RCAAP Repository

This article deals with the analysis methodology for research in Human Sciences focused on listening to otherness and whose corpus is built from interviews, focus groups, testimonies, among others. The proposed analysis methodology is developed within the theoretical framework formulated by Bakhtin and the Circle to articulate verticality to horizontality and seek, at the intersection of these directions, depth and breadth; singularities, and the possible and desirable generalization in research. To present this methodology, the article is based on an excerpt from doctoral research that heard young high school graduates know their values, their plans for the future, and how they evaluated the school.

In this paper we aim to present a theoretical-methodological discussion around the concept of “valuation” and its interface with other concepts of Mikhail Bakhtin and his Circle’s architectonic. To do so, we guide our discussion by taking the thoughts of Mikhail Bakhtin, Pável Medviédev and Valentin Volochínov. Also, we glanced to contemporary authors who are inserted in Dialogical Discourse Analysis (DDA). Therefore, this is a bibliographical research, because we chose to design paths about how the valuation concept is constructed in the Circle’s thoughts and in the contemporary authors of DDA. The results show us that thevaluation, basically like any other concept of M. Bakhtin and his Circle, engenders dialogically to other concepts designed by the authors from the Circle, like ideology, chronotope and social sphere of human’s activity.

This research has as its scientific object a (neo)christonazifascist organization tracked and investigated on Telegram during the month of March 2021. In that regard, the general objective is to understand the ideological horizon of the (neo)nazifascist Christian organization, exploring semantic reflexes and refractions in articulation with materialized socio-ideological voices materialized in the utterances. This research is justified by the importance of fostering the debate on this discourse becoming a form of social denunciation. As a methodological procedure, 11 utterance-posts are selected as the discursive corpus, conceiving it as historical and social. The methodology is anchored in the postulates of Bakhtin (2011), Medviédev (2016) and Volóchinov (2018).

The players of the game Dead By Daylight (DBD) enunciate a sociotypical language that produces communicability in a sign chronotope that dialogues with horrific themes. Considering this process, this article presents results of research that aimed to investigate the modes of articulation of the language of discursive practices in the interaction with the DBD game. The corpus is composed of clippings from four streams of the Facebook Gaming platform, totaling 8 samples. The analysis, based on the dialogical conception of the Bakhtin Circle discourse, mobilized concepts such as heterogeneity of language, dialogism and heterodiscourse. The results highlighted some linguistic strategies employed, including acronyms, changes in meaning and the mobilization of linguistic loans between languages.

This article aims to analyze the relation of alterity, based on Bakhtin’s proposition, in readers’ comments on fanfiction published on the Brazilian website Spirit Fanfics e Histórias. Fanfiction is a fictional story written individually or collaboratively as of books, series, movies and/or characters by other authors. Such texts run on the internet within specific communities – websites created with this purpose, such as the one previously mentioned – and this space of written production is a place where writers and readers engage in a dialog about their productions, through comments, aiming to perfect them according to what is valued in such spaces. To this end, the act of commenting on somebody else’s production, showing one’s own positioning, in order to collaborate with the development of the text, is fundamental, Thus, based on Bakhtin, Volochinov and the Dialogical Discourse Analysis, this work analyzes the relations of alterity in five comments posted on fanfiction about the series 13 Reasons WhyThe chosen methodology – the comparison – consists of relating texts, aiming to broaden contexts to understand the utterances, as proposes Bakhtin. From the Bakhtinian proposition, we point the concepts of architectonics, dialog, concrete utterance, activity sphere and alterity as relevant to the current discussion. We started from the hypothesis that the relations of alterity are key elements for the edification of these texts within this collaborative community of written production. At that, the reached results indicate that the comment is a component of the fanfiction, which guides the production according to the relation of alterity between authors and readers. Furthermore, the article highlights the importance of the genre comment to this relation, which appeared to be, according to the analyses, unique in this space, with relationships between me and other shown in its architectonics. Finally, this article adds to the area of Bakhtinian studies regarding the discourse genres in digital context.

The present article points to the relevance of Bakhtin’s discussion about popular culture for the studies of the aesthetics of the grotesque. In this sense, we propose a discussion about Bakhtin’s understanding of the grotesque from his study of the popular festival and carnival dialogism, in order to understand the manifestations of grotesque realism in the field of carnivalization, punctuating essential elements, although little discussed today in his theory, especially the renovating capacity and the cosmovisionary expansion operated by the grotesque aesthetics in artistic manifestations. In the following, we seek to contrast it with the most recent studies on the grotesque, such as those of Rémi Astruc, seeking to demonstrate its timeliness and its potential contributions to this field of research.

This paper presents a course of studies on the relation between language and memory within the scope of Bakhtinian studies, initially on the tip-of-the-tongue phenomena and later studying word finding difficulties, especially in dementia syndromes. In this context, I reflect with Bakhtin's circle on the link between the character individual and collective of memories and I point out the relevance of this discussion in understanding the boundaries between normal and pathological in the relation between language and memory, especially in aging.

The last twenty years of work by the international academic community on “Bakhtinian” writings have yielded attractive results, grouped into the following three issues: adjustments in translations, revision - not without controversy - of the assignments of authorship to the alleged Circle of Bakhtin, and enriched interpretations regarding the contribution of the conceptual framework that I will present here as dialogism. In this work I propose to recover some of the main threads of discussion developed about the conceptual elaborations of Bakhtin, Medvedev and Voloshinov (BRANDIST, 2006, 2012), assumed here as a whole as constructors of dialogism for the reasons that will be explained later. I defend the need to preserve the dialogist perspectives, present in discourse analysis and applied linguistics, in our current time.

This research aims to analyze the dialogical-discursive effects in publications and comments on these posts on the diffusion and impact of vaccines for COVID-19 in the Brazilian context, understanding the axiologies in the construction of on-line statements made by Facebook and Instagram users and describing the relationships between individuals for the use of social networks as ecosystems of discursive interaction. As theoretical framework, we are linked to the Dialogical Theory of Language and to studies on social networks. It is a qualitative approach and netnographic research. (Web)Journalism and scientific dissemination sites on Facebook and Instagram serve to generate data for this research, with an emphasis on publications on government decisions and vaccine development. The results show that the discursive position assumed by the page promotes different engagements, oscillating between vertical relations among the subjects and horizontal discussions with an educational nature.

This paper aimed to analyze the authoritative third party voice in the discourse present in sermons of evangelical pastors, regarding the presence of an ideal of female submission, in order to problematize the place and role of women in society. This is a qualitative, exploratory research, in which three videos available on the internet and biblical texts that are used as a voice of authority, dictating rules about the condition of women were analyzed. The methodology was characterized by the dialogic discourse analysis. We tried to understand, from the sermons, how the pastors think about the social construction of the place of women, attending to the biblical precepts of the Pentecostal and Neo-Pentecostal Christian faith. To do so, Bakhtin's (2011) and Volóchinov's (2017) reflections on discourse were used, as well as Beauvoir's (1967) thoughts on gender frames. The results of the analysis showed that the patriarchal gear depends on the obedience and submission of evangelical women inside and outside the churches to work.

This work analyzes, in the light of the enunciative-discursive perspective of the language of the Circle of Bakhtin, the rap Canção Infantil, written by the capixaba César MC. It starts from the premise that, in an unequal society, the sign is more than a tangle of words: it is an arena where class struggle develops. Thus, through a qualitative approach of documental procedure, it discusses how this rap, based on the simultaneous allusion to the symbolic and the real, gives visibility to the consequences of social inequality, by addressing part of the problems inherent to the periphery. It concludes that rap, in addition to exposing the wounds and contradictions of Brazilian society, in a cyclical and dual positioning, moves away from a marginalized and / or glamorized perspective of poverty, from less superficial and, therefore, less manichaeans.

This research aims to carry out an analysis of interpretative possibilities of the identity category from similar assumptions built by the Bakhtin Circle, materialized in theories such as chronotope (2018), alterity (2011) and body (1987). Once in Applied Linguistics, this research considers that subjects are situated in a certain time and space and, therefore, produce situated discursive practices. Thus, the linguistic approach is fundamental for the construction and understanding of identities, as its raw material is, precisely, language, whether it is embodied in life or in art. Thus, in addition to Bakhtinian works, we draw on considerations woven by Volochinov (2019) and Medvedev (2016) that support the previous statement and justify the relationship between the world of life and the world of art, since Bakhtin’s studies they take literature as their object and, even so, they find applicability and materiality beyond the literary. In this sense, we will first show how identity is constructed from the material conditions provided by time and space, which the author calls chronotope, and then we will observe how the categories of alterity and body contribute to formulating an idea of identity construction through language. Finally, we will discuss how these issues are refracted in the world of life and how this theory is responsive to many contemporary issues. At the end of the analysis, it was evident that the Circle’s studies on identity provide an opening for new questions and ways of thinking about this category. Furthermore, starting from these postulates, it becomes evident not only the possibility of oxygenating the theory, but also the perception of its valuable relevance.

This article aims to present a theoretical-discursive analysis on the functioning of the word and its relationship with gender in which it appears, highlighting the inseparability of the aspects of plasticity and coercivity. According to Bakhtinian theory, the word constitutes an arena where plasticity is established, but, at the same time, it is confronted by the coerciveness of the genre. It is also registered that there are varying levels of plasticity that permeate the tongue. There are more coercive genres, which impose a more stable discursive functioning on the word, in which the coexistence of different social voices is restrained. In contrast, there are extremely plastic genres, which provide greater mobility to the word, which, in turn, prints malleability to the genre. However, even if the word is essentially plastic, its functioning is always conditioned by gender. In order to demonstrate how these assumptions work in the concrete materiality of the language, possible orientations are presented for the analysis on the functioning of the word and its intimate relationship with gender, having as theoretical scope some of the philosophical and linguistic concepts postulated by Bakhtin and his Circle.

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This paper reflect on pboetics and autopoetics with attention centered on minifiction as a transgender textual class and within the framework of an own authorial project, conceived as part of an experience of Brazilian life and creation. In this sense, critical readings on the subject are integrated, as well as on autofiction and biofiction. No center of these considerations of theory and criticism, the narrative of Escribas (2013) is analysed in its worldview and composition, delving into the write of imaginary lives as a laboratory of forms.

Western Misogyny, with an inheritance in classical antiquity, is a thought that extended and developed in the Middle Ages. Gil Vicente was not immune to this situation, even having a look ahead of his time. The purpose of this article is, through the comparative method, to investigate four female characters, in plays by Gil Vicente: Auto da Índia (1510), Quem tem Farelos (1515), Auto dos Mistérios da Virgem ou da Mofina Mendes (1515) e Farsa de Inês Pereira (1523), from the perspective of Misogyny studied by Howard Bloch (1995) and Pedro Carlos Fonseca (2017).The article delimits itself around these characters, to show how the comdiographer portuguese sophis-tication misogynist thinking, and, mimeically, it reproduces several of the topoi of the misogynistic culture, while highlighting traces of modernity in the midst of medieval aesthetics.

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The problem of what could be defined as an adequate and much-needed historical re-qualification of the figure of Ivan Ivanovich Sollertinsky (1902-1944) still arises today because contemporary (Western) musicology has deliberately avoided any in-depth investigation of the critical activity as well as the ideological-cognitive process that marked his creative opus. Lack of sources, language barriers and the limited availability of texts have led to a partial transmission of this important legacy. Both non-fiction and popular production are sublimated by analyses and reflections capable of embracing what could be defined as a syntactic process of the artistic-compositional construct. This article focuses on the influences exerted by the Sollertinsky-Bakhtin axis in the works of the early Shostakovich, where the critical-literary symbology allows us to identify cognitive-perceptual models (Dostoevsky-Shakespeare) as well as folkloristic-popular elements (Rabelais) far from the preconceptions imposed by socialist realism. The choice, as we shall see, will fall on some of Shostakovich’s compositions that more than others have the tendency to oscillate more clearly in extra-musical territories, promoting a language of clear Bakhtinian matrix. It is a “compositional parable” that lasts about ten years and that hardly moves away from the subjugation of a premeditated creative process, but offers, especially in these early works, musical stylistic elements imbued with critical literary lexicon and syntax. We are faced with an interdisciplinary involvement that does not involve an overvaluation of one area over another but the exact opposite in favour of a structural intertextuality capable of showing both musical and extra-musical connections. The tripartite-detotalising process, the emblematic critical model introduced by Sollertinsky, is thus presented as an analytical tool of absolute historiographic relevance capable of re-reading both the compositional intent and the stylistic ideal.

Is the experience of laughter destined to disappear in the world of our time? Or can we consider laughter as one of the most powerful human languages on a creative level,  able to perform a logic of overturning, of inferential rapture and of the regeneration of the world? Of course, linguistic communication is not just about words. And the joyful and sacrilegious laughter that overturns the hierarchies and the serious rules of the dominant ideology is an open, intersubjective, liberating laughter. Is impossible to define laughter in a unique sense with a precise designation because the role that the Other plays in laugher entails the indelible ambiguity and polysemy of a very particular sign determined not only by its resistance but also as one of the most effective forms of resistance to the dominant monologism.

This research sought to analyze to what extent digital technologies (DT) can be articulated in the teaching practices of foreign language teachers in a rural school in the city of Cáceres-MT. The study was based on the Theory of Complex Dynamic Systems, which provided an expanded view of the dynamic functioning between the parts and the systemic whole of the Escola do Campo analyzed. The chosen methodology was the Case Study. Data analysis clarified that the use of digital technologies in this context is limited, and is linked to several factors. The data showed that teachers do not have a quantitative prognosis regarding the availability of equipment and logistical resources aimed at students’ internet access in their homes (farms, communities, settlements). This fact makes it difficult to promote practices mediated by DT and, consequently, to work with digital literacy. In addition, data analysis also pointed out that the teachers’ conception of Digital Technologies is closely related to internet access. In other words, for teachers, the possibilities of appropriating digital technologies do not make any sense if they are disconnected from the internet. Thisunderstanding reveals a misalignment with the Common National Curriculum Base (CNCB) that guides contemporary teaching and learning practices in Brazil.