutorado aproveitou as vantagens da flexibilidade e interatividade oferecidas pela TVDi para propor uma solução de acessibilidade baseada na oferta de conteúdos adicionais específicos, aqui denominados de Conteúdo Multimídia Complementar interativo (CMCi). Os CMCis são informações extras associadas às mídias televisivas que podem ser oferecidas ao programa principal considerando diferentes aspectos, tais como, se a oferta será síncrona ou assíncrona, sob demanda ou compulsória, com ou sem pausa da mídia original, combinando um ou mais formatos de mídia complementar, entre outros. Por meio de estudos de caso, grupos de espectadores com diferentes perfis, em diferentes cenários e interagindo com diferentes gêneros de mídias, foram observados e tiveram as suas dificuldades e experiências de interação avaliadas. Esta tese propõe e apresenta o FrAMC-i, um framework composto por um conjunto de diretrizes que apoiam a produção de CMCi e que emergiu da experiência adquirida durante a observação dos espectadores nos estudos. Além das diretrizes, o FrAMC-i também disponibiliza ferramentas para o enriquecimento das mídias com CMCi e um aplicativo móvel que possibilita a interação com tais conteúdos utilizando uma segunda tela. Uma avaliação do framework foi realizada por 16 estudantes de pósgraduação em Ciência da Computação no papel de designers. Esses avaliadores utilizaram os artefatos do FrAMC-i para enriquecer mídias atendendo a um cenário fictício fornecido. Os resultados sugerem uma avaliação positiva considerando a utilidade, adesão às soluções de design propostas e usabilidade dos artefatos disponibilizados pelo framework para as diferentes etapas de produção do CMCi.
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Gili, Ferré Ricard. "Els Mitjans de comunicació com a legitimadors o deslegitimadors d'un projecte polític per mitjà dels frames i les estructures narratives: el cas del procés català en el període 2006-2015." Doctoral thesis, Universitat Pompeu Fabra, 2017. http://hdl.handle.net/10803/460895.

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Aquesta recerca es focalitza en el tractament periodístic que els mitjans de comunicació realitzen d’un determinat projecte polític i com, de retruc, aquest tractament contribueix a legitimar-lo o deslegitimar-lo. I és que es parteix de la base que els mitjans tenen un paper privilegiat en el procés de construcció social i d’objectivació social del sentit. El projecte polític que s’analitza és l’anomenat Procés català, un moviment sociopolític iniciat l’any 2006 que reclama el dret a decidir o dret a l’autodeterminació de Catalunya per aconseguir la seva independència. La recerca abasta el període 2006-2015 –una dècada completa– i pren com a mostra sis diaris, tres editats a Madrid per al conjunt d’Espanya (El País, El Mundo i ABC) i tres editats a Barcelona per a Catalunya (La Vanguardia, El Periódico de Catalunya i El Punt Avui). S’utilitza una metodologia que combina l’anàlisi del frames i l’anàlisi d’estructures narratives.<br>Esta investigación se focaliza en el tratamiento periodístico que los medios de comunicación realizan de un determinado proyecto político y como, en consecuencia, este tratamiento contribuye a legitimarlo o deslegitimarlo. En este sentido se parte de la base que los medios tienen un papel privilegiado en el proceso de construcción social y de objetivación social del sentido. El proyecto político que se analiza es el denominado Proceso catalán, un movimiento sociopolítico iniciado el año 2006 que reclama el derecho a decidir o derecho a la autodeterminación de Cataluña para conseguir su independencia. La investigación abarca el período 2006-2015 –una década completa– y toma como muestra seis periódicos, tres editados en Madrid para el conjunto de España (El País, El Mundo y ABC) y tres editados en Barcelona para Cataluña (La Vanguardia, El Periódico de Catalunya y El Punt Avui). Se utiliza una metodología que combina el análisis de frames y el análisis de estructuras narrativas.<br>This research focuses on media handling of a political project and its knock-on effect in terms of legitimating or delegitimazing the project. It starts from the basis that the media play a crucial role in social construction processes and in the social objectivization of meaning. The political process analysed is the Procés català, a sociopolitical project dating from 2006 that defends Catalonia’s right to decide or right to self-determination regarding its independence. The research, covering the entire decade of 2006-2015, is based on sampling from six newspapers: three newspapers published in Madrid covering Spain (El País, El Mundo and ABC) and three newspapers published in Barcelona covering Catalonia (La Vanguardia, El Periódico de Catalunya and El Punt Avui). The methodology combines frame analysis and narrative structure analysis.
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Nordin, Alexander. "Mellan raderna träder utställaren fram : En diskursanalytisk studie av Fotografiskas semiotiska och narrativa identitetsskapande i det digitala rummet." Thesis, Södertörns högskola, Svenska, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-32406.

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Den här studien undersöker hur webbplatsen kan användas i syfte att förmedla en varumärkesidentitet hos företag inom kultursektorn. Fotografiska, en privat konsthall för samtida fotokonst, belägen i Stockholm, publicerar på sin webbplats texter om varje utställning som konsthallen arrangerar. Undersökningen utgår från antagandet att såväl den omgivande kontexten som innehållet i texterna bidrar till att skapa en varumärkesidentitet. Genom en multimodal och narrativ diskursanalys av webbplatsen och utställningstexterna analyserar jag hur denna identitet realiseras i samspelet mellan semiotiska och narrativa resurser och vilken bild den förmedlar av Fotografiska till betraktaren. Resultatet visar, enligt min tolkning, att Fotografiska använder webbplatsen i identitetsskapande syfte genom porträtteringen av fotokonsten och dess centrala aktörer som bärare av ett antal socioestetiska kärnvärden; minimalism, intellektualitet, exklusivitet, tradition och kunnighet.<br>This study examines how websites can be used for corporate branding purposes of institutions in the cultural field. It is based on my analytical findings on the website of Fotografiska, a gallery for contemporary fine art photography in central Stockholm. The thesis is based on the claim that both the surrounding context and the content of the exhibition texts plays a crucial role in the creation of a corporate brand for art galleries. Therefore my intention here is to show how Fotografiska all together use semiotic and narrative resources on their website in order to brand themselves. Supported by the findings from my sociosemiotic discourse analysis I argue that the extensive portraying of fine art photography and its key figures, maintains a few artistic core values that are characteristic for the branding of Fotografiska. Those are minimalism, intellectuality, exclusiveness, tradition and expertise.
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Olmi, Alba. "Janet Frame : uma escritora de ficção e a ficção de uma escritora : os múltiplos processos da autobiografia estética." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2001. http://hdl.handle.net/10183/1799.

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A escritora objeto desta tese, figura proeminente da literatura neozelandesa, voltou-se ao gênero autobiográfico após um longo percurso na área da ficção, para definir-se como uma primeira pessoa, depois de sua vida particular ter sido insistentemente confundida com sua obra por parte da crítica. Uma questão que logo vem à tona é que praticamente toda ficção resulta ser, até um certo grau, fundamentalmente autobiográfica e que a análise crítica da obra de um escritor possibilita o conhecimento de sua vida. Nosso argumento, opondo-se a esse pressuposto, parte da vida para melhor compreender a obra, evidenciando que Janet Frame manteve um grande distanciamento entre os eventos reais e sua ficcionalização, realizando uma tarefa que a coloca lado a lado dos nomes mais ilustres da literatura ocidental do século XX. Numa atitude comparatista, procuramos extrair os diversos processos de transmutação estética realizados pela escritora, buscando sanar algumas distorções que impediram uma análise mais confiável de sua obra, problematizando, entre outros aspectos, a questão do gênero autobiográfico, da mímese e do realismo ficcional. A manipulação artística da vida particular de Janet Frame foi resgatada por um conjunto de processos, entre os quais a antimímese, a poetização do quotidiano, a intertextualidade e a interdiscursividade, que revelam um alcance estético e uma auto-referencialidade deslocada muito além do mero biografismo. Outros aspectos analisados na obra como um todo indicam que novas abordagens da ficção de Janet Frame, a partir de enfoques pós-modernos, pós-coloniais, pós-estruturalistas e feministas podem superar as posturas reducionistas das quais ela foi alvo.
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38

Gajevic, Slavko. "Constructing a Traitor: How New Zealand Newspapers Framed Russell Coutts' Role in the America's Cup 2003." Thesis, University of Canterbury. Political Science and Communication, 2007. http://hdl.handle.net/10092/969.

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This thesis investigates how the news media constructs reality through newspaper representation of the role of a hero in society and a hero's loyalty to the nation. The research is based on a case study of New Zealand newspapers and how they framed Russell Coutts' role in the America's Cup 2003. Russell Coutts was the leading figure of "Team New Zealand"in 1995 and in 2000 when his team won and defended the America's Cup. He was praised by New Zealand newspapers as a hero during the time he led "Team New Zealand"from one victory to another. But, after the victory in 2000, Russell Coutts signed a contract with the rival team "Alinghi"and the framing of his heroic role in the New Zealand press changed. He became a defector from his team and he was framed as a traitor to his own country. Using discourse studies and semiotics as the main theoretical and methodological background, this thesis analyzes how the process of news framing is influenced by the rules of journalistic practice and by the wider social environment. The thesis explores how news values blend with mythological narrative in journalists' daily routine of producing news stories that both construct reality and reaffirm society's dominant values. The study reveals that the re-presentation of the nation in the news media is a simplified construction of an ideal and transcendental identity. Consequently, the role of the hero is framed as a representation of that ideal, and the hero is framed as a loyal leader - someone who should lead, not challenge, society's rules. The thesis discusses the news media's power to define identity by questioning a prominent individual's loyalty to the nation. The research illustrates that even a hero whose position is firmly established within the particular society can be radically re-defined if that hero is not following the expectations of the press and the rules of the society
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Wartiainen, Michelle. "Media frames of artificial intelligence : A comparative study between USA and China." Thesis, Uppsala universitet, Statsvetenskapliga institutionen, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-413171.

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This thesis studies the frequency in which certain views regarding artificial intelligence appear in American and Chinese newspapers. Given the general lack of studies focusing on media frames in the world’s two leading AI superpowers, this thesis contributes to the research on how AI is covered, and how it might relate to the international context. By examining survey data and previous literature, key frames are identified which can be assumed to affect the public’s perception of artificial intelligence. The analytical tool was used in a small-scale quantitative content analysis of 96 newspaper articles. If brief, the results show that the most frequent views of artificial intelligence is expressed in geopolitical, economic, and cultural terms. American newspapers have a higher mention of frames relating to ethics, discrimination and accountability. Furthermore, the results indicate that AI industry products are not as commonly mentioned as previous research have shown. Few articles mentioned artificial intelligence from a dystopian or utopian standpoint. The findings suggest that the reporting about artificial intelligence is not as focused on the AI technologies, but rather how AI as an adopted concept will be a tool, used for national strategies, and hence relevant to include when conducting future studies on artificial intelligence in media.
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40

Miedzinski, Michal. "Public policy for long-term societal challenges? : the reframing of policy narratives and the 'Roadmap to a Resource Efficient Europe'." Thesis, University of Manchester, 2015. https://www.research.manchester.ac.uk/portal/en/theses/public-policy-for-longterm-societal-challenges-the-reframing-of-policy-narratives-and-the-roadmap-to-a-resource-efficient-europe(1ff73ad7-3fb4-486c-8b64-090ef44aa52f).html.

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This research examined how public policy addresses long-term societal challenges. The case study focused on policy narratives and frames of resource efficiency in the ‘Roadmap to a Resource Efficient Europe’ of the European Commission (EC). The study followed an interpretive constructionist perspective on public policy and assumed a research strategy based on a single critical case study. The literature review examined perspectives on policy narratives, frames, knowledge and social learning in the interpretive policy analysis and organisation studies literature. Foresight and futures literature also provided insights on the use and nature of knowledge and policy learning in the process of deliberation of future visions. The empirical enquiry was based on a series of in-depth interviews with policy stakeholders, formal EU policy documents and speeches as well as participation in targeted policy events. The thesis makes contributions in three areas. First, the study developed and applied a new conceptual and methodological approach – a policy narrative framework analysis(POLFRAME) – to examine different discursive and narrative layers of policy narratives of the resource efficiency agenda. The framework can lend itself to interrogate any policy narrative, notably ones with explicit or implicit future scenarios and vision. Second, the policy case study contributed to knowledge on the evolving EU policy area of resource efficiency, addressing challenges of the sustainable use of natural resources. The research provided insights into how a complex societal, economic and environmental challenge of resource efficiency was understood by different stakeholders and intentionally framed in the official policy narrative. The emerging EU agenda on resource efficiency was intentionally reframed to advance a broader approach to environmental policy that moves beyond a traditional goal of environmental protection towards a systemic transition of economic system to achieve decoupling of economic growth from environmental impacts. While the study found evidence of a significant shift in scoping the challenge, their framing has not led to radical changes in underlying normative assumptions on the relation between nature and society or on the central role of economic growth in transition. Third, the research discussed theoretical implications of introducing a long-term challenge-driven perspective to public policy narratives. Introducing a future vision to policy narrative added a stronger normative orientation to policy argumentation. The case study demonstrated that an inclusion of a long-term societal challenge to the resource efficiency agenda influenced the selection, interpretation and use of evidence in policy narratives. The design of challenge-driven long-term policies bears a family resemblance to the perspective of post-normal science. Finally, the thesis puts forward messages and recommendations for policy makers and practitioners interested in the process of radical policy reframing. It also suggests further research encompassing a comparative dimension and longer periods of enquiry of policy frames, which would allow for better understanding the effects of the reframing of policy on various phases of policy cycles.
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Ara?jo, Jo?o Daniel C?mara de. "O processo cognitivo-discursivo de constru??o de sentido em narrativas: uma abordagem baseada em frames em O pequeno pr?ncipe." PROGRAMA DE P?S-GRADUA??O EM ESTUDOS DA LINGUAGEM, 2017. https://repositorio.ufrn.br/jspui/handle/123456789/24185.

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Submitted by Automa??o e Estat?stica (sst@bczm.ufrn.br) on 2017-11-01T21:02:10Z No. of bitstreams: 1 JoaoDanielCamaraDeAraujo_DISSERT.pdf: 2528444 bytes, checksum: a3f26cb967d15caa3e9f6bef3ed5cd13 (MD5)<br>Approved for entry into archive by Arlan Eloi Leite Silva (eloihistoriador@yahoo.com.br) on 2017-11-06T22:45:01Z (GMT) No. of bitstreams: 1 JoaoDanielCamaraDeAraujo_DISSERT.pdf: 2528444 bytes, checksum: a3f26cb967d15caa3e9f6bef3ed5cd13 (MD5)<br>Made available in DSpace on 2017-11-06T22:45:01Z (GMT). No. of bitstreams: 1 JoaoDanielCamaraDeAraujo_DISSERT.pdf: 2528444 bytes, checksum: a3f26cb967d15caa3e9f6bef3ed5cd13 (MD5) Previous issue date: 2017-06-26<br>Este trabalho tem por objetivo investigar o processo de constru??o de sentidos em O Pequeno Pr?ncipe (EXUP?RY, 2009). Para isso, caracterizamos os mecanismos cognitivo-discursivos envolvidos no processo de constru??o de sentido da obra sob an?lise e tomamos por base os pressupostos te?ricos da Lingu?stica Cognitiva de base corporificada. Em conson?ncia com essa perspectiva, utilizamos as no??es de corporalidade (LAKOFF; JOHNSON, 1999), categoriza??o (LAKOFF, 1987; ROSCH, 1976; DUQUE, 2001; DUQUE, 2002), e duas de suas categorias anal?ticas: frames (GALLESE; LAKOFF, 2005; LAKOFF, 2006; FILLMORE, 1976; DUQUE, 2015) e met?foras morais (LAKOFF, 2008). O estudo do corpus ? de natureza qualitativa e de car?ter descritivo, uma vez que nos dedicamos ? an?lise dos dados com o prop?sito maior de descrever os processos cognitivos envolvidos na constru??o de sentidos. Nesse sentido, este estudo percebe que a constru??o do frame moral ocorre por meio da ativa??o de frames e de proje??es e mapeamentos metaf?ricos menores, que auxiliam na constru??o de sentidos pelo leitor. Os resultados deste estudo emergem da an?lise dos dados da obra. Al?m disso, apresentamos considera??es sobre a ativa??o de estruturas cognitivas para compreens?o dos processos que subjazem ? constru??o de sentidos em narrativas. Esta pesquisa prop?e a aplica??o de um modelo de an?lise do discurso baseado em frames de acordo com Duque (2015). Conseguimos chegar ao frame moral da obra a partir do mapeamento e descri??o de met?foras morais observadas na an?lise e discuss?o dos dados com a leitura da obra. Al?m disso, resultou na descoberta de que, efetivamente, ? poss?vel, a partir de ancoragem lingu?stica fornecida pelo pr?prio texto, compreendermos emula??es metaf?ricas abstratas sobre experi?ncias sens?rio-motoras mais concretas, associadas a uma perspectiva de moralidade a partir da promo??o de bem-estar f?sico. Dessa forma, esta disserta??o pretende n?o apenas contribuir com a Lingu?stica Cognitiva, especificamente com os estudos da narrativa.<br>This work aims to investigate the process of sense production in The little Prince (EXUP?RY, 2009). To this, it characterizes cognitive-discursive mechanisms in the process of sense production in this work having as base Embodied Cognitive Linguistic theoretical approach. In this perspective, it uses corporality notions (LAKOFF; JOHNSON, 1999), categorization (LAKOFF, 1987; ROSCH, 1976; DUQUE, 2001, 2002), and two analytical categories: frames (GALLESE; LAKOFF, 2005; LAKOFF, 2006; FILLMORE, 1976; DUQUE, 2015) and moral metaphors (LAKOFF, 2008). The data study has qualitative and descriptive nature; since it treats the data analysis aiming to describe cognitive processes involved in the sense production. In this sense, this study indicates the moral frame building is due to frames activation, projections and little metaphoric maps that helps reader to the sense production. This results came from data analyze of the work. In addition to this, it presents some considerations related to the activation of cognitive structures to understand process that emerge from sense production in narratives. This research proposes application of a discourse analyze model based on frames according to Duque (2015). As a result, it detaches moral frame in the work because mappings and descriptions of moral metaphors by analyzes and data discussions based on the reading of this work of art. In addition to this, it identifies that is possible, by linguistic basement giving by the text, to understand abstract metaphorical emulations related to more concrete sensitive-motor experiences, linked to a morality perspective since physical welfare. This study aims to contribute to the Cognitive Linguistic and to the narrative studies.
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Oliveira, Giezi Alves de. "Processos cognitivos que operam na configura??o de narrativas: uma pesquisa explorat?ria dos fen?menos que subjazem ? compreens?o de textos." Universidade Federal do Rio Grande do Norte, 2012. http://repositorio.ufrn.br:8080/jspui/handle/123456789/16251.

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Made available in DSpace on 2014-12-17T15:06:59Z (GMT). No. of bitstreams: 1 GieziAO_DISSERT.pdf: 2252017 bytes, checksum: 76aa5476f5e78950297cd8aaf5a5ee48 (MD5) Previous issue date: 2012-11-30<br>This paper investigates the cognitive processes that operate in understanding narratives in this case, the novel Macuna?ma, by M?rio de Andrade. Our work belongs to the field of Embodied-based Cognitive Linguistics and, due to its interdisciplinary nature, it dialogues with theoretical and methodological frameworks of Psycholinguistics, Cognitive Psychology and Neurosciences. Therefore, we adopt an exploratory research design, recall and cloze tests, adapted, with postgraduation students, all native speakers of Brazilian Portuguese. The choice of Macuna?ma as the novel and initial motivation for this proposal is due to the fact it is a fantastic narrative, which consists of events, circumstances and characters that are clearly distant types from what is experienced in everyday life. Thus, the novel provides adequate data to investigate the configuration of meaning, within an understanding-based model. We, therefore, seek, to answer questions that are still, generally, scarcely explored in the field of Cognitive Linguistics, such as to what extent is the activation of mental models (schemas and frames) related to the process of understanding narratives? How are we able to build sense even when words or phrases are not part of our linguistic repertoire? Why do we get emotionally involved when reading a text, even though it is fiction? To answer them, we assume the theoretical stance that meaning is not in the text, it is constructed through language, conceived as a result of the integration between the biological (which results in creating abstract imagery schemes) and the sociocultural (resulting in creating frames) apparatus. In this sense, perception, cognitive processing, reception and transmission of the information described are directly related to how language comprehension occurs. We believe that the results found in our study may contribute to the cognitive studies of language and to the development of language learning and teaching methodologies<br>Este trabalho investiga os processos cognitivos que operam na compreens?o de narrativas, a partir do romance Macuna?ma, de M?rio de Andrade. Insere-se no campo da Lingu?stica Cognitiva de base Corporificada e, devido ? sua natureza interdisciplinar, dialoga com alguns referenciais te?ricos e metodol?gicos da Psicolingu?stica, da Psicologia Cognitiva e das Neuroci?ncias. Nesse sentido, adotamos a pesquisa do tipo explorat?ria, realizando testes do tipo recall e cloze, adaptados, com estudantes de n?vel superior, todos falantes nativos. A escolha do romance Macuna?ma como motiva??o inicial da proposta deu-se por se tratar de uma narrativa fant?stica, cuja principal caracter?stica est? no fato de o romance apresentar eventos, circunst?ncias e personagens que, de forma n?tida, se distanciam dos tipos experienciados no cotidiano, o que constitui dados adequados a uma an?lise que pretende investigar a configura??o do sentido, num modelo baseado-em-compreens?o. Buscamos, assim, responder a quest?es que ainda s?o, de maneira geral, pouco exploradas no campo da Lingu?stica Cognitiva, tais como: em que medida o acionamento de modelos mentais (Esquemas e Frames) est? relacionado ao processo de compreens?o de narrativas? Como constru?mos o sentido, mesmo diante de termos ou express?es que n?o integram o nosso repert?rio lingu?stico? Por que nos envolvemos emocionalmente durante a leitura de um determinado texto, mesmo sabendo que se trata de obra de fic??o? Para respond?-las, partimos do pressuposto te?rico de que o significado n?o est? no texto, ele ? constru?do por meio da linguagem, concebida como resultado da integra??o entre o aparato biol?gico (que resulta na cria??o de Esquemas Imag?ticos abstratos) e sociocultural (resultando na cria??o de frames). Nesse sentido, a percep??o, o processamento cognitivo, a recep??o e a retransmiss?o das informa??es descritas est?o diretamente relacionadas ao modo como ocorre a compreens?o da linguagem. Acreditamos que os resultados encontrados em nossa pesquisa possam contribuir para os estudos cognitivos da linguagem e para o desenvolvimento de metodologia de ensino-aprendizagem de l?nguas
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Albino, Ivone Braga. "Constru??o de sentidos em l?ngua brasileira de sinais (libras): uma an?lise contrastiva entre falantes surdos e falantes ouvintes." PROGRAMA DE P?S-GRADUA??O EM ESTUDOS DA LINGUAGEM, 2017. https://repositorio.ufrn.br/jspui/handle/123456789/24925.

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Submitted by Automa??o e Estat?stica (sst@bczm.ufrn.br) on 2018-03-20T15:48:39Z No. of bitstreams: 1 IvoneBragaAlbino_TESE.pdf: 3074826 bytes, checksum: 2d6c25b95cfa49e04be6aa5d0893af92 (MD5)<br>Approved for entry into archive by Arlan Eloi Leite Silva (eloihistoriador@yahoo.com.br) on 2018-03-21T13:43:52Z (GMT) No. of bitstreams: 1 IvoneBragaAlbino_TESE.pdf: 3074826 bytes, checksum: 2d6c25b95cfa49e04be6aa5d0893af92 (MD5)<br>Made available in DSpace on 2018-03-21T13:43:52Z (GMT). No. of bitstreams: 1 IvoneBragaAlbino_TESE.pdf: 3074826 bytes, checksum: 2d6c25b95cfa49e04be6aa5d0893af92 (MD5) Previous issue date: 2017-12-07<br>Esta tese tem como objetivo investigar o modo como surdos falantes de L?ngua Brasileira de Sinais (Libras) constroem sentidos, tomando por base a Lingu?stica Cognitiva e, dentro desse campo, a Teoria Neural da Linguagem. Em conson?ncia com os pressupostos te?ricos, utilizamos as no??es de categoriza??o (LAKOFF, 1987; DUQUE, 2001, 2002); de corporalidade (LAKOFF e JOHNSON, 1999; DUQUE e COSTA, 2011, 2012; BERGEN, 2008); e de narrativa (DUQUE, 2012; LAKOFF, 2008). Al?m disso, apresentamos categorias anal?ticas como esquemas-I (LAKOFF, 1987; JOHNSON, 1987); esquemas-X (FELDMAN, 2006); frames (FILLMORE, 1976, 1982; DUQUE, 2015); met?foras conceptuais e meton?mia (LAKOFF e JOHNSON, 1999, 1980, 2002; GIBBS, 1994, 1999, 2005) em Libras. A tese defendida ? a de que a constru??o de sentidos em narrativas por falantes surdos de Libras est? atrelada a processos cognitivos relacionados a a??es e percep??es no mundo. Desse modo, a linguagem n?o est? dissociada de processos criadores, que refletem, portanto, os processos gerais do pensamento elaborados pelos indiv?duos quando criam seus significados e os adaptam a contextos diferentes de intera??o com outros indiv?duos. O corpus utilizado na pesquisa ? constitu?do por v?deos de falantes surdos de Libras (grupo experimental) e de falantes ouvintes de Libras (grupo de controle); o estudo ? de natureza qualitativa, pautado na metodologia emp?rica quase-experimental (MONTERO; LEON, 2007). As an?lises de dados apontam para a exist?ncia de padr?es referentes ao modo particular a partir do qual os surdos falantes de Libras compreendem suas rela??es com o mundo e conceitos espec?ficos, cognitivamente constru?dos, utilizando a l?ngua visuomotora. A ativa??o de circuitos neurais corrobora as hip?teses de que os surdos falantes de Libras exploram mais o campo visual; agregam outros aspectos perceptuais relacionados ? forma e ao movimento dos objetos (ordena??o espacial, foco e aten??o); os indexadores lingu?sticos (sinais) acionam esquemas-I e esquemas-X, frames; e o pr?prio sinal tem base metaf?rica e/ou meton?mica. A vertente de an?lise cr?tica acerca do modo como ocorrem cognitivamente os sinais em seus falantes sugere que, no ensino de Libras, sejam considerados os mecanismos de ativa??o de processos cognitivos durante a sinaliza??o da l?ngua, cujas experi?ncias se efetivam em ambiente n?o-auditivo.<br>This thesis aims to investigate how deaf Brazilian Language Signals? (Libras) speakers construct meanings, basing on Cognitive Linguistic, particularly Language Neural Theory. According to the theoretical assumptions, this study uses categorization notions (LAKOFF, 1987; DUQUE, 2001, 2002); corporality (LAKOFF; JOHNSON, 1999; DUQUE; COSTA, 2011, 2012; BERGEN, 2008); and narrative (DUQUE, 2012; LAKOFF, 2008). In addition to this, it presents analytical categories as schemes-I (LAKOFF, 1987; JOHNSON, 1987); schemes-X (FELDMAN, 2006); frames (FILLMORE, 1976, 1982; DUQUE, 2015); Libras conceptual metaphors and metonymy (LAKOFF; JOHNSON, 1999, 1980, 2002; GIBBS, 1994, 1999, 2005). This thesis confirms sense meaning in narratives of the deaf Libras? speakers links cognitive processes related to actions and perceptions in the world. In this sense, language is not apart from creator?s processes that reflect general thinking individual processes when they create their meanings and they adapt different interaction contexts with other subjects. This research has as corpus videos with deaf Libras? speakers (experimental group) and deaf Libras? listeners (control group), this study has a qualitative nature, with empirical methodology quasi-experimental (MONTERO; LEON, 2007). Data analyses point to the existence of models related to a particular way that deaf Libras? speakers understand their relationships with the world and with specific concepts, cognitively built, using visual motor language. Neural circuity activation collaborates to the hypothesis that deaf Libras? speakers explore visual field; they add other conceptual aspects related to the form and movement of the objects (spatial order, focus and attention); linguistic index (signals) that activate schemes-I and schemes-X, frames, and the signal that has a metaphorical and/or metonymical base. The critical analyze about the occurrences of cognitive signal by the speakers suggests Libras teaching must considerate cognitive processes activation mechanisms during language signalization, whose experiences appear in a not hearing space.
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44

Perez, Quintero Camilo E. "In-Between the Frames: Contesting Stigmas of Violence and Illness Through Digital Storytelling (a Visual Social Semiotic Analysis of Pasolini en Medellin and the PD Narrative Project)." Ohio University / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1565285316168429.

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45

Hoffmann, Dorothea. "Descriptions of motion and travel in Jaminjung and Kriol." Thesis, University of Manchester, 2012. http://www.manchester.ac.uk/escholar/uk-ac-man-scw:158778.

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The thesis provides an in-depth analysis of motion event descriptions of two Australian indigenous languages. Jaminjung is a highly endangered non Pama-Nyungan language with approximately 50 remaining speakers. Kriol, an English-lexified Creole, is spoken by about 20.000 people in different varieties across northern Australia. While the languages are typologically very different, occupancy of the same linguistic and cultural area provides an intriguing opportunity to examine the effects of culture and language contact on conceptual components and distribution patterns in discourse. This investigation also applies and tests a number of existing frameworks and typologies regarding the linguistic encoding of motion and space in general. The thesis first provides an overview of the encoding of motion event descriptions in Jaminjung and Kriol. It becomes clear that, concerning overt marking of case, ground-encodings follow a systematic semantic pattern with no or rare case-marking for deictic terms, optional marking for toponyms and mandatory marking for all other types of landmarks. Furthermore, the structure and semantics of the motion verb phrase is investigated. Particularly noteworthy here is a study of asymmetrical serial verb constructions in Kriol which revealed a number of previously undescribed types. Following this, various proposals for a typology of Frames of Reference are applied. The notion of ‘anchor’ is at the centre of the analysis. The investigation shows that contextual restrictions for the use of Jaminjung’s absolute terms can be accounted for by a restriction on egocentric anchoring and ‘Orientation’ settings only. Furthermore, absolute Frame of Reference is realised differently in Roper and Westside Kriol respectively, suggesting an ongoing influence of the traditional languages spoken by the respective communities rather than the lexifier English. Jaminjung and Kriol, additionally, prefer the use of absolute over relative Frame of Reference. The following chapter investigates how lexicalisation patterns influence the distribution of path and manner encodings in discourse. After concluding that Jaminjung might best be described as following an equipollently-framed pattern and Kriol as satellite-framed, path and manner salience is investigated in different types of discourse using a dataset of motion event encodings in a Frog Story collection and a general corpus of various discourse environments. It is concluded that while the two languages behave very differently with regards to frequency patterns of ground- and other path-encodings, they show remarkable similarities in distributing path and manner over larger chunks of discourse. These findings suggest that cultural influences may sometimes override structural typological constraints. Finally, motion event encodings in specific types of discourse are analysed. Regarding route descriptions, speakers show a clear preference for dynamic over static modes of presentation. This includes encoding ‘fictive motion’ events for which a figure- and ground-based distinction is introduced. Additionally, concerning the use of deictics in a comparative analysis of different types of corpora for both languages, it was shown that the distribution of absolute terms remains stable across discourse environments while deictic usage differs drastically. Lastly, the concept of ‘motion’ is abstracted and described as a kind of structuring device in narratives. It is shown that the ‘journey’ within the story world is used by speakers of both languages to bridge episodes sometimes even overriding a temporal in favour of a spatial order of events.
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46

Cincunegui, Juan Manuel. "Charles Taylor y la identidad moderna." Doctoral thesis, Universitat Ramon Llull, 2010. http://hdl.handle.net/10803/9226.

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El propòsit principal d'aquesta tesi és analitzar críticament l'antropologia filosòfica de Charles Taylor.<br/><br/>A la primera part abordem qüestions preliminars: les fonts, els fonaments teòrics i els elements metodològics del seu pensament.<br/><br/>A la segona part elaborem la seva teoria de la identitat. Això implica: (1) donar compte de la relació inextricable entre el jo de la persona i la seva orientació moral, i (2) per mitjà d'arguments transcendentals, articular una ontologia que determini els trets perennes de la naturalesa humana.<br/><br/>Una ontologia de la identitat exigeix l'articulació de les continuïtats i discontinuïtats entre els animals humans i no humans. És a dir, una filosofia de la biologia que aporti les intuïcions de l'aristotelisme al post-darwinisme. En línia amb Adaslair MacIntyre, intentem completar les aportacions realitzades per Taylor en el context de la seva filosofia de l'acció.<br/><br/>D'altra banda, identifiquem alguns dels trets distintius de l'agent humà (lingüisticitat, propòsit i dialogicitat), i abordem els desafiaments de (1) les versions que radicalitzen les conseqüències de la contingència del subjecte i (2) els reduccionisme que prosperen entre els filòsofs analítics. Per això hem confrontat a les interpretacions de Richard Rorty sobre Nietzsche i Freud, i a la posició quasi-budista de Parfit, l'hermenèutica forta de Charles Taylor i Paul Ricoeur.<br/><br/>A la tercera part, estudiem la dimensió històrica de la identitat humana. Això implica assenyalar les peculiaritats del anthropos modern. Per això, a més de contraposar al jo modern la versió premoderna de la nostra comuna humanitat, hem hagut d'enfrontar a la interpretació de Taylor sobre el sentit de les mutacions cosmovisionales, antropològiques i ètiques de la modernitat, les interpretacions que a aquestes mutacions concedeixen autors com Michel Foucault, Alasdair MacIntyre i Jürgen Habermas.<br>El propósito principal de esta tesis es analizar críticamente la antropología filosófica de Charles Taylor. <br/><br/>En la primera parte abordamos cuestiones preliminares: las fuentes, los fundamentos teóricos y los elementos metodológicos de su pensamiento. <br/><br/>En la segunda parte elaboramos su teoría de la identidad. Eso implica: (1) dar cuenta de la relación inextricable entre el yo de la persona y su orientación moral; y (2) por medio de argumentos trascendentales, articular una ontología que determine los rasgos perennes de la naturaleza humana. <br/><br/>Una ontología de la identidad exige la articulación de las continuidades y discontinuidades entre los animales humanos y no humanos. Es decir, una filosofía de la biología que aporte las intuiciones del aristotelismo al post-darwinismo. En línea con Adaslair MacIntyre, intentamos completar los aportes realizados por Taylor en el contexto de su filosofía de la acción. <br/><br/>Por otro lado, identificamos algunos de los rasgos distintivos del agente humano (lingüisticidad, propósito y dialogicidad); y abordamos los desafíos de (1) las versiones que radicalizan las consecuencias de la contingencia del sujeto y (2) los reduccionismos que prosperan entre los filósofos analíticos. Para ello hemos confrontado a las interpretaciones de Richard Rorty sobre Nietzsche y Freud, y a la posición cuasi-budista de Parfit, con la hermenéutica fuerte de Charles Taylor y Paul Ricoeur.<br/><br/>En la tercera parte, estudiamos la dimensión histórica de la identidad humana. Eso implica señalar las peculiaridades del anthropos moderno. Para ello, además de contraponer al yo moderno la versión premoderna de nuestra común humanidad, hemos tenido que enfrentar a la interpretación de Taylor sobre el sentido de las mutaciones cosmovisionales, antropológicas y éticas de la modernidad, las interpretaciones que a éstas mutaciones conceden autores como Michel Foucault, Alasdair MacIntyre y Jürgen Habermas.<br>The main purpose of this thesis is to critically analyze the philosophical anthropology of Charles Taylor.<br/><br/>The first part deals with preliminary issues: the sources, the theoretical and methodological elements of his thought.<br/><br/>In the second part we elaborate his theory of identity. This implies: (1) to account for the inextricable relationship between the self of the person and his moral orientation, and (2) by means of transcendental arguments, to articulate an ontology that determines the perennial features of human nature.<br/><br/>An ontology of identity requires the articulation of the continuities and discontinuities between human and nonhuman animals. That is, a philosophy of biology which provides insights from Aristotelianism to post-Darwinism. In line with Adaslair MacIntyre, we try to complete the contributions made by Taylor in the context of his philosophy of action.<br/><br/>On the other hand, we identify some of the distinctive features of human agency (language, purpose and dialogue) and tackle the challenges of (1) versions that radicalized the consequences of the contingency of the subject and (2) the reductionism that thrive among the analytical philosophers. So we confront the interpretations of Richard Rorty about Nietzsche and Freud, and the quasi-Buddhism of Parfit, with the strong hermeneutics of Charles Taylor and Paul Ricoeur.<br/><br/>In the third part, we study the historical dimension of human identity. That means pointing out the peculiarities of the modern anthropos. Therefore, in addition to contrast the modern self with the premodern version of our common humanity, we confront Taylor's interpretation of the meaning of the cosmological, anthropological and ethical mutations of modernity, with the interpretations that authors as Michel Foucault, Jürgen Habermas and Alasdair MaIntyre offer about these mutations.
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47

Haigh, Cathryn. "The Political Discourse of the ‘New Age of Terror’: : An historical examination of the United Kingdom’s approach to counter-terrorism post-9/11 with a Critical Discourse Analysis observing how counter-terrorism strategies are framed to present a specific narrative for the ‘new age of terror’." Thesis, Uppsala universitet, Teologiska institutionen, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-363914.

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At the start of his premiership UK Prime Minister, Tony Blair, spoke of ensuring that Britain continues with its proud history of multiculturalism by developing programmes to further integrate communities and reduce tensions resulting from immigration. Initially this programme was successful and many hailed the drive of New Labour in its desire to ensure that Britain sold itself as a welcoming place to call home. However, this celebration of success has been called into question over the first two decades of the new millennium following the seemingly steady increase in terrorist attacks and foiled attacks – many of which have been linked to British-born actors or immigrants to Britain. Thus, this study will call into question the extent to which the UKs multiculturalist approach has hit a stumbling block, positing that it is the change in approach to counter-terrorism through its Prevent programme that has led it to unlearn’ lessons from Northern Ireland and actively ensured a backward step through alienating the very communities it is trying to engage. It will examine the extent to which this seemingly more suspicious and divisive government-led approach alienates rather than celebrates cultural diversity, creating an environment ripe for radicalisation, in direct contrast to its aim, using Critical Discourse Analysis to show that the government’s approach from 2005 to the present day become entrenched as a result of the ‘new narrative’ of the ‘new age of terrorism’ and that this has led to a development of an ‘us’ versus ‘them’ approach which is not taking into account the necessary holistic approach to counter-terrorism, instead alienating Muslim communities and creating a hostile environment made worse by the permeation of suspicion from the general public who have bought into the narrative following more than a decade of its telling.
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48

Abarca, Torres Ivan. "Construction de la fiction et la réalité dans l'image et le discours politique : analyse de la telenovela El Candidato et la campagne présidentielle mexicaine en 2000." Paris, EHESS, 2011. http://www.theses.fr/2011EHES0087.

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Ce travail de recherche s'intéresse à deux thèmes principaux: la mise en place du modèle néolibéral dans la politique mexicaine et la telenovela El Candidato, diffusée en parallèle à la campagne présidentielle de 2000, où Vicente Fox, du PAN, a mis fin à 71 ans de domination du PRI. L'axe politique met au jour des indices d'un arrangement entre les dirigeants du PAN et les cercles des deux derniers présidents issus du PRl, arrangement ensuite consacré par les urnes. L'élection de Fox a révélé la soif de changement social. Dans le panorama politico-électoral, ce politicien s'est imposé comme le candidat non pas d'un parti politique mais d'une idéologie dominante; bien qu'appartenant à un parti d'opposition, il était le seul candidat à pouvoir assurer la continuité du système. Son mandat présidentiel en atteste car, au lieu d'une rupture, il a représenté la pérennité du modèle qu'il prétendait remplacer. Le rôle joué par la telenovela El Candidato en faveur de Fox est totalement inconnu. Des spécialistes en sciences sociales ont fourni des explications assez logiques et plutôt traditionnelles mais, jusqu'à maintenant, personne n'a démontré scientifiquement le rôle du cerveau, des récits culturels, des émotions et de cette telenovela dans ce processus électoral. Avec des exemples provenant de séquences d'El Candidato, nous tentons de démontrer comment cette fiction a construit des configurations cognitives incitant les téléspectateurs/électeurs potentiels à voter pour Fox plutôt que pour un autre candidat. Notre thèse met en évidence la source commune d'une campagne présidentielle et d'une telenovela, source qui se trouve dans le blending des récits culturels et des émotions<br>This dissertation focuses on two main themes: the implementation of the neo-liberal system in Mexican politics and the telenovela El Candidato, broadcasted during the presidential campaign of 2000 in which Vicente Fox, of the PAN, ended 71 years of domination of the PRI. The political axis reveals indications of an agreement between the PAN leaders and the last two PRl presidents' close circles, an agreement then validated at the poIls. The election of Vicente Fox revealed the desire for social change. In the 2000 electoral political panorama, Vicente Fox established himself as a candidate, not from a political party but of dominant ideology. Although he represented the opposition, he was the only candidate able to ensure the continuity of the system. His presidential mandate proved that, instead of breaking away from the model that he c1aimed he would replace, he represented the continuity of it. The role that the telenovela El Candidato played in favor of Fox is completely unknown. Social science scholars have provided logical and traditional explanations, however until now, no one has scientifically shown the role of the brain, of cultural narratives, of emotions and of the telenovela in this electoral process. Using examples from El Candidato sequences, this research attempts to show how fiction constructed cognitive configurations that encouraged its audience/voters to vote for Vicente Fox rather than for another candidate. The dissertation underlines the common source of a presidential election and of a telenovela, a source found in the blending of cultural narratives and emotions
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Costa, Ivonete Ferreira da. "INTERTEXTUALIZAÇÃO NA OBRA DE MARINA COLASANTI: O TEAR E O TECIDO." Pontifícia Universidade Católica de Goiás, 2016. http://tede2.pucgoias.edu.br:8080/handle/tede/3563.

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Submitted by admin tede (tede@pucgoias.edu.br) on 2016-12-12T17:45:59Z No. of bitstreams: 1 IVONETE FERREIRA DA COSTA.pdf: 1144206 bytes, checksum: 112aea88b52fbaed3f56007447beaf47 (MD5)<br>Made available in DSpace on 2016-12-12T17:46:00Z (GMT). No. of bitstreams: 1 IVONETE FERREIRA DA COSTA.pdf: 1144206 bytes, checksum: 112aea88b52fbaed3f56007447beaf47 (MD5) Previous issue date: 2016-03-23<br>The text brings the analysis of aspects of the literary discourse as the processes of construction of the scenes and the magical universe, in which the narratives of Marina Colasanti are realized, having as it shows the tales of the works Doze reis e a moca no labirinto do vento (2006): "The woman ramada", Uma ideia toda azul (2006): "Beyond the frame", "Between the leaves of green ó" and "Yarn after yarn". The general and specific objectives are to highlight and distinguish the encompassing and generic scenes present in the narratives, to identify the nature of the verbal sign in its relation to the nonverbal sign, and to analyze intertext resources, paratext, among others, as an artistic procedure. The narrative plans are approached, in which the characters are realized mimically, starting from the initial assumption formulated by Dominique Maingueneau. Non-verbal language is an invitation to read verbal language and vice versa. Both are associated with the signs that are constructed through the textual writing: loom and fabric. They can be seen now either explicitly or implicitly, and put in the service of a power that is realized by the act of reading. Thus, in the narrative text, there are traces of a speech in which the text is staged.<br>O texto traz a análise de aspectos do discurso literário como os processos de construção das cenas e o universo mágico, em que se realizam as narrativas de Marina Colasanti, tendo como mostra os contos das obras Doze reis e a moca no labirinto do vento (2006): “A mulher ramada”, Uma ideia toda azul (2006): “Além do bastidor”, “Entre as folhas do verde ó” e “Fio após fio”. Os objetivos geral e específicos são destacar e distinguir as cenas englobante e genérica presentes nas narrativas, identificar a natureza do signo verbal na sua relação com o signo não verbal e analisar recursos de intertexto, paratexto, entre outros, como procedimento artístico. Abordam-se os planos narrativos, nos quais se dá a realização dos personagens mimeticamente, partindo do pressuposto inicial formulado por Dominique Maingueneau. A linguagem não verbal é um convite à leitura da linguagem verbal e vice-versa. Ambas se associam aos signos que se constroem por meio da escritura textual: tear e tecido. Elas podem ser vistas ora de modo explícito, ora implícito, e se colocam a serviço de um poder que se realiza pelo ato de leitura. Assim, no texto narrativo, há rastros de um discurso em que o texto é encenado.
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50

Heuer, Thomas. "Plotting Horror." Doctoral thesis, Humboldt-Universität zu Berlin, 2019. http://dx.doi.org/10.18452/19947.

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Die Entwicklungsschübe der modernen Medien im 20. Jahrhundert haben die Wechselbeziehungen zwischen den Künsten, den Medien, den Sinnesmodalitäten, den verbalen und nonverbalen Ausdrucks- und Zeichenprozessen verstärkt und erweitert. Im Zuge dieser Entwicklungen sind Genre- und Formatfragen über das disziplinäre Interesse einzelner Kunst- und Medienwissenschaften hinaus ins Aufmerksamkeitsfeld einer vergleichenden Medienästhetik und -dramaturgie ge-rückt. Aufbauend auf den Erkenntnissen von Kalisch 2014, 2016 und den Überlegungen Gaudreaults 2009 zu einer Unterscheidung zwischen Narration und Monstration, ist es gelungen ein Modell zur Analyse von Werken unter dem Ausgangspunkt von Dramaturgie und Präsentationsstruktur herauszubilden, das für jedwedes dramaturgisch motiviertes und fiktionales Werk verwendet werden kann, unab-hängig vom Medium. Als Mittel zur Verdeutlichung der Thesen wird Horror als ästhetische Kategorie definiert, die einen direkten Einfluss auf die narrativen Strukturen eines Werkes besitzt, was den narrativ-monstrativen Doppelcharakter von Werken belegt und ferner verdeutlicht, dass Erzählung und Formung eines Werkes untrennbar verbunden sind. Die Dualität von Dramaturgie und Präsenta-tionsstruktur wird in der Formung eines Werkes offenbar. Um dies zu verdeutli-chen, werden im Verlauf der Arbeit kursorisch Beispiele von Werken mit Schre-ckensinhalten diskutiert und analysiert. Basierend auf diesem Modell wird eine Diskussion des Themenkomplexes von Intermedialität und Transmedialität im Spannungsverhältnis zur Komparistik der Künste durchgeführt. In der Folge wird eine Ästhetik des Schreckens diskutiert und anhand von ästhetischen Wertungskategorien aufgezeigt. Abschließend werden drei narrativ-motivierte Konzeptionen für dramaturgisch angetriebene Schre-ckensinszenierungen aufgeführt, die zur Kategorisierung von Werken angewendet werden können: düstere Präfiguration, düstere Konfiguration und düstere Manifestation.<br>The development in modern media during the 20th century (from movies over television to the hybrid forms of audiovisual and textual media in the internet) reveals interdependencies between art, media, the modalities of senses, the verbal and nonverbal dictions and semiotic processes that have evolved and expanded themselfes. According to this progress the interest in art and media studies should achive a collective interest in the changes of genre and formats, instead of a sepa-rated observation of only single disciplines. Following the Prolegomena on a comperative drama of media by Eleonore Ka-lisch (Kalisch 2014) and the thougts of André Gaudreault on Narration and Mon-stration (Gaudreault 2009) this thesis bulids a system to analyse works of fiction (e. g. movies, pictures, literature, video games). This system allows to analyse and compare works of fiction based on drama and presentation structure. The horror genre is used to show the mechanics of this system. Horror has a direct influence on the narrative structure of a work and manifests a duality of narration and mon-stration (Kalisch 2016), that binds drama and presentation to each other and shows the necessity of a separated consideration on both aspects. The duality of drama and presentation reveals itself during the modeling of a work of fiction. Build on the system the discourse is open to discuss intermetiality and transmedi-ality and their influence on the field of interest. Furthermore, an aesthetic of hor-ror is defined by evaluation categories of aesthetic indicators. In the end three types of narrativ driven concepts of horror are revealed and discussed: gloomy pre-figuaration, gloomy configuration and gloomy manifestation.
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