Tesis: "Indexicality"

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Kim, Hyuna B. "Pragmatic repair driven by indexicality." University of Arizona Linguistics Circle, 2013. http://hdl.handle.net/10150/271016.

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This paper aims to account for Double Accessibility effects found in Korean. Clearing out confusions in the previous discussion on the phenomenon, it claims that Korean does not have a Double Access reading in a semantic sense, unlike English, but Double Accessibility effects arise as a result of pragmatic repair which is employed in order to interpret a focused indexical element causing a conflict in the interpretation process. The advantages of the pragmatic analysis defended in this paper over the movement analyses proposed in the literature will be shown in details.

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2

Morris, Jeremy. "The Epistemic Significance of Pure Indexicality." Scholarly Repository, 2008. http://scholarlyrepository.miami.edu/oa_dissertations/97.

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This is a dissertation on how certain cognitive limitations inform a theory of knowledge. Explanations in terms of the pure indexical "I" indicate a class of cognitive limitations. "I" cannot be completely eliminated from any successful explanation of how the world is intelligible to me and only I can refer to myself with the indexical "I." This raises the possibility that there are thoughts that I can think that cannot be thought by anyone else. Given what an epistemological theory must say about the definition, structure, and instances of knowledge and epistemic merit in general, such limits to cognitive access must arise both in its explanations of ordinary cases and its specialized theoretical concepts. The main contention of this dissertation is that it must be possible for an epistemological theory to plausibly account for these limitations.

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3

Stealey, Patrick Thomas. "Against the Reduction of Qualia to Indexicality." Ohio University Honors Tutorial College / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1366720014.

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4

Stokke, Andreas. "Indexicality and presupposition : explorations beyond truth-conditional information." Thesis, University of St Andrews, 2010. http://hdl.handle.net/10023/1704.

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This thesis consists of four essays and an introduction dedicated to two main topics: indexicality and presupposition. The first essay is concerned with an alleged problem for the standard treatment of indexicals on which their linguistic meanings are functions from context to content (so-called characters). Since most indexicals have their content settled, on an occasion of use, by the speaker’s intentions, some authors have argued that this standard picture is inadequate. By demonstrating that intentions can be seen as a parameter of the kind of context that characters operate on, these arguments are rejected. In addition, it is argued that a more recent, variable-based framework is naturally interpreted as an intention-sensitive semantics. The second essay is devoted to the phenomenon of descriptive uses of indexicals on which such an expression seems to contribute, not its standard reference as determined by its character, but a property to the interpretation. An argument that singular readings of the cases in question are incoherent is shown to be incorrect, and an approach to descriptive readings is developed on which they arise from e-type uses akin to other well known cases. Further, descriptive readings of the relevant kind are seen to arise only in the presence of adverbs of quantification, and all sentences in which such an adverb takes scope over an indexical are claimed to be ambiguous between a referential and an e-type (descriptive) reading. The third essay discusses a version of the variable analysis of pronouns on which their descriptive meanings are relegated to the so-called phi-features – person, gender and number. In turn, the phi-features are here seen as triggering semantic presuppositions that place constraints on the definedness of pronouns, and ultimately of sentences in which they appear. It is argued that the descriptive information contributed by the phi-features diverges radically from presuppositional information of both semantic and pragmatic varieties on several dimensions of comparison, and instead the main role of the phi-features is seen to be that of guiding hearers’ attempts to ascertain the speaker’s intentions. The fourth essay addresses an issue concerning the treatment of presuppositions in dynamic semantics. Representing a semantic treatment of pragmatic presuppositions, the dynamic framework is shown to incorrectly regard conversational infelicity as sufficient for semantic undefinedness, given the standard way of defining truth in terms of context change. Further, it is shown that a proposal for a solution fail to make correct predictions for epistemic modals. A novel framework is developed on which context change potentials act on contexts that have more structure than the contexts usually countenanced by dynamic semantics, and it is shown that this framework derives truth from context change while making correct predictions for both presuppositions and modals.

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5

Schlenker, Philippe (Philippe D. ). 1971. "Propositional attitudes and indexicality : a cross categorial approach." Thesis, Massachusetts Institute of Technology, 1999. http://hdl.handle.net/1721.1/9353.

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Thesis (Ph.D.)--Massachusetts Institute of Technology, Dept. of Linguistics and Philosophy, 1999. Includes bibliographical references (p. 173-177). Universal Grammar uses the same distinctions (features) and the same interpretive procedures for reference to individuals, times, and possible worlds. We give a partial argument for this hypothesis: person, tense and (maybe) mood can be treated on a par when they occur in reported speech. We consider several generalizations that hold across sortal domains, and develop a theory of propositional attitudes and indexicality that captures these facts, and treats all three categories on a par. First, we extend the notion of 'Sequence' phenomena from tense to person. In Russian, the tense of a direct discourse can be preserved in reported speech, but in English tense agreement, i.e. 'Sequence of Tense', must generally hold. The same contrast exists between English and Amharic pronouns: in Amharic the indexical pronoun of a direct discourse can be retained in reported speech, while in English person agreement, i.e. 'Sequence of Person', must hold. Second, we extend the notion of 'Logophoricity' from person to tense. In Ewe, the indexical pronoun of a direct discourse can only be reported in indirect discourse if a special form is used, one that never occurs outside of attitude environments - a 'logophoric pronoun'. But logophoric tense/mood also exists, and is instantiated by one of the subjunctive forms that exist in modem German (the 'Konjunktiv I'). Third, we observe that both tense and person display the same idiosyncratic behavior in Free Indirect Discourse - an interesting fact given that other indexical elements pattern differently. Finally, we speculate that the notion of Obviation can be extended from person to tense, and suggest that English past tenses are the temporal counterpart of obviative person markers in Algonquian. Our main auxiliary assumption is that attitude operators are quantifiers over contexts of speech/thought, which allows an indexical expression to be evaluated with respect to the context of a reported speech act, and thus to be shifted. Every attitude operator is thus a Kaplanian 'monster', and shifted indexicals are analyzed as a morphological variant of De Se pronouns. Logical forms are assumed to be uniform across languages, with morphology as the only source of cross-linguistic variation. by Philippe Schlenker. Ph.D.

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6

Paz, Anita. "Against indexicality : photography as a formation of thought." Thesis, University of Oxford, 2017. http://ora.ox.ac.uk/objects/uuid:2a69c52b-0827-48ae-aa99-cd9143b31f64.

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Guided by the question of what does photography bring into being, 'Against Indexicality' is a proposition to rethink the foundation of the philosophy of photography - to rethink the supposed relation of truth between the photograph and the world. Taking Indexicality as a messy and convoluted conceptual field comprised of the notions of pointing, stillness, and fragmentation, this study works to untangle the three from each other, separately challenging each individual notion. In analysing each of the three through their conceptualisation by prominent thinkers, including Charles S. Peirce, Susan Sontag, Henri Bergson, Walter Benjamin, André Bazin, Rosalind Krauss, Jacques Derrida, and Roland Barthes, and examining them against and through examples of photographic images, this study points to the imprecisions, insufficiencies, and incompatibilities of Indexicality in relation to the photographic image and form. Undoing Indexicality as a field, this study resists Indexicality as a paradigm, proposing a new theoretical framework for photography: rather than looking at photographic images as truth bearers that can evidence the photographed, it proposes to look at photographic images as formations that form a thought out of the photographed. In that, this study works to remedy the Indexicality fever, or compulsion, which it identifies as the root cause of theoretical mess within the philosophy of photography. By evincing that Indexicality is a wrong, albeit necessary, solution to a problem that is to do with identifying the relation of the photograph to the world, it not only lifts photography out of a Procrustean bed in which it was never comfortable, but also allows for a new solution to develop. This solution is the theory of photo-poiesis: a move beyond the materiality and away from the referentiality of photography towards its being in the world and the thought that it forms and brings-forth - towards thinking.

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7

Villot, Janine Marie. "Refiguring Indexicality: Remediation, Film, & Memory in Contemporary Japanese Visual Media." Scholar Commons, 2013. http://scholarcommons.usf.edu/etd/4603.

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Through an analog between film and memory, I argue contemporary Japanese visual media constantly remediates this relationship in order to develop a more inclusive, plastic indexicality that allows media without direct material contiguity access to an indexicality not typically attributed to it. Amidst the early twenty-first century shift from old, mechanical media to new, electronic media, each Japanese text engages the West through intercultural discourses and intracultural responses, just as Japan has continually encountered the West since its forced opening by Commodore Perry in 1853. The plasticized indexicality figured by contemporary Japanese visual media implies the plastic nature of abstracted referents such as memory. I examine these issues through three texts, each representing three different contemporary Japanese visual media forms: the live-action film, After Life (Kore-eda Hirokazu, 1998), the anime film, Millennium Actress (Satoshi Kon, 2003), and the manga, Black Butler (Yana Toboso, 2006-ongoing). Each text remediates film and memory as analogs in ways particular to their own medium to refigure indexicality as inclusive of their own medium, revealing a cultural discourse wherein contemporary Japanese visual media engage with abstracted realities such as memory. By plasticizing and abstracting the index through its remediation of film and memory, contemporary Japanese visual media reveal visual media's, especially anime's and manga's, ability to relate to culture. Their refigured index is inclusive of all visual media, allowing each the opportunity to index subjective memory and experience. After Life introduces this possibility by privileging its memory-film recreations as a higher fidelity index to memory than documentary, though documentary's remediation informs this index. Both Millennium Actress and Black Butler extend After Life's inclusive possibilities to suggest that their painterly realities are not divorced from reality, but rather representative of its decentered reception as subjective experience and memory. As media technology extends human beings, through new media such as the internet, it also abstracts us from certain material interactions such as reading paperback books or speaking to friends rather than texting them. Contemporary Japanese visual media suggest that as old media make way for new media, we should readjust our preconceptions about media's relations to culture, for as our world becomes digitized, even animated, the painterly realities found in film, anime, and manga bear more relevance than ever to how we construct our worlds, inside Japan and across the world.

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8

Spikbacka, Eva. "Who's there? : monologues on painting, indexicality and perception. A thinking process." Thesis, Konstfack, Institutionen för Konst (K), 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-7745.

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What we encounter in painting is not so much the authentically revealed self of the painter, but rather signs that insinuate that this absent self is somewhat present in it. /Isabelle Graw/ So, then what is a painting? Perhaps it is all about time, a certain amount of time in the constant murmuring stream of consciousness and the unconscious. A shape cut out of the amorphous. A recording of time spent in uncertainty, not knowing what is going to present itself. To bear the contradiction of in one hand allowing the permission of having an aim versus the absolute requirement of at some point let go of the model, the aim. And thus, submit to painting. In the glitch between distance and sensibility, an utterance, a pronouncement takes place. This text reflects a thinking process that revolves around painting as will and resistance, concepts regarding aesthetics, subjectivity and perception.

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9

Kozlowska, Agnieszka. "Taking photographs beyond the visual : paper as a material signifier in photographic indexicality." Thesis, Northumbria University, 2014. http://nrl.northumbria.ac.uk/16882/.

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Despite the fact that photographs come into being as material objects imprinted with light reflected off the subject in front of the camera, and therefore possess a decidedly physical connection to their referent, the materiality of photographs tends to be overlooked in favour of apprehending them as primarily visual signs independent of their physical support. This practice-led research project under the title Taking Photographs Beyond the Visual: Paper as a Material Signifier in Photographic Indexicality explores the status of photographs as physical traces. In an attempt to find ways in which remote natural locations could be expressed more fully than it is possible by means of purely visual representation, papermaking and image-formation are combined in a single process executed entirely on-site. This working method was developed during the course of the project through artist residencies in Switzerland and a thorough research of traditional papermaking that included visits to numerous European paper mills. The making of each work involves an absurdly laborious and time-consuming process of hiking to an alpine location, making paper on-site from local plants and - using only the inherent light-sensitivity of plant substances - exposing it for many days in a camera built there partly from found natural materials. The resulting photographic objects function as pure indices in the semiotician Charles Sanders Peirce’s understanding of the term – as traces that point to their causes without necessarily revealing anything about the nature of the latter. They are artefacts testifying primarily through their presence, rather than through pictorial representation, to the exposure having taken place. Such process of signification requires the viewer’s active, haptic and imaginative response. The work proposes a way of photographically representing place as elemental - that is, existing outside the human schema of production, consumption and meaning – instead of through such cultural constructs as ‘landscape’ or ‘the scenic’.

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10

Aydiner, Pola. "Les pronoms personnels et démonstratifs dans le turc parlé et écrit de Turquie." Paris 3, 1999. http://www.theses.fr/1999PA030028.

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J'ai essaye de degager d'une part la specificite de la structure des pronoms personnels et demonstratifs en turc par rapport au francais, et d'autre part la specifite de l'oral par rapport a l'ecrit en turc contemporain. La recherche est fondee sur un corpus ecrit et un corpus oral. Elle s'appuie sur les theories actuelles a la fois dans le domaine de la syntaxe et celui de l'enonciation. La these est composee de deux parties. La premiere partie est consacree a la syntaxe la deuxieme partie est consacree a l'intonation en vue d'une grammaire intonative telle que la proposent mary-annick morel et laurent danon-boileau. La morpho-syntaxe des pronoms personnels du turc s'appuie sur l'approche pronominale de claire blanche-benveniste. Le concept de syntagme de olof eriksson et le concept de zone de paul scrup prennent une place importante dans la description des pronoms personnels du turc I have tried to distinguish, on the one hand, the specificity of the structure of personal pronouns and demonstrative pronouns in turkish compared to in frenchand, on the other hand, the specificity of the oral as opposed to the written language in contemporary turkish. The research is founded, on both the written and the oral corpus and draws support from current theories on syntaxe and uttering act. The thesis itself is composed of too parts : the first part concentrating on syntaxe and second devoted to mary-annick morel and laurent danon-boileau's intonation grammar. The morphosyntax of turkish personal pronouns supports the pronominal approach of claire blanche-benveniste. Olof erikssons syntagma's and povl skarup's zone / area concepts each occupy an important place in description of personal pronouns and demonstrative pronouns in turkish

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11

Greene, Nikki A. "The rhythm of glue, grease, and grime indexicality in the works of Romare Bearden, David Hammons, and Renee Stout /." Access to citation, abstract and download form provided by ProQuest Information and Learning Company; downloadable PDF file, 225 p, 2010. http://proquest.umi.com/pqdweb?did=1992441021&sid=2&Fmt=2&clientId=8331&RQT=309&VName=PQD.

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12

Cook, Clare Elizabeth. "The syntax and semantics of clause-typing in Plains Cree." Thesis, University of British Columbia, 2008. http://hdl.handle.net/2429/951.

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This thesis proposes that there are two kinds of clauses: indexical clauses, which are evaluated with respect to the speech situation; and anaphoric clauses, which are evaluated with respect to a contextually-given (anaphoric) situation. Empirical motivation for this claim comes from the clause-typing system of Plains Cree, an Algonquian language spoken on the Canadian plains, which morpho-syntactically distinguishes between two types of clauses traditionally called INDEPENDENT and CONJUNCT orders. In the current analysis, the INDEPENDENT order instantiates indexical clauses, and the CONJUNCT order instantiates anaphoric clauses. After laying out the proposal (chapter 1) and establishing the morphosyntax of Plains Cree CPs (chapter 2), the remaining chapters discuss the proposal in detail. Chapter 3 focusses on the syntax and semantics of indexical clauses (Plains Cree’s INDEPENDENT order). Syntactically, I show that there is an anti-c-command and an anti-precedence condition on indexical clauses. Semantically, I show that indexical clauses are always and only evaluated with respect to the speech situation, including the speech time (temporal anchoring), speech place (spatial anchoring), and speaker (referential anchoring). Chapter 4 focusses on the syntax and semantics of anaphoric clauses (Plains Cree’s CONJUNCT order). Syntactically, I show that anaphoric clauses must always be either preceded or dominated by some other antecedent clause. Semantically, I show that the value of temporal/spatial/referential dependent elements within an anaphoric clause is determined by an antecedent. Chapter 5 turns to the syntactic subclassification of Plains Cree’s CONJUNCT (i.e., anaphoric) clauses. I propose that there are three classes: chained clauses, adjunct clauses, and mediated argument clauses. I provide two kinds of diagnostics that distinguish these classes, and explore the consequences of this classification for argument clauses and complementation. Finally, Chapter 6 proposes a semantic subclassification of Plains Cree’s CONJUNCT (i.e., anaphoric) clauses. I propose that there is a direct mapping between the morphology and the semantics: one complementizer encodes presupposition of the proposition, the lack of a complementizer encodes a-veridicality of the proposition, and one complementizer is semantically unspecified (the elsewhere case). This means that Plains Cree’s clause-typing is fundamentally concerned with how the truth of the proposition is represented.

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13

Ehrlich, Nea E. "Animated realities : from animated documentaries to documentary animation." Thesis, University of Edinburgh, 2015. http://hdl.handle.net/1842/25699.

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My thesis on contemporary animated documentaries links new media aesthetics with the documentary turn in contemporary visual culture. Drawing from the fields of Contemporary Art, Animation, Film Studies and Gaming Theory, my aim has been to explore the development of animated documentaries in the context of animation's intersection with other visual fields in a very specific technological moment of the past two decades in order to broaden the scope within which animation is analysed and understood. The starting point of my research was the widely accepted divide assumed to exist between animation and documentary. I, however, claim that the supposedly contradictory nature of animated documentaries can no longer be considered a given. Despite the potentially challenging reception of animated documentaries, it is important to identify what it is that the animated image contributes to documentary, which is the visualisation of what is otherwise un-representable. My thesis investigates a new area of the intangible, focusing on the virtualisation of culture rather than on subjective or imaginary aspects of documentary works and visual interpretations. This cultural shift consequently requires new aesthetics of documentation that exceed the capacities of the photographic. My main argument is that due to contemporary technological changes, animation has permeated real contexts of daily life to the extent that it has become disassociated from the realm of fiction. Rather, in altering the way viewers are becoming accustomed to observing, learning about and connecting with reality, animation has brought about a constitutive change in ways of seeing one's world. This change can be described as animation’s impact on the relation between visual signification and believability. It is this which necessitates a reconsideration of what shapes a sense of realism in documentaries today. My research therefore culminates with new conceptualisations concerning the cultural role of animation, introducing what I argue is the formation of the "animated document" and "documentary animation". In these contexts, animation is no longer an interpretive visualisation substituting for photography but a direct capturing of animated realities. Animation thus expands what is considered to constitute reality and, as a result, also destabilises assumptions about the perceived conflict between animation and documentary, widening the sphere of documentary aesthetics.

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14

Jones, Nathan T. "IDENTITY PHAUXNETICS." CSUSB ScholarWorks, 2015. https://scholarworks.lib.csusb.edu/etd/266.

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This thesis investigates the construction of identity and authenticity through sociophonetic variation, focusing on British Hip Hop artist Amy Winehouse. Prior work on British vocal artists’ phonetic variation has relied upon regional categorical frameworks (Trudgill, 1983; Carlsson, 2001) and found variation to be evidence of production errors and speakers’ misidentification of targeted speech patterns, resulting in summative interpretations of conflict between speakers’ discreet identities and speech pattern categories. More recent work has attended to linguistic processes within cultural movements influenced but not strictly delimited by sociolinguistics’ canonical categories of region, class, race, etc. Within the context of the Hip Hop cultural movement, which demands members maintain authenticity via its mantra of keepin’ it real, scholars have described processes by which authenticity is redefined and re-localized (Pennycook, 2007), emphasized the performative process of the construction of identity rather than the categorical delineation of identity (Alim, 2009), explicated the construction of authenticity within Hip Hop as inextricable from Hip Hop’s roots in the Black American Speech Community (Alim, 2006), and shown how linguistic processes mediate the markedness of artists’ Whiteness as they construct authenticity within Hip (Cutler, 2007). This work applies sociophonetic analytic tools to sung and spoken speech informed by indexical theory. Through indexical theory, the construction of identity is examined via the employment of variants that do not convey fixed meanings but instead create complex fields of possible meaning (Eckert, 2008). The variables examined include postvocalic contexts of the liquids /l/ and /r/ and intervocalic instances of /t/. Findings indicate that Winehouse’s use of non-rhotic postvocalic /r/ in spoken language, rhotic postvocalic /r/ in singing language, glottal [ʔ] intervocalic /t/ in spoken language, intervocalic /t/ as [ɾ] in singing language, and categorical use of vocalized postvocalic /l/, demonstrates a negotiation between a Hip Hop identity and a White British non-posh identity. Her spoken and singing language represent a re-localizing of Hip Hop’s demand for authenticity within Winehouse’s British context. Findings indicate that phonetic features can index a redefinition of authenticity as forms of talk, such as Hip Hop, gain ownership in new contexts.

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15

Wu, Tianqi. "Gender Indexicality and Perception of Intimacy in the Chinese Media: A Critical Discourse Analysis from Contemporary Urban-Themed Television Drama Serials." Thesis, The University of Sydney, 2021. https://hdl.handle.net/2123/26365.

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Chinese television drama has grown exponentially since 2000 to become one of the most dominant cultural forms of televisual entertainment. Its influence on everyday life is considerable. Among the range of drama genres, those featuring urban life and emotion have projected prominent social issues onto household screens. Originating as “pink dramas”, urban-themed television dramas have facilitated the creation of a contemporary public sphere where subjects pertaining to gender identities, intimacy, and changing power dynamics in romantic relationships can be openly discussed, evaluated, and further developed. This project explores televisual representations of femininities, masculinities, and male-female intimate relationships through two selected TV drama serials between 2003 and 2017. This project showcases the intricacy of gender identities and romantic intimacy in the Chinese urban context via a critical discourse analysis. Specifically, the analysis starts with television conversations to examine aspects of femininities and masculinities as they negotiate, compromise, and come into being within interaction. This is followed by an investigation into the discursive practices, utilising YouTube comments to elucidate the processes of audience reception. Finally, the sociocultural practices are extrapolated to discuss factors emergent from the Chinese cultural and linguistic context that further contribute to the shape of the romantic relationships examined.

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16

Lee, Kelvin Kien-Hoanh. "Language and Character Identity: A Study of First-Person Pronouns in a Corpus of Science Fiction Anime Dialogue." Thesis, The University of Sydney, 2021. https://hdl.handle.net/2123/28687.

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Like a number of other Asian languages, Japanese is a language with a large number of pronouns. These do not vary according to the grammatical role of the referent/s (e.g. subject, object, etc.) but rather index social meanings. This thesis investigates how the indexical meanings commonly associated with Japanese first-person pronouns (1PPs) are recontextualised in the dialogue of anime television series to construct characters and convey aspects of their identity. This is a mixed-methods study which combines statistical analysis and quantitative frequency-based analyses of word lists and collocation with qualitative analyses of concordances and scenes to examine a newly constructed corpus, the corpus of Science-Fiction Anime dialogue (SciFAn corpus), which is comprised of the dialogue from five science-fiction anime television series. Combining corpus linguistic methodologies with a sociolinguistic approach, this study draws primarily on the sociolinguistic concept of indexicality in the discussion of the target forms (i.e. 1PPs) and their relationship to characterisation. Previous studies of Japanese 1PPs, particularly those examining anime dialogue, mainly discuss their usage in relation to construction of gender identity. The link between 1PP use and gender is examined using descriptive statistics and statistical tests. The results show that gender is a significant factor for the use of some 1PPs but not others. As a follow-up, this study shows that the use of 1PPs can convey other aspects of a character’s identity in addition to gender, such as their personality traits and presentational personae. Additionally, examinations of shifts or switches between different 1PPs by an individual character show that different 1PPs are used in the data examined to convey the fluidity of character identity as well as their complexity as characters

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17

Vasquez, Jaclyn M. "TO PEER OR NOT TO PEER?: LOCALLY CO-CONSTRUCTING EXPERTISE, NOVICENESS, AND PEERNESS IN WRITING CENTER CONFERENCES." CSUSB ScholarWorks, 2014. https://scholarworks.lib.csusb.edu/etd/20.

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This study presents empirical research to contribute to the ongoing debate between Writing Center (WC) scholars concerning theoretical conceptions and perceptions of tutor and tutee roles and identities as peers, novices, and/or experts. The study explores how symmetrical (peer) and asymmetrical (expertnovice) identities are locally co-constructed and reconstructed in turn-by-turn utterances between WC tutors and tutees. Audio-recorded data of 30-minute WC conferences were collected and micro-analyzed within the parameters of Conversation Analysis. The data reveal that, contrary to the label of peer tutoring, tutors and tutees more frequently reinforced their macro-level statuses as experts and novices, respectively. For tutors, expert identities were co-constructed by using tag questions, controlling turn and topic allocations, less frequently ratifying tutee’s contributions, and by rejecting the tutee’s contributions—either what the tutee wrote or said—more frequently; at the same time, tutees co-constructed their own noviceness by more frequently ratifying the tutor’s contributions, more frequently boosting ratification, less frequently rejecting the tutor’s contributions, less frequently controlling turn and topic allocations, and by not asking tag questions. Where the macro-level expert-novice dichotomy was more easily reinforced micro-interactionally, achieving peer identities involved cooperative coconstruction by the tutor and the tutee. The data suggest that peer identities required the following conditions to exist: (1) tutors who wished to distributeagency to their tutees in order to co-construct a more symmetrical—or peer— relationship had to less frequently employ interactional strategies that index their own expertise; (2) tutees had to accept the agency that tutors distributed to them, which contributes to tutee empowerment; (3) tutees had to use interactional strategies that typically indexed expertise for tutors—such as turn and topic control and use of tag questions—and decrease the frequency of interactional strategies that index their own noviceness, such as frequent ratification and boosting; (4) tutors and tutees had to share evenly balanced frequencies of the interactional strategies that index both expertise and noviceness; (5) tutors and tutees continued to re-establish conditions 1-4 throughout the conference to maintain a symmetrical power relationship. Shifting the agency from the more powerful tutor to the less powerful tutee accomplishes two things: tutee empowerment and establishing a more symmetrical power relationship between the tutor and the tutee. This study contributes to the small, but growing branch of research that seeks to better understand how scholars’ theoretical perceptions of tutor and tutee identities as experts or peers compare to the in-the-moment representations of tutors and tutees that empirical research reveals.

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18

Arnold, Aron. "La voix genrée, entre idéologies et pratiques – Une étude sociophonétique." Thesis, Sorbonne Paris Cité, 2015. http://www.theses.fr/2015USPCA148/document.

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Ce travail de thèse interroge le lien qui existe entre voix et genre. Le triple dispositif analytique sociophonétique, consistant à articuler données phonétiques, expérimentales et ethnographiques, a permis d’étudier comment une voix est perçue comme genrée et comment des locutrices/eurs utilisent des pratiques vocales pour indexer des identités de genre. Deux expériences dans lesquelles étaient utilisés comme stimuli des voix de synthèse et des voix resynthétisées ont permis d’observer que la fréquence fondamentale et les fréquences de résonance jouent des rôles différents dans la perception du genre. Une troisième expérience avec des voix de locutrices/eurs trans (transgenres, transsexuel-le-s) a permis de reproduire les résultats des deux expériences précédentes : en deçà d’un certain seuil de fréquence fondamentale, les voix tendent à être perçues comme « voix d’hommes » ; la perception genrée de voix produites avec des fréquences fondamentales supérieures à ce seuil est cependant largement déterminée par les fréquences de résonance.L’étude de pratiques vocales utilisées par des locutrices/eurs trans a soulevé un ensemble de questions sur le passing de genre et sur la co-indexation d’identités et de postures par la voix. Elle a aussi soulevé la question de la légitimité de chercheurs identifiés comme hommes cisgenres à réaliser ce type d’étude. Une démarche ethnographique a pu apporter des éléments de réponse à ces différentes questions. Une analyse de la littérature phonétique a finalement permis de montrer que celle-ci, à travers ses questions et hypothèses de recherche, ses axiomes, ses analyses et interprétations des données, peut véhiculer une idéologie de genre binaire et sexiste The aim of this dissertation is to investigate the relationship between voice and gender. Phonetic, experimental and ethnographic data have been used to study how the voice is perceived as gendered and how speakers use vocal practices to index gender identities. Two experiments with synthetized and resynthesized voices have shown that fundamental frequency and resonance frequencies play different roles in the perception of gender. The results of these experiments could be reproduced in a third experiment with voices of transgender speakers: under a certain fundamental frequency threshold, voices tend to be perceived as “male voices”; but above this threshold, resonance frequencies define if the voice is perceived as “female voice” or “male voice”. The study of the vocal practices of transgender speakers raised questions about gender passing, and about the indexical link between identities, stances and voice. It also raised the question of the legitimacy of researchers that are identified as cisgender males to do research on trans speaker voices. These different questions could be addressed through ethnographic data. Finally, an analysis of the phonetic literature showed that the research questions and hypotheses, the axioms, the analyses and interpretations of data one can find in phonetic studies can be a vehicle for a sexist and binary gender ideology

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19

Orlando, Nicholas. "Failing to Move Forward: Journalism, Media, and Affect in David Fincher's." Scholar Commons, 2018. http://scholarcommons.usf.edu/etd/7208.

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Zodiac (David Fincher, 2007) offers a critique of the mass media’s efforts to restore American valiance with heroic narratives of ordinary people in the aftermath of 9/11. Amending prior scholarly readings of Zodiac as a serial killer narrative, I reconfigure my analysis by taking Fincher at his word and treating it as a journalism film. Borrowing a term from political theorist Elisabeth Anker, I argue that, unlike other contemporary journalism films, Zodiac is constructed as a “melodrama of failure” that, rather than seeking mastery, unveils the instability of evidence and the obsessive uncertainty of procedure. With his film sitting between both the failures of journalism surrounding 9/11 and the 2008 financial crisis, Fincher harkens back to the 1970s to unmask the malignancy of failures past. Manifesting low-level anxiety and doubt within the public, I contend that Fincher presents media as at once looming and intrusive, present and absent, and detached yet affective, privileging fragmentation over unity to put us in touch with temporal potentialities, to what Homay King attributes to the virtual. Fincher’s return to an era of malaise and an apparent obsession with indexicality underscores our unstable epistemological and phenomenological relationships to old and new media.

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20

Lawson, Gillian Mary. "Changing relations in landscape planning discourse." Thesis, Queensland University of Technology, 2007. https://eprints.qut.edu.au/16526/1/Gill_Lawson_Thesis.pdf.

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With the increasing development of relations of consumption between discipline knowledge and students, educators face many pressures. One of these pressures is the emotional response of students to their learning experiences and the weight given to their evaluation of teaching by universities. This study emerged from the polarised nature of student responses to one particular area of study in landscape architecture, the integrative discourse of Landscape Planning. While some students found this subject highly rewarding, others found it highly confronting. Thus the main aims of this study are to describe how the students, teacher and institution construct this discourse and to propose a way to rethink these differences in student responses from a teacher's perspective. Firstly, the context of the study is outlined. The changing nature of higher education in Australian society frames the research problem of student-teacher struggles in Landscape Planning, a domain of knowledge in landscape architecture that is situated in a an enterprise university in Queensland. It describes some of the educational issues associated with Boyer's scholarship of integration, contemporary trans-disciplinary workplaces and legitimate knowledge chosen by the institution [Design], discipline [Landscape Architecture], teacher [Landscape Planning] and students [useful and relevant knowledge] as appropriate in a fourth year classroom setting. Secondly, the conceptual framework is described to establish the point of departure for the study. This study uses the work of Basil Bernstein, Harvey Sacks and Kenneth Burke to explore the changing nature of knowledge relations in Landscape Planning. Unconventionally perhaps, it begins by proposing a new concept called the 'decision space' formed from the conceptual spaces of multiple participants in an activity and developed from notions of creativity, conceptual boundaries and knowledge translation. It argues that it is in the 'decision space' that this inquiry is most likely to discover new knowledge about student-teacher struggles in Landscape Planning. It outlines an educational sociological view of the 'decision space' using Bernstein's concepts of the underlying pedagogic device, pedagogic discourse, pedagogic context, recontextualising field and most importantly the pedagogic code comprising two relative scales of classification and framing. It introduces an ethnomethodological view of knowledge boundaries that construct the 'decision space' using Sacks' concepts of context-boundedness and indexicality in people's talk. It also makes a link to a rhetorical view of knowledge choices in the 'decision space' using Burke's concepts of symbolic human action, motive and persuasion in people's speeches, art and texts. Thirdly, the study is divided methodologically into three parts: knowledge relations in official and curriculum texts, knowledge choices in student drawings and knowledge troubles in student talk. Knowledge relations in official texts are investigated using two relative scales of classification and framing for Landscape Planning and its adjacent pedagogic contexts including Advanced Construction and Practice 1 and 2 and Advanced Landscape Design 1 and 2. The official texts that described unit objectives and content in each context reveal that Landscape Planning is positioned in the landscape architecture course in Queensland as an intermediary discourse between the strongly classified and strongly framed discourse of Advanced Construction and Practice and the weakly classified and weakly framed discourse of Advanced Landscape Design. This seems to intensify the need for students in their professional year to access and adapt to new pedagogic rules, apparently not experienced previously. A further subjective reflection of my own week 1 unit information as curriculum text using classification and framing relations is included to explain what characterised the rationale, aim, objectives, teaching programme, assessment practice and assessment criteria in Landscape Planning. It suggests that the knowledge relations in my teaching practice mirror the weakly classified and strongly framed discourse of the official text for this unit, that is that students were expected to transcend knowledge boundaries but also be able to produce specific forms of communication in the unit. Knowledge choices in student drawings in Landscape Planning are described using a new sociological method of visual interpretation. It is comprised of four steps: (a) setting up a framing scale using the social semiotic approach of Kress and van Leeuwen (2005) (contact gaze, social distance, angle of viewpoint, modality, analytical structure and symbolic processes) combined with the pentadic approach of Burke (1969) (act, scene, agency, purpose); (b) setting up a classification scale using the concept of agent from the pentad of Burke (1969) combined with how the relationship between 'I' the producer and 'you' the viewer is constructed in each drawing, like a sequence in a conversation according to Sacks (1992a); (c) coding student drawings according to these two relative scales and (d) assessing any shifts along the scales from the start to the end of the semester. This approach shows that there is some potential in assessing student drawings as rhetorical 'texts' and identifying a range of student orientations to knowledge. The drawings are initially spread across the four philosophical orientations when students begin Landscape Planning and while some shift, others do not shift their orientation during the semester. By the end of the semester in 2003, eight out of ten student drawings were characterised by weak classification of knowledge boundaries and weak framing of the space for knowledge choices. In 2004, nine out of twenty-one drawings exhibited the same orientation by the end of the semester. Thus there is a changing pattern, complex though it may be, of student orientations to knowledge acquired through studying Landscape Planning prior to graduating as landscape architects. Knowledge troubles in student talk are identified using conversation markers in student utterances such as 'I don't know', 'I think', 'before' and 'now' and the categorisation of sequences of talk according to what is knowable and who knows about Landscape Planning. Student talk suggests that students have a diverse set of affective responses to Landscape Planning, with some students able to recognise the new rules of the pedagogic code but not able to produce appropriate texts as learning outcomes. This suggests a sense of discontinuity where students dispute what is expected of them in terms of transcending knowledge boundaries and what is to be produced in terms of specific forms of communication. The study went further to describe a language of legitimation of knowledge in Landscape Planning based on how students viewed its scope, scale, new concepts and other related contexts and who students viewed as influential in their selection of legitimate knowledge in Landscape Planning. It is the language of legitimation that constructs the 'decision space'. Thus in relation to the main aims of the study, I now know from unit texts that the knowledge relations in my curriculum design align closely with those of the official objectives and required content for Landscape Planning. I can see that this unit is uniquely positioned in terms of its hidden rules between landscape construction and landscape design. From student drawings, I acknowledge that students make a range of knowledge choices based on different philosophical orientations from a pragmatic to a mystical view of reality and that my curriculum design allows space for student choice and a shift in student orientations to knowledge. From student talk, I understand what students believe to be the points of contention in what to learn and who to learn from in Landscape Planning. These findings have led me to construct a new set of pedagogic code modalities to balance the diverse expectations of students and the contemporary requirements of institutions, disciplines and professions in the changing context of higher education. Further work is needed to test these ideas with other teachers as researchers in other pedagogic contexts.

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21

Lawson, Gillian Mary. "Changing relations in landscape planning discourse." Queensland University of Technology, 2007. http://eprints.qut.edu.au/16526/.

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With the increasing development of relations of consumption between discipline knowledge and students, educators face many pressures. One of these pressures is the emotional response of students to their learning experiences and the weight given to their evaluation of teaching by universities. This study emerged from the polarised nature of student responses to one particular area of study in landscape architecture, the integrative discourse of Landscape Planning. While some students found this subject highly rewarding, others found it highly confronting. Thus the main aims of this study are to describe how the students, teacher and institution construct this discourse and to propose a way to rethink these differences in student responses from a teacher's perspective. Firstly, the context of the study is outlined. The changing nature of higher education in Australian society frames the research problem of student-teacher struggles in Landscape Planning, a domain of knowledge in landscape architecture that is situated in a an enterprise university in Queensland. It describes some of the educational issues associated with Boyer's scholarship of integration, contemporary trans-disciplinary workplaces and legitimate knowledge chosen by the institution [Design], discipline [Landscape Architecture], teacher [Landscape Planning] and students [useful and relevant knowledge] as appropriate in a fourth year classroom setting. Secondly, the conceptual framework is described to establish the point of departure for the study. This study uses the work of Basil Bernstein, Harvey Sacks and Kenneth Burke to explore the changing nature of knowledge relations in Landscape Planning. Unconventionally perhaps, it begins by proposing a new concept called the 'decision space' formed from the conceptual spaces of multiple participants in an activity and developed from notions of creativity, conceptual boundaries and knowledge translation. It argues that it is in the 'decision space' that this inquiry is most likely to discover new knowledge about student-teacher struggles in Landscape Planning. It outlines an educational sociological view of the 'decision space' using Bernstein's concepts of the underlying pedagogic device, pedagogic discourse, pedagogic context, recontextualising field and most importantly the pedagogic code comprising two relative scales of classification and framing. It introduces an ethnomethodological view of knowledge boundaries that construct the 'decision space' using Sacks' concepts of context-boundedness and indexicality in people's talk. It also makes a link to a rhetorical view of knowledge choices in the 'decision space' using Burke's concepts of symbolic human action, motive and persuasion in people's speeches, art and texts. Thirdly, the study is divided methodologically into three parts: knowledge relations in official and curriculum texts, knowledge choices in student drawings and knowledge troubles in student talk. Knowledge relations in official texts are investigated using two relative scales of classification and framing for Landscape Planning and its adjacent pedagogic contexts including Advanced Construction and Practice 1 and 2 and Advanced Landscape Design 1 and 2. The official texts that described unit objectives and content in each context reveal that Landscape Planning is positioned in the landscape architecture course in Queensland as an intermediary discourse between the strongly classified and strongly framed discourse of Advanced Construction and Practice and the weakly classified and weakly framed discourse of Advanced Landscape Design. This seems to intensify the need for students in their professional year to access and adapt to new pedagogic rules, apparently not experienced previously. A further subjective reflection of my own week 1 unit information as curriculum text using classification and framing relations is included to explain what characterised the rationale, aim, objectives, teaching programme, assessment practice and assessment criteria in Landscape Planning. It suggests that the knowledge relations in my teaching practice mirror the weakly classified and strongly framed discourse of the official text for this unit, that is that students were expected to transcend knowledge boundaries but also be able to produce specific forms of communication in the unit. Knowledge choices in student drawings in Landscape Planning are described using a new sociological method of visual interpretation. It is comprised of four steps: (a) setting up a framing scale using the social semiotic approach of Kress and van Leeuwen (2005) (contact gaze, social distance, angle of viewpoint, modality, analytical structure and symbolic processes) combined with the pentadic approach of Burke (1969) (act, scene, agency, purpose); (b) setting up a classification scale using the concept of agent from the pentad of Burke (1969) combined with how the relationship between 'I' the producer and 'you' the viewer is constructed in each drawing, like a sequence in a conversation according to Sacks (1992a); (c) coding student drawings according to these two relative scales and (d) assessing any shifts along the scales from the start to the end of the semester. This approach shows that there is some potential in assessing student drawings as rhetorical 'texts' and identifying a range of student orientations to knowledge. The drawings are initially spread across the four philosophical orientations when students begin Landscape Planning and while some shift, others do not shift their orientation during the semester. By the end of the semester in 2003, eight out of ten student drawings were characterised by weak classification of knowledge boundaries and weak framing of the space for knowledge choices. In 2004, nine out of twenty-one drawings exhibited the same orientation by the end of the semester. Thus there is a changing pattern, complex though it may be, of student orientations to knowledge acquired through studying Landscape Planning prior to graduating as landscape architects. Knowledge troubles in student talk are identified using conversation markers in student utterances such as 'I don't know', 'I think', 'before' and 'now' and the categorisation of sequences of talk according to what is knowable and who knows about Landscape Planning. Student talk suggests that students have a diverse set of affective responses to Landscape Planning, with some students able to recognise the new rules of the pedagogic code but not able to produce appropriate texts as learning outcomes. This suggests a sense of discontinuity where students dispute what is expected of them in terms of transcending knowledge boundaries and what is to be produced in terms of specific forms of communication. The study went further to describe a language of legitimation of knowledge in Landscape Planning based on how students viewed its scope, scale, new concepts and other related contexts and who students viewed as influential in their selection of legitimate knowledge in Landscape Planning. It is the language of legitimation that constructs the 'decision space'. Thus in relation to the main aims of the study, I now know from unit texts that the knowledge relations in my curriculum design align closely with those of the official objectives and required content for Landscape Planning. I can see that this unit is uniquely positioned in terms of its hidden rules between landscape construction and landscape design. From student drawings, I acknowledge that students make a range of knowledge choices based on different philosophical orientations from a pragmatic to a mystical view of reality and that my curriculum design allows space for student choice and a shift in student orientations to knowledge. From student talk, I understand what students believe to be the points of contention in what to learn and who to learn from in Landscape Planning. These findings have led me to construct a new set of pedagogic code modalities to balance the diverse expectations of students and the contemporary requirements of institutions, disciplines and professions in the changing context of higher education. Further work is needed to test these ideas with other teachers as researchers in other pedagogic contexts.

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22

Jennings, Matthew. "Nevertheless, She Persisted: A Linguistic Analysis of the Speech of Elizabeth Warren, 2007-2017." Digital Commons @ East Tennessee State University, 2018. https://dc.etsu.edu/honors/457.

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A breakout star among American progressives in the recent past, Elizabeth Warren has quickly gone from a law professor to a leading figure in Democratic politics. This paper analyzes Warren’s speech from before her time as a political figure to the present using the quantitative textual methodology established by Jones (2016) in order to see if Warren’s speech supports Jones’s assertion that masculine speech is the language of power. Ratios of feminine to masculine markers ultimately indicate that despite her increasing political sway, Warren’s speech becomes increasingly feminine instead. However, despite associations of feminine speech with weakness, Warren’s speech scores highly for expertise and confidence as its feminine scores increase. These findings relate to the relevant political context and have implications for presumptions of masculine speech as the standard for political power.

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23

Boyd, Zac. "Cross-linguistic variation of /s/ as an index of non-normative sexual orientation and masculinity in French and German men." Thesis, University of Edinburgh, 2018. http://hdl.handle.net/1842/33201.

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This thesis examines phonetic variation of /s/ in bilingual French and German gay and straight men. Previous studies have shown sibilant variation, specifically the voiceless sibilant /s/, to correlate with constructions of gay identity and 'gay sounding voices' in both production and perception. While most of this work concerns English, researchers have also explored /s/ variation and sexual orientation or non-normative masculinity in Afrikaans, Danish, Hungarian, and Spanish. Importantly, with the exception of only a small number of studies, this body of work has largely left the realm of /s/ variation and sexual orientation in bilingual speakers unexplored, and furthermore there is very little work which examines these voices in the context of French and German. The analyses show that some gay French and German men produce /s/ with a higher centre of gravity (CoG) and more negative skew than the straight speakers of the study, a result which dovetails with previous studies in languages such as English. Unlike English however, French and German listeners do not appear to associate /s/ variation with sexual orientation or (non)normative masculinities. I argue that the gay speakers who produce /s/ with a higher CoG than the other speakers of the study are doing so as a way to distance themselves from hegemonic masculinity. This thesis is structured into three stand-alone journal articles bookended with introductory and conclusion chapters which tie them together in the broader picture of /s/ variation and French/German speakers and listeners. The first of the three articles expands upon the previously established linguistic framework of indexing gayness by exploring /s/ variation in native and non-native speech, examining how the linguistic construction of gay identity interacts between their English production and the constraints of their native language. The data draws on read speech of 19 gay and straight French and German men across their L1 and L2 English to explore the social meaning of /s/. Results show that some gay speakers produce /s/ with a higher centre of gravity (CoG) and more negative skew than the straight speakers. These results are consistent with previous findings, which show sibilant variation to index sexual orientation in monolingual gay men's speech, and provide evidence of this feature correlating with sexual orientation in French and German. Furthermore, the results presented here call for a greater level of inquiry into how the gay speakers who employ this feature construct their gay identities beyond a purely gay/straight dichotomy. The second study reports the results of a cross-linguistic matched guise test examining the role of /s/ variation and pitch in judgements of sexual orientation and non-normative masculinity in English, French, and German listeners. Listeners responded to manipulations of /s/ and pitch in their native language and all other stimuli languages (English, French, German, and Estonian). All listener groups rate higher pitch stimuli as more gay and more effeminate sounding than lower pitch guises. However, only the English listeners hear [s+] guises as sounding more gay and more effeminate than the [s] or [s-] guises. This effect is seen not only in their native language, but across all stimuli languages. French and German listeners, despite previous evidence showing /s/ to vary according to sexual orientation in men's speech, do not hear [s+] guises as more gay or more effeminate in any of the stimuli languages including their native French or German. The final of the three articles takes the findings of the first two papers and attempts to reconcile the production/perception mismatch seen when comparing the results of the first two papers. The first article in this thesis revealed two groups of speakers which form the basis for analysis for this paper. The first group is a heterogeneous group of gay and straight speakers whose average /s/ productions are below 7,000 Hz ([s] speakers) and the second is a homogeneous group of gay speakers producing average /s/ CoG above 7,000 Hz ([s+] speakers). The analysis shows style shifting across task type with both groups of speakers producing higher /s/ CoG productions in L1 read speech contexts than any of the L2 speech contexts. Style shifting across conversation topic reveals that the [s+] speakers are producing higher /s/ CoG when discussing their coming out stories and topics of LGBT involvement. I argue that these [s+] speakers are employing these higher frequency /s/ variants to construct a very specific and identifiable gay persona, that of a counter-hegemonic effeminate gay man. This thesis is among the first to examine phonetic qualities of gay bilingual speakers and the ways in which they may index their sexual orientation. The inclusion of bilingual French and German speakers adds to our growing knowledge of ways in which these individuals navigate and construct their identities within both their L1 and, specifically, within an L2. In this regard, this thesis contributes to the growing body of knowledge concerning socioindexicality in L2 production more generally. This work thus speaks to these gaps within the sociolinguistic literature and provides strong evidence that /s/ variation is a valuable resource for some French and German men in the construction of a certain type of gay identity.

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24

COGGIOLA, GIACOMO. "LA SCENA DELL'AUTORITRATTO. MEDIALITA', INDESSICALITA', SPETTRALITA'." Doctoral thesis, Università Cattolica del Sacro Cuore, 2013. http://hdl.handle.net/10280/1991.

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Nell’ambito delle odierne teorie del cinema e dell’audiovisivo il problema dell’autoritrattistica e dei suoi rapporti con i nuovi mezzi è oramai di acclarato rilievo. Se la teoria contemporanea pare infatti polarizzarsi da un lato intorno alla questione mediologica e dall’altro a quella dell’immagine, l’autoritratto, inteso nel senso più ampio, si colloca, per la sua peculiare e costitutiva metadiscorsività, all’intersezione di questi due ordini di problemi, interrogandone la correlazione. Ne emerge una comune strutturazione del discorso intorno alla questione fondamentale dell’opposizione e reciproca implicazione di sensibile e intelligibile, frastico e ostensivo, dicibile e indicabile. Una simile problematica si imponeva già in linguistica con Benveniste e nel campo dell’immagine, in modi diversi, con Metz e Marin, e trova oggi nuova e feconda formulazione nella riflessione recentemente sviluppata da Rancière intorno al “regime estetico delle arti”. A partire da ciò che, alla luce dell’implicita dimensione “estetica” che risulterebbe allora soggiacente all’orizzonte teorico contemporaneo, abbiamo chiamato “la scena dell’autoritratto”, quest’ultimo sembra allora assumere complessivamente una valenza di traccia, di impronta, manifestante nella presenza sensibile dell’immagine l’assenza di ciò che vi si è impresso. Modalità mediale di ciò che Derrida ha chiamato spettralità. In the field of contemporary cinema and audiovisual theories, the subject matter of self-portrait and its relations to new media is by now noticeably relevant. If contemporary theories are indeed polarized between media and visual studies, self-portrait, as a whole, appears, because of its peculiar metadiscursivity, as a crossroad between these two main issues, and therefore as a chance to question their correlation. What emerges is a common and fundamental problem, that of the opposition and mutual implication of perceptible and intelligible, discursive and figural: what can be expressed with words and what can be shown, indicated. Such problems had already been discussed by Benveniste in the field of language and by Metz and Marin in that of the image, and finds today a new and fertile formulation in Rancière’s reflection on the “aesthetic regime of the arts”. Starting from what, in the light of what would then be the “aesthetic” dimension implied by the contemporary theoretical horizon, we called “the scene of the self-portrait”, the latter would then take value of track, imprint, displaying in the perceptible presence of the image the absence of what is impressed in it: mediated modality of what Derrida called spectrality.

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25

COGGIOLA, GIACOMO. "LA SCENA DELL'AUTORITRATTO. MEDIALITA', INDESSICALITA', SPETTRALITA'." Doctoral thesis, Università Cattolica del Sacro Cuore, 2013. http://hdl.handle.net/10280/1991.

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Nell’ambito delle odierne teorie del cinema e dell’audiovisivo il problema dell’autoritrattistica e dei suoi rapporti con i nuovi mezzi è oramai di acclarato rilievo. Se la teoria contemporanea pare infatti polarizzarsi da un lato intorno alla questione mediologica e dall’altro a quella dell’immagine, l’autoritratto, inteso nel senso più ampio, si colloca, per la sua peculiare e costitutiva metadiscorsività, all’intersezione di questi due ordini di problemi, interrogandone la correlazione. Ne emerge una comune strutturazione del discorso intorno alla questione fondamentale dell’opposizione e reciproca implicazione di sensibile e intelligibile, frastico e ostensivo, dicibile e indicabile. Una simile problematica si imponeva già in linguistica con Benveniste e nel campo dell’immagine, in modi diversi, con Metz e Marin, e trova oggi nuova e feconda formulazione nella riflessione recentemente sviluppata da Rancière intorno al “regime estetico delle arti”. A partire da ciò che, alla luce dell’implicita dimensione “estetica” che risulterebbe allora soggiacente all’orizzonte teorico contemporaneo, abbiamo chiamato “la scena dell’autoritratto”, quest’ultimo sembra allora assumere complessivamente una valenza di traccia, di impronta, manifestante nella presenza sensibile dell’immagine l’assenza di ciò che vi si è impresso. Modalità mediale di ciò che Derrida ha chiamato spettralità. In the field of contemporary cinema and audiovisual theories, the subject matter of self-portrait and its relations to new media is by now noticeably relevant. If contemporary theories are indeed polarized between media and visual studies, self-portrait, as a whole, appears, because of its peculiar metadiscursivity, as a crossroad between these two main issues, and therefore as a chance to question their correlation. What emerges is a common and fundamental problem, that of the opposition and mutual implication of perceptible and intelligible, discursive and figural: what can be expressed with words and what can be shown, indicated. Such problems had already been discussed by Benveniste in the field of language and by Metz and Marin in that of the image, and finds today a new and fertile formulation in Rancière’s reflection on the “aesthetic regime of the arts”. Starting from what, in the light of what would then be the “aesthetic” dimension implied by the contemporary theoretical horizon, we called “the scene of the self-portrait”, the latter would then take value of track, imprint, displaying in the perceptible presence of the image the absence of what is impressed in it: mediated modality of what Derrida called spectrality.

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26

Donard, Mélanie. "Le zoom ou l'image d'une image." Thesis, Paris 3, 2012. http://www.theses.fr/2012PA030124.

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Utiliser un zoom pour donner l’apparence du travelling est une illusion d’ordre perceptif, c’est pourquoi je voudrai penser le zoom comme le passage d’une image à l’agrandissement (ou rétrécissement) de cette même image. Il est fondamentalement une image d’image qui s’évaluera à l’aune de nouveaux concepts que sont le centrement, la mobilité du surcadre virtuel, la durée descriptive et l’aplanissement. Dans une problématique de la duplication, le rapport entre l’image et son référent sera à questionner : l’image du zoom sera semblante ou ressemblante car elle tire sa qualité de l’écart qui se creuse entre l’image et son image initiale. Elle engendre un centre imaginaire comme fiction ou au contraire une empreinte du réel. C’est en ce sens que le zoom crée des images, des images qui nous regardent et en retour nous donnent conscience de notre propre regard. Souvenons nous de Brunelleschi et de son expérience par effet de miroir qui fit que l’homme se voyait regardé par son propre regard au "fond" d’un tableau en perspective, dans l’ouverture de cette porte qui aspire le regard et renvoie le peintre dans un face à face avec son double, son image. Le zoom, à l’instar de la perspective est aussi une métaphore du regard : il produit l’image d’un objet façonnant l’image du regard. L’image du zoom, ce signe à déchiffrer, s’est substituée au réel en le redoublant et, dans le même temps, a été menée à disparaître derrière la transparence d’une image de la réalité. Nous sommes confrontés à l’idée que la réalité serait susceptible d’attester de l’image et que finalement l’image pourrait être créatrice de réel The zoom lens, originally invented for advanced optical instruments, soon came into use in the field of still photography before being adapted to the motion picture camera. It is a development that brought an end to the stability and the transparency of the image in favor of movement and visibility within that same image. To make use of a zoom to give the impression of a tracking shot is to propagate a form of perceptual illusionism, which is why I choose to consider the zoom as the passage from an image to the enlargement (or shrinking) of that very image. The zoom is fundamentally an image of an image that is to be understood in light of new concepts such as central framing, descriptive long takes, the flattening of the image, and the virtual frame within a frame. While evoking the notion of duplication, the connection between the image and its referent is to be questioned: an image made by a zoom lens is one of resemblance, as it is characterized by the gap that is formed between the image and its origin. It engenders an imaginary center as a form of fiction, or on the contrary, is marked by reality. It is in this sense that the zoom creates images that stare back at the spectator, rendering him conscious of his own gaze. One could evoke Brunelleschi’s experiment, which used a mirror so that one is observed by his own gaze in the "distance" of a painting in perspective, thus drawing in the gaze of the painter, confronting him with his double, his image. The zoom, like the notion of perspective, is also a metaphor for vision: it produces the image of an object that is shaped by the image of the gaze. The image of the zoom, a sign to be decrypted, substitutes reality by doubling it, yet is also vowed to disappear behind an image of reality. We are confronted with the idea that reality can be called on to vouch for the image, and that the image has the capacity to create reality

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27

Cornelius, Crista Lynn. "Language Socialization through Performance Watch in a Chinese Study Abroad Context." The Ohio State University, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=osu1437580040.

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28

Lebas, Franck. "L'indexicalité du sens et l'opposition "en intension"/"en extension"." Paris 8, 1999. http://www.theses.fr/1999PA081523.

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L'objectif de ce travail est de fonder une theorie semantique - 1' "indexicalite du sens" - a partir du postulat selon lequel le sens et le referent sont de la meme nature, definissable par une notion de "rapport" - ou de "propriete extrinseque". Il est alors possible de definir la notion d' "objet" - qui generalise celle de referent - comme le point focal, vide de toute << substance >>, d'une infinite potentielle de rapports. Ainsi, l'objet est percu et concu en tant que tel sans la mediation de proprietes descriptives et/ou objectives, mais par "homologation directe" des rapports qu'il permet. Cette these phenomenologique, directement inspiree d'une critique du referentialisme, amene a substituer 1'"homologation directe" a la notion de classification, ce qui est rendu possible par une definition des notions de mise "en intension" et de mise "en extension". Ces notions permettent une approche originale du probleme des "referents evolutifs". Elles permettent egalement de caracteriser la metonymie, la synecdoque et la metaphore, ainsi que certains emplois problematiques du pronom il la signification de ce pronom est egalement definie, a travers une notion d' "individuation". D'autre part, les categories lexicales du nom et de la preposition sont caracterisees, sans faire appel a la schematicite ni a la compositionalite. Il apparait alors que le nom est fondamentalement une sous-determination de l'objet. La categorie du nom propre recoit egalement une definition expliquant ses principales proprietes. Enfin, la theorisation de l'homonymie clot la construction et la consolidation de la theorie. Deux parties applicatives permettent de confirmer l'ensemble des hypotheses : la determination des significations des prepositions a et de, et la caracterisation de la double construction - transitive directe et infinitive - du verbe commencer. C'est une exigence methodologique de motivation linguistique qui est responsable de la precision des resultats This work aims at founding a theory - "indexicality of meaning" - that postulates a same nature for meaning and referent. Meaning and referent are based on "relations" we have to objects. Conversely, the notion of "object" -which generalizes the notion of referent-is defined as the focal point, deprived of + substance ;, of a potential infinity of such relations. Being so, the object is perceived and conceptualized as such without the means of descriptive and/or objective properties, by way of "direct conformation" to the permitted relations. This phenomenological thesis, directly inspired from a criticism of referentialism, leads to substituting "direct conformation" for classification, which is made possible by virtue of the notions "in intension" and "in extension". These notions allow for a new approach of the "evolving referent" problem. They also help characterizing metonymy, metaphor, and some uses of the french pronoun "il'. The sense of this pronoun is defined, by way of a notion of "individuation". Also, the noun and preposition classes are characterized, without the use of schematicity and compositionality. It appears then that the noun inherently underdetermines the object. The proper name class also is given a definition that accounts for its main properties. Finally, the theory is completed by the integration of homonymy. I two applications of the theory are proposed : the definition of the sense of the french prepositions a and de, and the characterization of the two uses of the french verb commencer (analogous to : to begin doing something vs. To begin something). It appears that the methodological requirement of linguistic motivation accounts for the accuracy of the results

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29

Scheuermann, Melina. "Animated Memories : A case study of the animated documentary 'Saydnaya – Inside a Syrian Torture Prison' (2016) and its potential within social memory." Thesis, Stockholms universitet, Filmvetenskap, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-185061.

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Through its ability to create images of non-representable incidents animation expands the range and depth of what documentary can represent and how. This master thesis investigates the potential of animated documentary within social memory exemplified by the interactive animated documentary Saydnaya – Inside a Syrian Torture Prison (Forensic Architecture, 2016). By applying a feminist spatial approach, I aim to contribute to the understanding of the role of animated documentary images within social memory.Embodied and haptic spectatorship as well as haptic materiality are crucial in this case study due to the nature of the virtual screen images and interactive navigation (compared to montage) of the architectural 3D model. Testimonies and evidence presented in documentary film require a discursive establishment of truth. Indexicality is discussed in this regard and eventually a theoretical shift towards movement suggested. I demonstrate that Saydnaya extends the strategies in animated documentary that have been in focus so far, such as representing mental states and subjective experiences, by deploying methods of forensic aesthetics. This opens up novel ways to establish truth claims and persuasion in documentary filmmaking that require future research.

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30

Sanchez, Joseph. "Dénomination et indexicalité du sens nominal." Paris 8, 2003. http://www.theses.fr/2003PA082349.

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Ce travail esquisse un cadre d'analyse en sémantique lexicale qui inclut la notion de dénomination sans imposer une version référentialiste du sens. Nous analysons la dénomination selon une double composante : une valeur dénominative, d'inspiration phénoménologique et gestaltiste, fournit une amorce au processus perceptuel renvoyant à la chose désignée ; une modalité sémantique, selon la caractérisation grammaticale du nom, attribue une modalité de stabilisation au processus perceptuel. Entre les deux composantes s'établit une régulation constitutive du sens et de la référence. Sont ainsi analysées les formes adjectivales et substantivales puis la déviance métaphorique. Ces notions reçoivent une application qui dépasse la problématique dénominative et fournissent une base à l'analyse du sens lexical. La modalité sémantique, en tant qu'instruction, dote les morphèmes d'une indexicalité. Nous considèrerons le comportement du déictique ce/ ça et les emplois modifiés des noms propres.

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31

El, Jed Mehdi. "Interactions sociales en univers virtuel : Modèles pour une interaction située." Phd thesis, Université Paul Sabatier - Toulouse III, 2006. http://tel.archives-ouvertes.fr/tel-00144856.

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La recherche proposée s'intéresse au développement d'un modèle d'interaction sociale capable de prendre en compte, en univers virtuel collaboratif, une partie de la dimension émotionnelle et sociale des interactions humaines. Dans notre approche, chaque utilisateur contrôle son propre avatar (représentation de l'utilisateur dans l'environnement virtuel) et peut prendre des décisions selon ses propres perceptions, son expertise et historique. La problématique de recherche devient donc d'offrir une solution pour maintenir un contexte d'interaction 'riche' lors de la collaboration. Nous proposons des solutions qui permettent d'enrichir l'interaction sociale en univers virtuel. D'une part, l'interface proposée permet aux interactants d'exploiter leurs références indexicales (par exemple pointer de la main des objets de l'univers, orienter le regard vers une direction, etc.). D'autre part, notre modèle d'interaction sociale permet de produire automatiquement des comportements chez les avatars qui soient pertinents par rapport au contexte de l'interaction (par exemple distribuer le regard vers ses interlocuteurs, regarder les autres avatars en marchant, effectuer des expressions gestuelles en parlant, etc.). Nous proposons également un modèle émotionnel pour simuler les états internes des personnages virtuels en interaction. Ces modèles s'intègrent dans une architecture multi-agents capable de fusionner de façon 'réaliste' les actions intentionnelles décidées par l'acteur humain et les comportements non-intentionnels (produits par le modèle d'interaction sociale) comme les gestes, postures, expressions émotionnelles qui dépendent du contexte dans lequel évoluent les avatars.

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32

Okala, Françoise. "La factivité du monument de la Shoah : étude sémiotique d'un dispositif de la mémoire culturelle." Thesis, Bordeaux 3, 2017. http://www.theses.fr/2017BOR30011.

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Cette recherche s’attache à rendre compte de la factitivité du monument de la Shoah, à savoir sa capacité à « faire-faire », en l’occurrence, stimuler la mémoire de l’observateur. Les applications du concept de factitivité relèvent en premier ressort du cadre des relations humaines – intersubjectivité – pour s’étendre à la relation sujet/objet avec la « sémiotique des objets ». Ce champ de recherche de la sémiotique s’est réapproprié le concept de factitivité en vue de démontrer qu’en dépit de leur dimension inanimée les objets du quotidien sont dotés d’une intentionnalité consistant à manipuler – orienter – le comportement des utilisateurs. En transmettant à ces derniers un « savoir » – compétence épistémique – les objets usuels se destinent à structurer la séquence pragmatique inhérente à la pratique de l’objet. Cette thèse s’efforce d’élargir la conception classique de la factitivité dont l’application dans le champ du mémoriel interfère avec un nouveau type de compétence. Si le monument parvient à manipuler la mémoire de l’observateur, ce n’est plus seulement en transférant au sujet une compétence épistémique. Cette dernière est appelée à coexister avec la compétence esthésique constitutive d’un « éprouver ». Nous chercherons alors à éclairer les stratégies énonciatives se destinant à transformer l’observateur du monument en sujet pathémisé. Comment exprimer le passé dysphorique de la Shoah à travers les productions de la sculpture commémorative, sous-catégorie de la sculpture que nous avons scindée en trois classes-types : installation, sculpture et sculpture-lieu. En interrogeant la factitivité du monument, il ne s’agit pas seulement de sonder le langage plastique de l’objet mémoriel, mais d’investiguer différents types de langages œuvrant dans un dispositif mémoriel qui subsume une sculpture commémorative, un lieu géographique et la plupart du temps, un énoncé linguistique couplé à un objet-support. Enfin, en dehors des stratégies énonciatives centrées sur la dimension métaphorique, iconique ou symbolique de la transmission, nous verrons que la capacité des dispositifs mémoriels à émouvoir le public repose aussi sur une caractéristique fondamentale du lieu, son indicialité This research seeks to account for the factitivité of the Shoah monument, its ability to « faire-faire », or more precisely, to stimulate the memory of its observer. The concept of factitivité has been applied first in the frame of human relations, but the operative character of the concept has been extended to the « semiotics of objects ». This new field of research adpats the concept in order to demonstrate that, despite their inanimate character, common objects are also endowed with the intention of manipulating - directing - the behavior of their users. By transmitting to users a knowledge - epistemic competence - the usual objects are able to structure the pragmatic sequence - gesture, motricity skills - presiding over the practice of the object. This thesis, again, aims to broaden the theoretical frame of the factitivité, whose effectiveness requires now the introduction of a new type of competence. If the monument succeeds in manipulating the memory of its observer, it is no longer only by transferring an epistemic competence to the observer. The epistemic competence now coexists with the compétence esthésique wich means emotional feelings. This thesis seeks also to enlighten the enunciative strategies whose purpose is to transform the observer of the monument into a pathemic subject. How to express the past through the objects of a commemorative sculpture ? This sub-category of the sculpture is being divided into three classes : installation, sculpture and sculpture-lieu. Thus, questioning the factitivité of the monument becomes not only to be a question of probing the plastic language of an object, but also of investigating the different languages at work in a memorial device combining a commemorative sculpture, a locus and, most of the time, a linguistic message adherted to a support-object. Finally, apart from the enunciative strategies revealing a metaphorical, iconic or symbolic dimension of the transmission, the ability of the memorial device to affect us also relies on a fundamental characteristic of the locus, its indexicality dimension

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33

Frisvold, Hanssen Eirik. "Early Discourses on Colour and Cinema : Origins, Functions, Meanings." Doctoral thesis, Stockholms universitet, Filmvetenskapliga institutionen, 2006. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-1261.

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This dissertation is a historical and theoretical study of a number of discourses examining colour and cinema during the period 1909 to 1935 (trade press, film reviews, publications on film technology, manuals, catalogues and theoretical texts from the era). In this study, colour in cinema is considered as producing a number of aesthetic and representational questions which are contextualised historically; problems and qualities specifically associated with colour film are examined in terms of an interrelationship between historical, technical, industrial, and stylistic factors, as well as specific contemporary conceptions of cinema. The first chapter examines notions concerning the technical, material, as well as perceptual, origins of colour in cinema, and questions concerning indexicality, iconicity, and colour reproduction, through focusing on the relationship between the photographic colour process Kinemacolor, as well as other similar processes, and the established non-photographic colour methods during the early 1910s, with an in-depth analysis of the Catalogue of Kinemacolor Film Subjects, published in 1912. The second chapter examines notions concerning the stylistic, formal and narrative functions of colour in cinema, featuring a survey of the recurring comparisons between colour and sound, found in the writing of film history, in discourses concerning early Technicolor sound films, film technology, experimental films and experiments on synaesthesia during the 1920s, as well as Eisenstein’s notions of the functions of colour in sound film montage. The third chapter examines the question of colour and meaning in cinema through considering the relationship between colours and objects in colour film images (polychrome and monochrome, photographic and non-photographic) during the time frame of this study.

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34

Parks, Megim A. ""Purple People": "Sexed" Linguistics, Pleasure, and the "Feminine" Body in the Lyrics of Tori Amos." CSUSB ScholarWorks, 2014. https://scholarworks.lib.csusb.edu/etd/5.

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The notion of a “feminine” style has been staunchly resisted by third-wave feminists who argue that to posit a “feminine” style is essentialist. Yet, linguists such as Norma Mendoza-Denton and Elinor Ochs discuss indexicality and shifting through salient variables, a process called entextualization. Further, French feminists such as Hélène Cixous and Julia Kristeva use the linguistic concept of intertextuality to explain certain poetic uses of language that might cause what Luce Irigaray calls “irruption of the semiotic chora”—moments within language where boundaries in the semiotic chain of signification are “blurred.” Thus, while current feminism has moved strictly away from the idea that there is an exigent “feminine” to which all women must aspire, there exists a tenuous, but salient connection between the linguistic concepts of indexicality and intertextuality on one hand, and jouissance and “irruption of the chora” on the other that can inform those styles we might term “feminine” and allow for a more productive and responsive perception of “femininity.” Amos’ lyrics illustrate these theories working together; Amos’ lyrics represent such a “feminine” style as indexed through use of salient variables; thus, Amos’ lyrics represent a sociolinguistic phenomenon wherein gender-based salient variables reform what “feminine” is and means, challenging social attitudes and the specular feminine persona within both the personal and public spheres. The implications of these theories could eventually influence perceptions of women in any particular profession or sphere, as gendered linguistic markers influence gender roles and implications, which, in turn, inform social change.

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35

Johansson, Christer. "Mimetiskt syskonskap : En representationsteoretisk undersökning av relationen fiktionsprosa-fiktionsfilm." Doctoral thesis, Stockholms universitet, Institutionen för litteraturvetenskap och idéhistoria, 2008. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-7447.

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The dissertation deals with two different subjects: on the one hand the interrelations of narrative prose fiction and narrative fiction film, on the other hand fictional narration and intermediality as such. The first part discusses the concepts of medium and intermediality, and presents some general theoretical models. Of special importance is the three level structure of fictional representations: sign vehicle, meaning and fictional content. The second part focuses on the qualities of the sign vehicle, and on different kinds of meaning and fictional content. The sign vehicle of language and literature is digital, and consists of replicas of types. The film medium is analogue, the cinematic sign is a copy. The conventionality of literary fictions is primary, i. e. literary meaning depends on the conventions of language. The conventionality of film narratives is secondary, mediated by non-conventional meaning. The second part also deals with specific, general, generic, concrete and abstract meaning, and discusses the concepts of metaphor, symbol and expression. Part three focuses on iconic and index relations, i. e. relations of similarity and contiguity, of the fictional representation. Cinematic narratives are characterized by primary iconicity, i. e. all meaning and fictional content are dependent on the iconic relation between the poles of the representation. The iconicity of prose fiction is, by contrast, secondary, mediated by conventional sign relations. Also abductive and performative, fictional and non-fictional indexical signs, and different kinds of implications and lacunas are discussed. Part four deals with the concepts of fictionality and narrative perspective, such as the fictional stance, the narrator and focalization. Four different notions of fictionality are scrutinized and brought together, and narrative perspective is described and analyzed in terms of two different game fictions: epic games and perceptual games. Depending on the semiotic resources, the possibilities and limits of prose fiction and fiction film described in the first three parts of the dissertation, fictional games are shown to be more or less rich and realistic.

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36

Cabral, Clarice Regina de Souza. "A desconstrução do machismo pela linguagem: ordens de indexicalidade e outscalings motivados pelo movimento feminista no Facebook." Universidade Federal de Pelotas, 2018. http://guaiaca.ufpel.edu.br:8080/handle/prefix/4067.

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Submitted by Aline Batista (alinehb.ufpel@gmail.com) on 2018-07-16T19:46:39Z No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Dissertacao_Clarice_Regina_de_Souza_Cabral.pdf: 1932283 bytes, checksum: 83baf9a5ae86a79b797a52d3ee5d96e7 (MD5) Approved for entry into archive by Aline Batista (alinehb.ufpel@gmail.com) on 2018-07-17T21:23:59Z (GMT) No. of bitstreams: 2 Dissertacao_Clarice_Regina_de_Souza_Cabral.pdf: 1932283 bytes, checksum: 83baf9a5ae86a79b797a52d3ee5d96e7 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Made available in DSpace on 2018-07-17T21:24:05Z (GMT). No. of bitstreams: 2 Dissertacao_Clarice_Regina_de_Souza_Cabral.pdf: 1932283 bytes, checksum: 83baf9a5ae86a79b797a52d3ee5d96e7 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Previous issue date: 2018-02-22 Sem bolsa No atual panorama social da modernidade tardia, percebemos o crescimento no índice de reflexões e discussões sobre desigualdade de gênero, com o auxílio da popularização do uso da Internet e aumento de usuários ativos na Web 2.0 e suas redes sociais. Com isso, os grupos do(s) movimento(s) feminista(s) possuem mais espaços para realizar questionamentos sobre as opressões vividas pelas mulheres na sociedade e, a partir disso, desconstruir Discursos que regulamentam e ferem corpos e comportamentos femininos. Desta forma, a luta feminista ganha maior visibilidade e possibilidade de atingir as diversas camadas sociais. Assim, se apresenta de maneira urgente compreender os embates discursivos que emergem nestes espaços, concebendo que a linguagem é constituidora do ser e, portanto, criadora, reafirmadora e modificadora de realidades da vida prática/virtual (MOITA LOPES, 2006). Objetivamos, com este estudo, analisar Discursos que buscam controlar o comportamento feminino, criando verdades, efeitos de sentido e consequências nas práticas sociais, a partir dos comentários de postagens em páginas feministas da rede social Facebook. Para tanto, nos embasamos nos preceitos da Linguística Aplicada Transgressiva (PENNYCOOK, 2006), que possui uma agenda de pesquisa com compromisso ético ao tratar da vida social, apontando seu olhar para os sujeitos que se encontram às margens e transgredindo fronteiras disciplinares convencionais, a fim de dar voz aos sujeitos de pesquisa e significar os processos socioculturais que atravessam suas vidas. Para análise de dados, nos apoiamos nos pressupostos metodológicos da etnografia digital (HINE, 2000) e utilizamos as teorias das escalas sociolinguísticas, ordens de indexicalidade e outscalings propostos por Blommaert (2010a), a fim de entender o percurso dos d/Discursos (GEE, 1999) analisados no EspaçoTempo. A pesquisa aponta que, nos debates selecionados, foram mobilizados Discursos como a maternidade compulsória, pressão social pela performance de feminilidade da mulher, Discursos esses que relacionam respeito e caráter feminino de acordo com as roupas utilizadas ou número de parceiros em suas vidas. Além disso, mobilizaram ordens de indexicalidade de padronização de comportamento feminino para que as mulheres sejam socialmente aceitas, e de culpabilização da mulher em casos de crimes de cunho sexual, violências e assédio. Por fim, a investigação nos mostrou que as mulheres feministas problematizam os Discursos em circulação no macro espaço e questionam essas verdades no micro espaço, utilizando a estratégia de contar narrativas autobiográficas a fim de criar outscalings e modificar os Discursos que normatizam os comportamentos femininos na sociedade. In the current social panorama of later modernity, we perceive the growth in the index of reflections and discussions on gender inequality, with the help of popularization of the Internet use and increase of active users in Web 2.0 and its social networks. With this, the groups of the feminist movement (s) have more spaces to question the oppressions experienced by women in society and, from this, to deconstruct discourses that regulate and injure women's bodies and behaviors. With this, the feminist struggle gains greater visibility and possibility of reaching the different social strata. Thus, it is urgently presented to understand the discursive conflicts that emerge in these spaces, conceiving that language is constitutive of being and therefore creative, reaffirming and modifying realities of practical / virtual life (MOITA LOPES, 2006). We intend, with this study, to analyze Discourses that seek to control female behavior, creating truths, meaning effects and consequences in social practices, from the comments of posts in feminist pages of the social network Facebook. For this, we based us on the precepts of Transgressive Applied Linguistics (PENNYCOOK, 2006), which has a research agenda with ethical commitment in dealing with social life, aiming its eyes to the individuals that are on the margins and transgressing conventional disciplinary boundaries, in order to give voice to research subjects and to mean the socio- cultural processes that cross their lives. For data analysis, we based on the methodological assumptions of digital ethnography (HINE, 2000) and use the theories of sociolinguistic scales, indexicality orders and outscalings proposed by Blommaert (2010a) in order to understand the course of d/Discourses (GEE,1999) analyzed in TimeSpace. The research presented that, in the selected debates, discourses such as compulsory maternity, social pressure for the performance of woman's femininity and that relate respect and feminine character according to the clothes used or number of partners they have had in their lives. In addition, they mobilized indexical orders to standardize women's behavior so that women are socially accepted and blame the woman for cases of sexual crimes, violence and harassment. Finally, this research has shown us that feminist women problematize the circulating Discourses in the macro space and question these truths in the micro space, using the strategy of the use the autobiographical narratives in order to create outscalings and to modify the Discourses that normalize the feminine behaviors in the society.

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37

Stonestreet, Tracy. "Toward Liveness: The Polytemporality of Performance Objects." VCU Scholars Compass, 2019. https://scholarscompass.vcu.edu/etd/6084.

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In this dissertation, I examine the temporal and material connections between component parts of hybrid artworks, specifically between live events / acts of performance and the long-lasting sculptural elements that those events / performances produce. I propose a re-orientation of the temporal gaze of performance art history, from one oriented to the past to one focused on the continually unfolding present. Such a re-orientation requires a nonlinear approach to art making that complicates set boundaries of past and present, liveness and record, and presence and absence, and disrupts in potentially corrective ways our historically normative systems of looking, categorizing, and archiving art. Through a transfeminist analysis that prioritizes multiplicity rather than categorization, I consider elements of liveness in relation to subjectivity and agency, paying attention to their effect on the works’ ongoing reception and classification in archiving systems. I examine three elements of liveness as maintained through indexicality: action, endurance, and presence. Each of these elements has been historically associated with live art but not with static objects; each has been considered only in the past tense after the initial performance has ended. Using definitions of indexicality, nonlinearity, and agency as starting points, I examine how performance-based artworks connect the performance and subjectivity of the artist across time. This project loosely takes the form of three case studies of hybrid art practices by contemporary artists: Kate Gilmore, Mary Coble, and Cassils.

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38

Pan, Junquan Pan. "Constructing a Gay Persona: A Sociophonetic Case Study of an LGBT Talk Show in Taiwan." The Ohio State University, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=osu1532014383060877.

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39

Ohlsson, Maria. "Språkbruk, skämt och kön : Teoretiska modeller och sociolingvistiska tillämpningar." Doctoral thesis, Uppsala universitet, Institutionen för nordiska språk, 2003. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-3486.

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This thesis deals with jokes and gender as social meaning. Here gender identity is regarded as one kind of social meaning. The gender identity of the individual is produced in interaction with other persons and is also conditioned by cultural codes. Of particular interest is how social identity is constituted by linguistic means. This is discussed using a model of indexicality, i.e. how linguistic features index one or more dimensions of the social context. Especially the indirect and constitutive relations between language and gender are discussed in terms of stances, acts and activities. In this context the speech act joking is seen as an example of a male gender constituent. A second theoretical angle consists of introducing some linguistic theories of humour and applying them to two empirical materials. The first material consists of audiovisual recordings of school pupils’ group discussions with no adult leader present. The pupils work with the same task, both in unisexual and mixed groups. The study focuses on describing how the speakers present suggestions of their own, and respond to the suggestions of others. The suggestions have lent themselves to being grouped into three categories: serious suggestions, playful suggestions, and joking suggestions. Identifying jokes in conversation can be difficult; thus four criteria for joke identification are applied: intention, structure, reaction and convention. Two types of structural criteria are used: semantic and rhetorical. The second material consists of a questionnaire administered to university students, which asks whom the informant apprehends as funny. A general tendency in the answers is that men only mention men, while women single out both women and men. Another tendency is that few women are found in the answers of the questions concerning the mass media, while women mention many funny women in the questions about their own everyday experiences. In this study it is argued that language use not only reflects our place in culture and society but also helps to constitute that place. Women and men encounter different cultural codes, and thus their performance of different speech acts also differs. This has an impact on the speakers’ social identity, one of which is gender identity.

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40

Weigelt, Karl. "The Signified World : The Problem of Occasionality in Husserl's Phenomenology of Meaning." Doctoral thesis, Stockholm : Visby : Acta Universitatis Stockholmiensis ; eddy.se [distributör]:, 2008. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-7366.

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41

Bekker, Ian. "The vowels of South African English / Ian Bekker." Thesis, North-West University, 2008. http://hdl.handle.net/10394/2003.

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This thesis provides a comparative analysis of vowel quality in South African English (SAE) using the following data: firstly, the existing impressionistic literature on SAE and other relevant accents of English, the former of which is subject to a critical review; secondly, acoustic data from a similar range of accents, including new SAE data, collected and instrumentally analyzed specifically for the purposes of this research. These various data are used to position, on both a descriptive and theoretical level, the SAE vowel system. In addition, and in the service of providing a careful reconstruction of the linguistic history of this variety, it offers a three-stage koin´eization model which helps, in many respects, to illuminate the respective roles played by endogenous and exogenous factors in SAE’s development. More generally, the analysis is focussed on rendering explicit the extent to which the synchronic status and diachronic development of SAE more generally, and SAE vowel quality more particularly, provides support for a number of descriptive and theoretical frameworks, including those provided in Labov (1994), Torgersen and Kerswill (2004), Trudgill (2004) and Schneider (2003; 2007). With respect to these frameworks, and based on the results of the analysis, it proposes an extension to Schneider’s (2007) Dynamic Model, shows Trudgill’s (2004) model of new-dialect formation to be inadequate in accounting for some of the SAE data, provides evidence that SAE is a possibly imminent but ‘conservative’ member of Torgersen and Kerswill’s (2004) SECS-Shift and uses SAE data to question the applicability of the SECS-Shift to FOOT-Fronting. Furthermore, this thesis provides evidence that SAE has undergone an indexicallydriven arrestment of the Diphthong and Southern Shifts and a subsequent and related diffusion of GenSAE values at the expense of BrSAE ones. Similarly, it shows that SAE’s possible participation in the SECS-Shift constitutes an effective chain-shift reversal ‘from above’. It stresses that, in order to understand such phenomena, recourse needs to be made to a theory of indexicality that takes into account the unique sociohistorical development of SAE and its speakers. Lastly, the adoption of the three-stage koin´eization model mentioned above highlights the merits of considering both endogenous and exogenous factors in the historical reconstruction of new-dialect formation and, for research into SAE in particular, strengthens the case for further investigation into the possible effects of 19th-century Afrikaans/Dutch, Yiddish and north-of-English dialects on the formation of modern SAE. Thesis (Ph.D. (English))--North-West University, Potchefstroom Campus, 2009.

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42

Homma, Yukiyo. "L' identité des prépositions dans leur variation. Approche énonciative de en, dans, pour et par." Paris 10, 2009. http://www.theses.fr/2009PA100134.

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Il s'agit d'une thèse portant sur les prépositions en, dans, pour et par. Notre recherche conduite dans la perspective de la Théorie des opérations prédicatives et énonciatives (TOPE) d'A. Culioli, consiste à démontrer l'existence d'une identité pour chacune de ces prépositions, et comment cette identité se manifeste effectivement dans ses divers emplois. Une préposition étant considérée comme un relateur entre deux éléments X (le repéré) et y (le repère)-que nous articulons par la formule X prép. Y-, nous entendons par identité d'une préposition les principes déterminant la spécificité du rôle joué par cette préposition dans son interaction avec X et Y. L'identité propre à chaque préposition- appelée Forme Schématique (FS) de cette préposition dans le mouvement de la théorie précitée- se caractérisant par tous les emplois de ce terme, notre analyse est un travail de desintrication pour tous ses emplois entre la valeur propre de la préposition et celle des éléments qu'elle met en relation This work deals with the French prepositions en, dans, pour and par. Our research-set in the theoretical framework by A. Culioli, the Théorie des Opérations Prédicatives et Enonciatives (TOPE)-consists in showing that each of these prepositions has its own identity emerges in its actual uses. As a preposition anchors a relation between two entities, X (the located element) and Y(the locator)- we shall represent this relation as X prep Y-, what we refer to as the identity of a proposition consists in the principles motivating the particular function performed by this preposition when interacting with X and Y. The specific identity of each preposition-called Forme Schématique (FS) of this preposition in the TOPE-is characterised by all the uses of this term. Thus, our work consists in disintricating the effects of meaning depending on the preposition and those leaning on the elements it links

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43

Falgas, Julien. "Raconter à l'ère numérique : auteurs et lecteurs héritiers de la bande dessinée face aux nouveaux dispositifs de publication." Thesis, Université de Lorraine, 2014. http://www.theses.fr/2014LORR0112/document.

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Considérant l’environnement numérique qui se caractérise par la convergencedes modes et des formes discursifs, à quels cadres les auteurs et les lecteurs héritiers de la bande dessinée se référent-ils et de quelle manière s’y réfèrent-ils ? Il s'agit de comprendre comment des auteurs confrontés à de nouveaux dispositifs de publication produisent le sens commun nécessaire à la création de récits numériques dont les lecteurs parviennent à partager les standards de transcription, tirent des routines d’usage pour leur interprétation, et jugent attrayante la sélection et la mise en forme des évènements racontés. Après avoir présenté lecontexte dans lequel ont émergé les premiers récits identifiés comme des « bandes dessinées numériques de création », l'étude porte sur l'analyse indexicale d'entretiens conduits auprès des auteurs et des lecteurs de deux de ces récits. L'analyse fait apparaître l'originalité des assemblages de cadres de références opérés par les auteurs et reconnus de leurs lecteurs. Cette étude montre ainsi l'importance des dynamiques de production de sens dans l'invention et l'adoption de nouvelles formes narratives. Le retour critique sur ce travail soulève plusieursquestions méthodologiques, notamment quant à la place du chercheur en tant qu'acteur engagé dans la production de sens, mais aussi quant à la prépondérance accordée au mot dans ce type d'étude, et enfin quant aux modalités d'entretien les plus favorables à la recherche et à l'élucidation des marques indexicales par lesquelles s'expriment les cadres de référence des acteurs What are the frames to which authors inspired by the comics legacy refer inthe digital environment, characterized by the convergence of media and discursive forms ? How do they refer to such frames in order to make sense and to tell digital stories from which readers are able to share the standards of translation, find routines for their interpretation, and feel entertained by the selection and the arrangement of events ? After setting the context in which emerged the first accounts identified as « original digital comics », the study focuses on the indexical analysis of interviews with authors and readers of two such stories. The analysis reveals the originality of the frames arrangements made by the authors and recognized by their readers. This study shows the importance of sensemaking activities for the invention and adoption of new narrative forms. The critical review of this work raises several methodological issues, particularly regarding the place of the scientist as an actor engaged in the sensemaking activity, but also about the the importance given to words in this kind of researches, and finally about the appropriate interview methods in order to find and explain indexical marks leading to the actors' frames

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44

Bwire, David. "Meaning Across Difference: Exploring Intercultural Communication Strategies in an Alaska-Kenya Collaboration." The Ohio State University, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=osu1469088653.

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45

Falgas, Julien. "Raconter à l'ère numérique : auteurs et lecteurs héritiers de la bande dessinée face aux nouveaux dispositifs de publication." Electronic Thesis or Diss., Université de Lorraine, 2014. http://www.theses.fr/2014LORR0112.

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Considérant l’environnement numérique qui se caractérise par la convergencedes modes et des formes discursifs, à quels cadres les auteurs et les lecteurs héritiers de la bande dessinée se référent-ils et de quelle manière s’y réfèrent-ils ? Il s'agit de comprendre comment des auteurs confrontés à de nouveaux dispositifs de publication produisent le sens commun nécessaire à la création de récits numériques dont les lecteurs parviennent à partager les standards de transcription, tirent des routines d’usage pour leur interprétation, et jugent attrayante la sélection et la mise en forme des évènements racontés. Après avoir présenté lecontexte dans lequel ont émergé les premiers récits identifiés comme des « bandes dessinées numériques de création », l'étude porte sur l'analyse indexicale d'entretiens conduits auprès des auteurs et des lecteurs de deux de ces récits. L'analyse fait apparaître l'originalité des assemblages de cadres de références opérés par les auteurs et reconnus de leurs lecteurs. Cette étude montre ainsi l'importance des dynamiques de production de sens dans l'invention et l'adoption de nouvelles formes narratives. Le retour critique sur ce travail soulève plusieursquestions méthodologiques, notamment quant à la place du chercheur en tant qu'acteur engagé dans la production de sens, mais aussi quant à la prépondérance accordée au mot dans ce type d'étude, et enfin quant aux modalités d'entretien les plus favorables à la recherche et à l'élucidation des marques indexicales par lesquelles s'expriment les cadres de référence des acteurs What are the frames to which authors inspired by the comics legacy refer inthe digital environment, characterized by the convergence of media and discursive forms ? How do they refer to such frames in order to make sense and to tell digital stories from which readers are able to share the standards of translation, find routines for their interpretation, and feel entertained by the selection and the arrangement of events ? After setting the context in which emerged the first accounts identified as « original digital comics », the study focuses on the indexical analysis of interviews with authors and readers of two such stories. The analysis reveals the originality of the frames arrangements made by the authors and recognized by their readers. This study shows the importance of sensemaking activities for the invention and adoption of new narrative forms. The critical review of this work raises several methodological issues, particularly regarding the place of the scientist as an actor engaged in the sensemaking activity, but also about the the importance given to words in this kind of researches, and finally about the appropriate interview methods in order to find and explain indexical marks leading to the actors' frames

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46

Kindermann, Dirk. "Perspective in context : relative truth, knowledge, and the first person." Thesis, University of St Andrews, 2012. http://hdl.handle.net/10023/3164.

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This dissertation is about the nature of perspectival thoughts and the context-sensitivity of the language used to express them. It focuses on two kinds of perspectival thoughts: ‘subjective' evaluative thoughts about matters of personal taste, such as 'Beetroot is delicious' or 'Skydiving is fun', and first-personal or de se thoughts about oneself, such as 'I am hungry' or 'I have been fooled.' The dissertation defends of a novel form of relativism about truth - the idea that the truth of some (but not all) perspectival thought and talk is relative to the perspective of an evaluating subject or group. In Part I, I argue that the realm of ‘subjective' evaluative thought and talk whose truth is perspective-relative includes attributions of knowledge of the form 'S knows that p.' Following a brief introduction (chapter 1), chapter 2 presents a new, error-theoretic objection against relativism about knowledge attributions. The case for relativism regarding knowledge attributions rests on the claim that relativism is the only view that explains all of the empirical data from speakers' use of the word "know" without recourse to an error theory. In chapter 2, I show that the relativist can only account for sceptical paradoxes and ordinary epistemic closure puzzles if she attributes a problematic form of semantic blindness to speakers. However, in 3 I show that all major competitor theories - forms of invariantism and contextualism - are subject to equally serious error-theoretic objections. This raises the following fundamental question for empirical theorising about the meaning of natural language expressions: If error attributions are ubiquitous, by which criteria do we evaluate and compare the force of error-theoretic objections and the plausibility of error attributions? I provide a number of criteria and argue that they give us reason to think that relativism's error attributions are more plausible than those of its competitors. In Part II, I develop a novel unified account of the content and communication of perspectival thoughts. Many relativists regarding ‘subjective' thoughts and Lewisians about de se thoughts endorse a view of belief as self-location. In chapter 4, I argue that the self-location view of belief is in conflict with the received picture of linguistic communication, which understands communication as the transmission of information from speaker's head to hearer's head. I argue that understanding mental content and speech act content in terms of sequenced worlds allows a reconciliation of these views. On the view I advocate, content is modelled as a set of sequenced worlds - possible worlds ‘centred' on a group of individuals inhabiting the world at some time. Intuitively, a sequenced world is a way a group of people may be. I develop a Stalnakerian model of communication based on sequenced worlds content, and I provide a suitable semantics for personal pronouns and predicates of personal taste. In chapter 5, I show that one of the advantages of this model is its compatibility with both nonindexical contextualism and truth relativism about taste. I argue in chapters 5 and 6 that the empirical data from eavesdropping, retraction, and disagreement cases supports a relativist completion of the model, and I show in detail how to account for these phenomena on the sequenced worlds view.

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47

Karlander, David. "Authentic Language : Övdalsk, metapragmatic exchange and the margins of Sweden’s linguistic market." Doctoral thesis, Stockholms universitet, Institutionen för svenska och flerspråkighet, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-145642.

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This compilation thesis engages with practices that in some way place stakes in the social existence of Övdalsk (also älvdalska, Elfdalian, Övdalian), a marginal form of Scandinavian used mainly in Sweden’s Älvdalen municipality. The practices at hand range from early 20th century descriptive dialectology and contemporary lay-linguistics to language advocacy and language political debate. The four studies focus on the logic by which such practices operate, on the historically produced visions that they bring into play, as well as on the symbolic effects that they have produced. Study I provides a zoomed-out account of the ordering of Övdalsk in Sweden’s linguistic market. Focusing on a relatively recent debate over the institutional regimentation of Övdalsk, it analyses the forms of agreement upon which the exchange in question has come to rest. The contention has mainly developed over the classification of Övdalsk, percolating in the question of whether Övdalsk ‘is’ a ‘language’ or a ‘dialect’. Analysing this debate, the study takes interest in the relationship between state power and metapragmatic exchange. Study II deals with the history of linguistic thought and research on Övdalsk. It analyses the genesis of some durable visions of the relationship between Övdalsk and linguistic authenticity, focusing on the research practice of the Swedish dialectologist Lars Levander (1883–1950), whose work on Övdalsk commands representative authority to this day. By engaging with Levander’s techniques of scholarly objectivation, as well as with their language theoretical fundaments, the study seeks to create some perspectives on, and distance to, the canonical representations of Övdalsk that have precipitated from Levander’s research. Study III looks into the reuse and reordering of such representations. It provides an ethnographic account of a metapragmatically saturated exchange over Övdalsk grammar, in which descriptivist artefacts play an important part. Through an analysis of texts, in situ interaction, and interviews, the study seeks to grasp the ways in which textual renditions of grammar interrelate with practically sustained, socially recognized models of language and language use (i.e. registers). Study IV tracks the ways in which such visions of authenticity have been drawn into institutionally and politically invested metapragmatic exchanges. It looks into a process of naming of roads in Älvdalen, in which ideas about the contrast between Swedish and Övdalsk played a central part. In all studies, various visions of Övdalsk authenticity and authentic Övdalsk constitute a central theme. The thesis maintains that such visions must be understood in relation to the practices in which they hold currency. Following Silverstein, this epistemological stance entails an engagement with the dialectic between historical formations and situated exchange. Through this analytical orientation, the studies seek to account for the visions of authenticity that have been at the forefront of various symbolic struggles over Övdalsk. Thus, in addition to their respective analytical accounts, the separate studies seek to add shifting temporal horizons to the superordinate heuristic, combining a deep historical backdrop with accounts of protracted institutional processes and analyses of situated linguistic interaction. Ultimately, this mode of analysis provides an in-depth understanding of the object of inquiry. At the time of the doctoral defense, the following paper was unpublished and had a status as follows: Paper 2: Submitted.

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48

Christiansen, Martha Sidury Juarez Lopez. "Facebook as Transnational Space: Language and Identity among 1.5 and Second Generation Mexicans in Chicago." The Ohio State University, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=osu1366196872.

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49

Hufschmitt, Benoît. "Les fonctions philosophiques de la définition dans la pensée antique et classique : de la nécessité des définitions réelles, d'après une relecture de quelques grands auteurs." Aix-Marseille 1, 1995. http://www.theses.fr/1996AIX10069.

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Les problemes de la definition sont, dit-on souvent, resolus (ou dissous) depuis l'avenement de la logique contemporaine et le triomphe connexe du nominalisme : il n'y a de definitions que de mots ; les definitions de choses sont, au mieux, des propositions sans specificite, au pire, des petitions de principe, voire un moyen privilegie pour la construction de pseudoconcepts, l'instrument de la confusion de pensee. Or, une consideration un peu attentive montre que les logiciens et philosophes contemporains sont generalement plus nuances ; se degagent de leur etude la reconnaissance d'une grande diversite de difficultes, et la mise en place de multiples analyses afin d'y repondre. De fait, les regles choisies pour la description, la composition et la validation des definitions engagent des prises de positions generales sur la pensee et sur l'etre : elles inscrivent le discours dans les normes d'une rationalite discursive ; elles delimitent, en deca et au dela, le proces de la connaissance scientifique ; elles organisent la diversite des etres et des objets de connaissance ; enfin, de maniere generale, elles determinent les regles memes de la diversification de l'etre et du connaitre. L'etude de quelques grands auteurs de la philosophie antique et classique, soit qu'ils promeuvent, soit qu'ils rejettent l'importance de la definition en philosophie, permet de conclure que les fonctions precedemment degagees sont une constante de la reflexion philosophique. Sont etudies successivement platon, aristote, les epicuriens et les stoiciens antiques, hobbes, descartes, locke, berkeley, pascal, arnauld et nicole, leibniz et kant It is often said that the problems of definition have been solved (dissolved) since the arrival of modern logic and the triumph of nominalism : definitions only exist by the existence of words. The definitions of things are at best propositions without specificity, at worst a petitio principii, or a privileged means for the construction of pseudo-concepts, instrument of thought confusion. A close study shows that modern logicians and philosophers are more qualified ; from the study of their work, one can distinguish a wide variety of difficulties and the use of lots of different analysis to cope with this question. In fact, the rules chosen to describe, compose and validate definitions carry with them positions about the thinking and the being : discourse is so embedded into the norm of a discursive rationality ; beyond and after that, they build the limits of the trial of scientific knowledge ; they organise the diversity of beings and of the objects of knowledge ; finally, as a general rule, they determine the very rules of the diversification of the being and of knowledge. The study of some of the best authors of antique and modern philosophy, who either dismiss or promote the importance of definition in philosophy, can lead to the conclusion that the functions seen before are a constant of the philosophic reflection. Plato, aristoteles, antique epicurean and stoics, hobbes, descartes, locke, berkeley, pascal, arnault and nicole, leibniz and kant are in turn being studied

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50

Guillot, Marie. "Déixis et subjectivité : essai sur l'indexicalité dans le langage et la pensée." Paris, EHESS, 2010. http://www.theses.fr/2010EHES0027.

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Ce travail est un examen critique de la «conception indexicale de la subjectivité», thèse selon laquelle le mode déictique de la référence, tout particulièrement à soi, serait constitutif du phénomène mental de la subjectivité. Trois questions cumulatives sont traitées. Existe-t-il une forme d'indexicalité mentale, comme il existe une indexicalité linguistique? Si oui, comment-transposer au mieux, sur le plan mental, notre connaissance du fonctionnement des déictiques dans le discours? Enfin, le caractère déictique putatif de certains états psychologiques suffirait-il à rendre compte du phénomène de la subjectivité? Le Livre 1 (Chapitres 1 à 3) fait l'examen détaillé du phénomène de l' indexicalité linguistique, dégage une notion très générale de déixis, transversale à une typologie de variations. Le Livre Il est consacré aux différentes manières envisageables de transposer cette notion sur le plan des représentations psychologiques. Dans les Chapitres 4 à 6, je présente le phénomène épistémique de « l'indexicalité essentielle », motivation principale de la conception indexicale de la subjectivité. Dans les Chapitres 7 à 9, je discute trois modèles sémantiques concurrents de l'indexicalité mentale: un modèle descriptiviste et token-réflexif (Ch. 7) ; un modèle bi-dimensionnaliste externaliste fondé sur la notion de« fichier mental» (Ch. 8) ; enfin, un modèle relativiste appuyé sur la sémantique des « mondes possibles centrés» (Ch. 9). Chacun de ces modèles rencontrant des limites dans l'explication du profil cognitif dont dépend la possession du statut de sujet, je conclus à l'insuffisance d'une théorie purement indexicale -et, plus généralement, purement représentationnelle -de la subjectivité This is a critical study of the « indexical view of subjectivity », according to which the deictic mode of reference ¬especially deictic reference to oneself under the pronoun “1”-is constitutive of the mental phenomenon of subjectivity. Three questions are addressed. (i) Is there a kind of mental indexicality in thoughts, analogous to the kind we find in language? (ii) How best to transpose to thought the account of the mechanisms of deixis we see at work in discourse? (ii i) Does the deictic character of certain mental states provide a sufficient account of the phenomenon of subjectivity? Book I (Chapters 1 to 3) is a detailed analysis of indexicality in speech. It elaborates a very general notion of deixis, which can apply to all the variations of the phenomenon, as classified in the typology proposed in Chapter 3. Book Il considers various possible ways to adapt this notion to the domain of psychological representations. In Chapters 4 to 6, 1 present the epistemic phenomenon of «essential indexicality », which is the main motivation behind the indexical conception of subjectivity. In Chapters 7 to 9, 1 discuss three competing semantic models of mental indexicality: a descriptivist, token-reflexivist model (Chap. 7); a bi-dimensional, extemalist model that relies crucially on the notion of a mental file (Chap. 8); and finaIly, a relativist model, spelled out in the framework of centered-world propositions (Chap. 9). Each one of these models is found to provide only a partial account of the cognitive profile that is a necessary condition for being a subject 1 therefore conclude that a strictly indexical theory of subjectivity -and more generally, a strictly representational theory thereof -is insufficient

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