Dissertations / Theses on the topic 'Digresión'

Renaissance Error proposes that the formal key to early modern literature is digression. In the sixteenth and seventeenth centuries, writers compose works that persistently imitate moral and cognitive wandering, often in an attempt to remedy such wandering. Their powerful sense of human error springs from the humanist and reformist view of the Middle Ages as a gigantic detour from classical civilisation and from the apostolic Church. This sense deepens as the intellectual disciplines and religious paths of the Renaissance divide. And it culminates in a radical picture of all human desire, thought, and history as continually digressive from beginning to end.

Sont ici examinés les phénomènes de digression que Charles Péguy utilise dans son oeuvre en prose et ses manuscrits - édités ou inédits, achevés, brouillons ou variantes. Fondée sur l'état de la question et éclairée des métaphores qu'utilise cet auteur pour désigner ses excursus, l'analyse structurelle (cotexte antérieur, décrochage, boucle, raccrochage, cotexte postérieur) montre que d'immenses pans de la prose péguienne se construisent selon une figure macrostructurale proche du hors sujet, et débouche sur une typologie des digressions syntaxique (complexification, dilatation), sémantique (isotopique et intertextuelle) et rhétorique : des ponctèmes (tiret, crochets ou parenthèse) jusqu'aux oeuvres lyriques de la maturité, en passant par les incidentes, un faisceau de phénomènes textuels contribue au stylème digressif souvent repéré chez Péguy. Péguy applique la méthode d'écriture que Pascal voulait une "digression sur chaque point qui a rapport à la fin, pour la montrer toujours"<br>This thesis examines the occurrences of digression in Peguy's prose works and in his manuscripts. The structural analysis (preceding and following cotexts, depart from the main subject and return to it) - founded on the state of the question and enlightened by the metaphors used by Peguy to refer to his excursus - shows that whole pieces of Peguy's prose are built on a macrostructural device almost carrying the reader out of the subject, and leads to a typology of digressions according to their syntactic construction (complexification, dilatation), their semantic value (isotopy, intertextuality) and their rhetorical function : from punctuation marks (dashes, square brackets or brackets) to the more mature lyrical works, a whole away of textual phenomena contributes to the digressive style. Peguy follows the method of writing recommended by Blaise Pascal : on order which "consists chiefly in digressions on each point to indicate the end, and keep it always in sight. "

ŽNP teritorijoje (21720 ha) yra išskirtos 5 rekreacinės zonos (21 720 ha). Atlikti natūriniai rekreacinės digresijos tyrimai keturių ŽNP rekreacinių zonų (Platelių, Paežerės Rūdaičių, Paplatelės, Pailgio – viso 373 ha ) miškuose. Paaiškėjo, kad rekreacinė digresija jose gana įvairuoja. Labiausiai tai įtakoja rekreacinio naudojimo intensyvumas bei poilsiautojų srauto sureguliavimo laipsnis, kiek mažiau gamtinio komplekso santykinis atsparumas. Tyrimai parodė, kad visų ŽNP rekreacinių zonų miškų 33% sudaro sąlygiškai nepažeisti (digresijos laipsnis buvo nulinis) miškai. 36 % miškų buvo silpnai pažeisti (I laipsnio digresija), 16% - vidutiniškai pažeisti (II laipsnio digresija) ir 15 % stipriai pažeisti (III laipsnio digresija). Labiausiai rekreacinės digresijos pažeista Paplatelės, mažiausiai - Pailgio rekreacinė zona. Išmatuoti didžiausi III laipsnio arealinės digresijos plotai, visose 4 rekreacinėse zonose sudaro 1,28 ha. Norint sumažinti rekreacinę digresiją būtina parko lankytojus nukreipti pažintinio turizmo linkme (įrengti daugiau pažintinių takų, stendų), reguliuoti turistų srautus, atsisakyti masinių trumpalaikių renginių, didinti rekreacinių zonų miškų bioekologinį atsparumą. Platelių rekreacinės zonos Šeirės gamtos take nustatyta III laipsnio rekreacinės digresijos židiniai, nuo mindymo kenčia medžių šaknys. Židinius būtina likviduoti, įrengiant lentomis grįstas tako atkarpas. Būtina optimizuoti parko rekreacinių zonų ribas bei rekreacinį jų panaudojimą.<br>There are excluded five recreational zones in Zemaitija National Park territory (21 720 ha size). The research of digression was made in four recreational zones of forests in National Park (Plateliai, Paežerės Rudaičiai, Paplatelė, Pailgis – all 373 ha). The recreational digression was different in all those zones. Digression mostly is depended on recreational intensity and lessees on resistances of nature complex. Research have showed that 33% of forests in recreational zone are not disturbed (digression degree was 0). 36 % was softly depressed (I degree digression), 16% - average depressed (II degree digression) and 15% strong depressed (III degree digression). Paplatele recreational zone was the most depressed territory, Pailgis the least one. Total 1,28 ha area of III degree digression was measured in all four zones. The III degree digression was also found in Šeire nature path. To reduce recreational digression the stream of visitors should be turned to other recreational sites like walking trails, short term feasts in such areas should be refused; resistance of such nature complexes should be increased. To protect the tree roots from disturbing wooden paths should be established on some part of nature path.

L'étude des digressions de Thucydide constitue ainsi un sujet bien plus complexe que celle des digressions d'Hérodote : nous sommes confrontés non seulement au problème de l'unité de l'œuvre et à celui de l'influence ionienne qu'elle a subie, mais aussi au souci scientifique de l'auteur, à son esprit novateur et à son talent littéraire. Grace à l'étude du rôle et de la place des digressions dans la narration principale, nous constatons que l'œuvre a comme traits principaux l'unité du contenu, c'est-à-dire la cohérence des idées -qui apparait au moyen des "lignes directrices"- et l'élaboration globale du contenu et du style. Hérodote n'est donc pas le seul historien qui mérite l'identité mixte d'historien-artiste et nous pourrions ajouter que, si Hérodote est un artiste historique selon l'expression de F. Jacoby , Thucydide est un historien artistique en précisant que son art concerne -entre autres -l'insertion des digressions dans l'ensemble<br>The study of the digressions of Thucydides constitutes a subject more complex than that of the digressions of Herodotus. We are confronted not only with the problem of the unity of his work and of the Ionian influence that it was subject to, but also with the theoretical awareness of the author, his innovatory spirit and his literary talent. The study of the function and place of digressions in the main narrative of Thucydides proves that his work has main traits such as a unity of content, that is to say a coherence of ideas which appear through the "guiding lines" and the global elaboration of content and of style. Herodotus is not the only "historianartist" and we can add that if Herodotus is an "historical artist" (according to F. Jacoby), Thucydides is an "artistic historian", in that his art concerns -among other things- the insertion of digressions into the body of the main narrative

En la teoria i la història de la literatura a Espanya no existia fins ara el concepte ni la consciència del poema digressiu com a forma literària pròpia. La dissertació és una monografia de dita forma literària i afirma rotundament la pertinença a ella de quatre obres seleccionades. Beniowski serveix de referent paradigmàtic. Un corpus consistent en quatre textos permet estendre l’anàlisi simètricament a l’àmbit polonès i espanyol, i equilibrar les seves conclusions. S’aprofiten les constatacions dels investigadors polonesos i es transposen al terreny espanyol, per tal de provar l’analogia que justifica el trasllat del concepte. Al 1840, any al voltant del qual es composen les obres, el romanticisme espanyol no pot anomenar-se tardà. No obstant, Espronceda, a El diablo mundo, accelera la maduració del subjecte romàntic. Contràriament a la consideració de nombrosos crítics, no es tracta de quelcom accidental en el camí del romanticisme espanyol, sinó de la seva enèrgica afirmació en el camp del subjecte i de l’expressió poètica. Al no encarar l’obra com a poema digressiu, la crítica no va valorar el que la dissertació entén com a major fita esproncediana: un subjecte irònic veritablement romàntic, transcendent del subjecte-tipus de la seva creació anterior. A més, El diablo mundo uneix el subjecte al llenguatge, assolint una visió existencial i epistemològica plena. La dissertació defineix i comenta la forma poètica en qüestió, així com altres formes i conceptes (ironia, fragmentarisme, digressió….), necessaris per tal de comprendre el seu caràcter policèntric, el seu estil, la posició del narrador i el constant repte al lector i a la convenció. El paper de la digressió és altament paradoxal, al convertir la ruptura en fonament de la construcció del text. La tesi dedica un ampli espai a les instàncies textuals del subjecte, el narrador i el lector, i a l’eix metaliterari del poema. El poema digressiu representa els aspectes vitals del romanticisme, a l’abastar la totalitat de l’evolució del subjecte romàntic, així com la de la lírica i l’èpica romàntiques. El poema i el seu narrador constitueixen un catàleg i un emblema de la transformació romàntica en els camps mencionats. La personalitat irònica no és gens menys característica que el tòpic del poeta-vat, el rebel, l’amant, etc. El significat del poema en el mapa literari excedeix el d’una forma d’escriptura. Consisteix en una unió extraordinària de la capacitat creadora i crítica. Gràcies a això, representa la dinàmica de la creació literària, la dialèctica del pensament i el concepte existencial romàntic. Per la seva doble trajectòria creadora-crítica, instaura solucions atrevides i les anul·la, sense mai minvar la posició dominant del narrador. El poema digressiu és la forma més radical de l’escriptura romàntica, sent el seu context i el seu punt de partida la maduresa del romanticisme. També és portador del postulat de l’autenticitat de la literatura, avançat pels primers romàntics. A saber, la tradició literària no es basa en reprendre elements o conceptes del passat, sinó en reprendre el seu significat en el seu propi temps. Aquest enteniment de la tradició fomenta el concepte de la modernitat de la literatura en totes les èpoques. Allò original sempre està vinculat a allò autèntic; i un art autèntic sempre és modern, sempre és testimoni del seu propi temps. Aquesta és la gran lliçó dels romàntics: una idea que van pressentir i verbalitzar des de les primeres albors de l’època i que, en la maduresa de la mateixa, es va articular en el poema digressiu. Per altra banda, el romanticisme mostra clarament que el moment culminant és el crític. El potencial creatiu excepcional del romanticisme es fonamenta en un pensament lúcid i això es trasllada al discurs irònic. El poema digressiu, emblema de la ironia romàntica, constitueix així mateix un compendi poètic de l’època.<br>En la teoría y la historia de la literatura en España no existía hasta ahora el concepto ni la conciencia del poema digresivo como forma literaria aparte. La disertación es una monografía de dicha forma literaria y afirma rotundamente la pertenencia a ella de cuatro obras seleccionadas. Beniowski sirve de referente paradigmático. Un corpus consistente de cuatro textos permite extender el análisis simétricamente al ámbito polaco y español, y equilibrar sus conclusiones. Se aprovechan las constataciones de los investigadores polacos y se transponen al terreno español, para probar la analogía que justifica el traslado del concepto. En 1840, año alrededor del cual se componen las obras, el romanticismo español no puede llamarse tardío. No obstante, Espronceda, en El diablo mundo, acelera la maduración del sujeto romántico. Contrariamente a la consideración de numerosos críticos, no se trata de un accidente en el camino del romanticismo español, sino de su enérgica afirmación en el campo del sujeto y de la expresión poética. Al no abordar la obra como poema digresivo, la crítica no valoró lo que la disertación entiende como el mayor logro esproncediano: un sujeto irónico verdaderamente romántico, trascendente del sujeto-tipo de su creación anterior. Además, El diablo mundo une al sujeto al lenguaje, logrando una visión existencial y epistemológica plena. La disertación define y comenta la forma poética en cuestión, así como otras formas y conceptos (ironía, fragmentarismo, digresión...), necesarios para comprender su carácter policéntrico, su estilo, la posición del narrador y el constante reto al lector y a la convención. El papel de la digresión es altamente paradójico, al convertir la ruptura en fundamento de la construcción del texto. La tesis dedica mucho espacio a las instancias textuales del sujeto, el narrador y el lector, y al eje metaliterario del poema. El poema digresivo representa los aspectos vitales del romanticismo, al abarcar la totalidad de la evolución del sujeto romántico, así como la de la lírica y la épica románticas. El poema y su narrador constituyen un catálogo y un emblema de la transformación romántica en dichos campos. La personalidad irónica es nada menos característica que el tópico del poeta-vate, el rebelde, el amante etc. El significado del poema en el mapa literario excede el de una forma de escritura. Consiste en una unión extraordinaria de la capacidad creadora y crítica. Gracias a ello, representa la dinámica de la creación literaria, la dialéctica del pensamiento y el concepto existencial romántico. Por su doble trayectoria creadora-crítica, instaura soluciones atrevidas y las anula, sin mermar nunca la posición dominante del narrador. El poema digresivo es la forma más radical de la escritura romántica, siendo su contexto y su punto de partida la madurez del romanticismo. También es portador del postulado de la autenticidad de la literatura, adelantado por los primeros románticos. A saber, la tradición literaria no se basa en retomar elementos o conceptos del pasado, sino en retomar su significado en sus tiempos. Tal entendimiento de la tradición fomenta el concepto de la modernidad de la literatura en todas las épocas. Lo original siempre está vinculado a lo auténtico; y un arte auténtico siempre es moderno, siempre es testigo de sus tiempos. Esta es la gran lección de los románticos: una idea que presintieron y verbalizaron desde los albores de la época y que, en la madurez de la misma, se articuló en el poema digresivo. Por otra parte, el romanticismo muestra claramente que el momento culminante es el crítico. El potencial creativo excepcional del romanticismo se fundamenta en un pensamiento lúcido y ello se traslada al discurso irónico. El poema digresivo, emblema de la ironía romántica, constituye asimismo un compendio poético de la época.<br>One of the major aims of this project has been to propose the term poema digresivo for Spanish Romantic poetry. Poema digresivo, based on the Polish poemat dygresyjny, seems more accurate than the English ironic poem, since it indicates one of the most important features, digression. This dissertation focusses on this form, and it concludes that the selected Spanish texts exemplify it. Beniowski serves as a paradigmatic point of departure. The choice of the four texts enables symmetry and balanced conclusions as regards Polish and Spanish literature. The thesis draws on the achievements of Polish researchers and transfers them to the Spanish domain, demonstrating the analogy that legitimates the transfer of the term poema digresivo. Spanish romanticism of around 1840, when all four poems were written, cannot be called late, but Espronceda accelerates the maturing of the Romantic subject. El diablo mundo, though, is not an accident in the history of Spanish romanticism, as many critics have considered, but its energetic affirmation, through which the subject and the revolution of poetical expression are confirmed. Given that the text was not considered a digressive poem, many critics disregarded what the dissertation indicates as Espronceda’s major achievement: the representation of the genuine Romantic ironic subject. Besides, El diablo mundo binds the subject to the language; by operating on these two planes, it reaches a full existential and epistemological vision. This dissertation defines concepts (irony, fragmentarism, digression) necessary to understand such aspects of the digressive poem as its polycentric character, its style, the position of the narrator and the permanent challenge to the reader. The role of the digression proves paradoxical, making rupture a fundamental element of the text’s construction. The poem’s dialectic shows the richness of contradiction in this literary form. Considerable space is devoted to the textual instances of the subject, the narrator and the reader, and to the metaliterary aspects of the poem. The digressive poem shows perfectly the vital aspects of romanticism, illustrating all the transformations of the Romantic subject and the evolution of Romantic lyrical and epic poetry. The poem and its narrator constitute the catalogue and the emblem of Romantic mutations of the aforementioned components. The ironic personality turns out to be as specifically Romantic as the topos of the bard, rebel or lover. The significance of the digressive poem for Romantic literature goes beyond the importance of a single literary form, being a brilliant union of creative and critical skills. In this way, it reproduces the dynamics of Romantic literary creation, the dialectics of thinking and the Romantic concept of human existence. Thanks to the double creative–critical trajectory, the ironic poem creates bold solutions and questions them, without reducing the narrator’s dominating position. The ironic poem is the most radical form of Romantic writing, contextualized in the mature phase of romanticism. It also articulates the postulate of the authenticity of literature advanced by the first Romantics, for whom literary tradition was not about taking motifs or ideas from the past, but about reconstructing and reintroducing the meaning those elements had in their time. Such an understanding of tradition allows the literature of all periods to be perceived as modern. The great lesson of the Romantics is that originality is always linked to authenticity and authentic art is always contemporary; it is always a participant and a testimony of its time. Also, romanticism clearly shows that the moment of climax is one of crisis. Its exceptional creative potential is based on lucid thought; these aspects are translated within the ironic discourse. Thus the digressive poem, the emblem of Romantic irony, constitutes a poetic compendium of romanticism.

Thesis (Ph.D.)--Massachusetts Institute of Technology, Dept. of Physics, 2002.<br>Includes bibliographical references (p. 601-634).<br>In this thesis we shall address certain beautiful inter-relations between the construction of 4-dimensional supersymmetric gauge theories and resolution of algebraic singularities, from the perspective of String Theory. We review in detail the requisite background in both the mathematics, such as orbifolds, symplectic quotients and quiver representations, as well as the physics, such as gauged linear sigma models, geometrical engineering, Hanany-Witten setups and D-brane probes. We present the work of the author in the past 4 years at the Centre for Theoretical Physics, on aspects of the world-volume gauge dynamics using D-brane resolutions of various Calabi-Yau singularities, notably Gorenstein quotients and toric singularities. Attention will be paid to the general methodology of contructing gauge theories for these singular backgrounds, with and without the presence of the NS-NS B-field, as well as the T-duals to brane setups and branes wrapping cycles in the mirror geometry. Applications of such diverse and elegant mathematics as crepant resolution of algebraic singularities, representation of finite groups and finite graphs, modular invariants of affine Lie algebras, etc. will naturally arise. Various viewpoints and generalisations of McKay's Correspondence will also be considered. As a final digression, the author's work in Witten's cubic bosonic open string field theory, will also be included.<br>by Yahg-Hui He.<br>Ph.D.

L’image de la Perse et des Perses occupe une place importante dans l’œuvre d’Ammien Marcellin, un Syrien hellénisé du IVe siècle, auteur d’un ouvrage historique écrit en latin. La présente recherche, qui replace le sujet dans le reste de la tradition romaine et la tradition arabo-persane, s’articule en trois parties : « Ammien, une source majeure ? », « L’image de la Perse chez Ammien : l’art de la description », et enfin « Les Perses dans le récit du conflit romano-perse de 354 à 378 : l’art du portrait et de la narration ». Il en ressort qu’Ammien a adopté un point de vue romain, tout en se distinguant de la tradition historiographique romaine antérieure. Il se démarque également de la tradition arabo-persane. Ammien, auteur atypique de par ses origines et du sujet qu’il traite, l’est aussi par son écriture<br>The image of Persia and Persians occupies an important place in the work of Ammianus Marcellinus, a hellenized Syrian of the 4th century, author of a historical written in latin. The present research, which replaces the subject in the rest of the roman tradition and the arabo-persian tradition, is articulated in three parts : « Ammianus, a major source ? », « The image of Persia at Ammianus : the art of description », and finally, « The Persians on the account of the Romano-Persia conflict from 354 to 378 : the art of the portrait and the narration ». This reveals that Ammianus adopted a roman point of view, while being distinguished from the former roman historiographical tradition. He also dissociates arabo-persian tradition. Ammianus, author atypical from his origins and the subject which it treats, is also by its wrinting

Le recit de genet est etudie comme etant essentiellement poetique. Se distinguant des approches generiques, thematiques et, narratologiques, notre demarche vise a rendre compte de la motivation des enchainements narratifs souvent enigmatiques. En sollicitant l'apport theorique de barthes, deguy, derrida, freud et riffaterre, nous analysons l'usage specifique de certains tropes et, plus generalement, la maniere dont le mot est l'objet de nombreuses sequences reflexives et la facon dont il declenche des expansions narratives imprevisibles. En un premier temps, nous montrons comment la relation entre la litterature et la politique est l'occasion d'un renouveau stylistique chez genet. Celui-ci defait la logique du discours engage par un ton ironique et une critique generalisee qui modifie la relation entre l'ami et l'ennemi. En un second moment, la vision et l'image sont abordees de maniere a indiquer en quoi la relation entre le visible et l'invisible est transformee par un recit qui pratique une analogie intensive. Les essais de genet consacres a rembrandt et a giacometti sont analyses comme des exemples privilegies du rapport au visible dans l'oeuvre complete. Notre troisieme partie synthetise les commentaires stylistiques precedents en les prolongeant a partir de deux nouvelles problematiques : celle de la metaphore filee dans sa relation au dictionnaire et celle du nom propre dans son rapport aux cliches. L'enjeu de la these est de montrer que les recits, notamment posthumes, sont a reevaluer afin d'en degager la dimension poetique et de donner a lire l'experience du sujet de l'ecriture dans son rapport a la langue<br>Genet's writings are studied as examples of poetic narrative. Whether the texts appear as novels, autobiography or historical narrative, all share an enigmatic narrative progression marked by digression. Using the theoretical perspectives of barthes, deguy, derrida and riffaterre, the thesis analyses the motivation of narrative structure in genet's works, focussing on his specific use of rhetorical figures and lexical polysemy. Firstly, the relation between literature and politics is considered, showing that the formal aspects of the texts, their particular use of irony and the generalisation of their political criticism disallow any univocal reading despite their historical referent and polemical concerns. Secondly, the conception of visibility and the image in genet's works is analysed. Genet's aosthetic essays on rembrandt and giacometti show how a dynamic notion of the relation between narration, description and the poetic and visual image influences narrative progression. Finally, the third part of the thesis synthesises the results of the first two concerning the rhetorical and lexical specificity of genet's style, notably his use of polysemy and plays on words as a motor of narrative expansion. Two new aspects are considered: the running metaphor and its relation to dictionary defintions; the textual effects of the use of proper names and cliches. The thesis argues that genet's narrative writings, and his posthumous texts in particular, should be reevaluated from a perspective paying more attention to meaning generated by semiosis than to the simple representational logic of mimesis. Self- reference, digression and the capacity of any single word to generate narrative sequences define the specifity of genet's style whilst enabling his narrative writings to radically reconsider political and aesthetic notions, as well as the writing subject's relation to language itself

Ce travail s'intéresse aux emplois rhétoriques du terme « cant » dans l'Angleterre du long XVIIIe siècle. Le mot, difficilement traduisible en français, désigne originellement l'argot des mendiants et des voleurs et est utilisé, après le protectorat cromwélien, pour attaquer la phraséologie des Puritains, des non-conformistes et, à partir des années 1740, des méthodistes. Cette thèse, en adoptant une perspective chronologique, entend mettre en valeur les permanences et les variations de l'utilisation polémique de la notion. Il s'agit, en suivant le fil de plusieurs querelles ponctuelles, de comprendre comment un terme d'abord cantonné au champ de la controverse religieuse devient, au cours du siècle, un élément central des discours politiques et littéraires. Faire l'histoire du mot « cant » et de ses emplois permet de mieux appréhender le développement de poétiques explicitement digressives et auto-réflexives qui trouvent leur raison d'être dans un scepticisme linguistique et politique<br>This dissertation focusses on the rhetorical uses of “cant” in England in the long eighteenth century. This word – which cannot be translated easily – originally referred to the secret language of beggars and thieves. After the Protectorate of Oliver Cromwell, “cant” began to be used to criticise the phraseology of Puritans, Non-conformists and, from the 1740s onwards, Methodists. Based on a chronological approach, this work aims at highlighting the permanencies and changes in the polemical uses of the notion. By studying several specific quarrels, I try to understand how a word that was first used in religious controversies became central in political and literary discourses as the century went on. The history of “cant” and its uses can help us better understand how explicitly digressive and self-reflexive poetics developed against the background of linguistic and political scepticism

Une force anarchique traverse les romans d'Aragon, de façon surprenante chez un auteur dont on se rappelle en particulier la soumission à son parti. Dans ce vaste ensemble de démesure et de liberté textuelles, nous avons découvert un phénomène d'écriture original, puisque sans exemple littéraire : par moments, la plume d'Aragon s'emporte selon un mouvement propre —travaillé, tant la prose devient éblouissante — sans principe directeur, de façon purement expressive — au contraire, donc, des digressions par nature explicatives. Ces passages que ni Aragon, ni la critique n'avaient rapprochés, nous les avons appelés dérives, car seule cette image aragonienne pouvait en rendre compte au plus juste. Ces dérives se révèlent être de véritables épiphanies de l'auteur lui-même, ouvrant secrètement le roman à un roman lyrique de soi. Loin de l'éclatement du moi qu'on aurait pu attendre, Aragon se retrouve au contraire lorsqu'il dérive, ce qui explique l'unité saisissante — de forme comme de contenu — des dérives entre elles, et la permanence du phénomène dans ses romans, à des degrés divers. Notre auteur jubile à exprimer une face cachée de lui-même, tout en SE rendant en définitive insaisissable. Le romancier et le poète se trouvent ainsi réunis, mais de façon inédite, au-delà de chacun des deux genres, la dérive n'apparaissant pas dans la poésie. Nous commençons par délimiter la notion par comparaison avec les formes a priori connexes de la digression, de l'écriture automatique et de l'écriture associative. Puis ce sont les enjeux de la dérive que nous analysons, en considérant successivement la narration, la composition et la réception des romans<br>Aragon's novels are permeated with an anarchic force — quite surprising, actually, in a writer whose submission to his party was particularly notorious. In this expansive set of textual excess and liberties, we hav spotted an unquestionably original writing phenomenon — unique in literature : at times, Aragon gets carried away: his style of writing takes on a life of its own — artfully crafted, though, so dazzling it becomes — withou the semblance of a guiding principle, in a purely expressive way — hence quite distinct from digressions, explanatory by nature. Such passages had never been related by Aragon, or literary criticism either. These we call drifts, since only that typical Aragonian image can best account for them. Drifts turn into real epiphanies of their very author, and secretly open up the novel to a lyrical narrative of himself. This has nothing to do with his ego flying off the handle; quite the contrary, Aragon gets to finds himself while drifting, which explains the striking unity — of form as of content — of these various drifts, a phenomenon that runs through al his novels, to varying degrees. Our author expresses — jubilantly — a hidden side of his, but elusively, too, so there is no pinning him down. This is a duet when novelist and poet unite — but in a new way that goes beyond either genre, since never would the poet indulge in such drifting. First, we delineate the concept, comparing it to a priori related forms: digression, as well as automatic and associative styles of writing. Then we analyze what is at stake in drifting, successively considering the novels narrative, composition and reception

Made available in DSpace on 2016-04-28T19:59:13Z (GMT). No. of bitstreams: 1 Regiane Magalhaes Boainain.pdf: 961207 bytes, checksum: 81f7fce303e70ae11fb21a2d0180db6f (MD5) Previous issue date: 2008-09-26<br>The present research focuses on the study of the interdiscursivity and the digressions in Madame Pommery by Hilário Tácito. This dissertation objective is to raise data on how tradition is worked in this novel, aiming at explaining its effects in the text. The leading hypothesis in this research is that the strategy of bringing tradition by means of intertextuality modalities has double feature in Madame Pommery. This writing procedure can both denote criticism to the models from the early XXth century or reverence, reinforcing the idea that, in the old, you may find the key to the modern. This dissertation also investigates in which aspects the digressions constitute the work s essence. Hypothetically we deduce that the digressions are strategies employed by the narrator to make the obedient reader, used to passive literature to be an active reader. The analyze of the work allowed us to prove that Tácito, by means of intertextuality modalities, seeks the tradition, not as a copy, but as a review of the past. His writing form both reverences a style and an author, as also signalizes the saturation of a literature not suitable to the reality lived in São Paulo in that time. The work points to new literary possibilities, which soon would be created by the Modernism. Moreover, by the analysis it is possible to affirm that Tácito s modernity is on the fact of being able to, by intertextuality and digression, take the reader out from passivity, involving him in the narrative. This way, Tácito shows the necessity of looking at the reading process from another extremity: the reader, who would only be studied by the Literary Criticism, from 1970 s on<br>A presente pesquisa centra-se no estudo da interdiscursividade e das digressões em Madame Pommery, de Hilário Tácito. O objetivo deste trabalho é levantar dados sobre a tradição na obra de Tácito, visando explicar seus efeitos no texto. A hipótese que norteia a pesquisa é de que a estratégia de trazer a tradição por meio de modalidades intertextuais tem caráter duplo em Madame Pommery. Esse procedimento de composição pode tanto indicar crítica aos modelos do início do século XX quanto homenagem, reforçando a idéia de que, no antigo, se pode ter a chave para o moderno. Esta dissertação também investiga em quais aspectos as digressões constituem a essência da obra. Hipoteticamente deduzimos que as digressões são estratégias empregadas pelo narrador para desautomatizar o leitor obediente, habituado a uma literatura pouco ousada. A análise da obra permitiu-nos comprovar que Tácito, por meio de modalidades intertextuais, busca a tradição, porém, não como uma cópia, mas como redimensionamento do passado. Sua forma de composição tanto homenageia um estilo e um autor, como também sinaliza a saturação de uma literatura não condizente com a realidade vivida por São Paulo na época. A obra aponta para novas possibilidades literárias que, logo, o Modernismo iria criar. Além disso, pela análise é possível afirmar que a modernidade de Tácito está no fato de conseguir, via intertextualidade e digressão, retirar o leitor da passividade, inserindo-o na narrativa. Com isso, Tácito mostra a necessidade de se olhar para a outra extremidade do processo de leitura: o leitor, que só viria a ser estudado pela Crítica Literária, a partir de 1970

The research object. The research was made in the territory of Neris regional park (Kaisiadoriu forest enterprise, Vievis forest district) in order to evaluate the impact of recreational activities on the forest litter arthropods. The aim of the study – to evaluate different recreational digression stage impact on pinery litter arthropods: their amount and seasonal dynamics, distribution trophic groups, the abundance and variety of species in stands affected by recreation. Methods. Arthropods were collected in Barber ground traps from April through October 2005, which are plastic, 150 ml. volume, with 6.5 cm diameter receptacle. They were dug in the ground and 1/3 of trap was filled with 10 % formalin liquor, which protected insects from decaying and insectivorous birds. Ground traps in each sample plot were spread in groups by 4 (square), the distance between them was 2 m. The distance between sample plots was 20-50 meters. The results. 157 species were identified in trap catches: 96 in the control plot, 97 in the plot with low recreational damage and 110 in the plot wit high recreational damage. Entomophagous predominated and made 60-73 %, kaprophagous 8-25%, saprophagous 10% of catch. 2 extremely rare species and 7 rare species in Lithuania were found, the biggest number of rare species was found in the plot with high recreational damage. Shannon diversity index H’ was 2.5-3.31, evenness E – 0.55-0.66, Berger-Parker dominance d – 0.170-0.367. Sorensen similarity index Cs... [to full text]

SAMPAIO, Maria Helena Mendonça. Digressões avaliativas nas fábulas de Millôr Fernandes: uma questão de estilo. 2006. 93 f. Dissertação (Mestrado em Linguística) – Universidade Federal do Ceará, Departamento de Letras Vernáculas, Programa de Pós-Graduação em Linguística, Fortaleza-CE, 2006.<br>Submitted by Liliane oliveira (morena.liliane@hotmail.com) on 2012-08-23T13:40:09Z No. of bitstreams: 1 2006_DIS_MHSAMPAIO.pdf: 590015 bytes, checksum: 3cada3f5445044e85f7810489d408dd1 (MD5)<br>Approved for entry into archive by Maria Josineide Góis(josineide@ufc.br) on 2013-09-23T16:23:48Z (GMT) No. of bitstreams: 1 2006_DIS_MHSAMPAIO.pdf: 590015 bytes, checksum: 3cada3f5445044e85f7810489d408dd1 (MD5)<br>Made available in DSpace on 2013-09-23T16:23:48Z (GMT). No. of bitstreams: 1 2006_DIS_MHSAMPAIO.pdf: 590015 bytes, checksum: 3cada3f5445044e85f7810489d408dd1 (MD5) Previous issue date: 2006<br>A análise da projeção do narrador, por meio de digressões avaliativas, objetiva-se a identificar, em fábulas bastante peculiares, as estratégias de discursivização bem como os procedimentos típicos dessas fábulas na produção de sentido, que se entende constituir uma nova ordem discursiva sem descaracterizar o gênero. As intervenções, feitas por um novo tipo de narrador, na medida em que se posiciona particularmente em comparação ao narrador da fábula tradicional, atualizam o discurso fabular, uma vez que o texto como processo semiótico vai construindo sentido. As fábulas serão compreendidas como processo em que se pretende descobrir o seu funcionamento semiótico, construído em condições específicas de produção. Para proceder-se a essa análise, consideram-se as relações entre linguagem, gênero e discurso, símbolos de práticas sociais, os quais emergem de uma relação intersubjetiva, dialógica e social; a inserção do gênero fábula na tradição oral como também a sua composição e caracterização; faz-se um estudo da fábula milloriana, que se constrói com o estilo, elemento constitutivo do próprio gênero discursivo. Assim, conduz-se por uma lingüística discursiva encarregada da língua na comunicação viva, para se elaborar um estudo a partir do qual se possa depreender que o sentido construído em um texto, por um dado discurso, deriva do sistema lingüístico em uso – componente pragmático fundamental à investigação a que se procede –, das suas possibilidades à elaboração de significados compartilhados por sujeitos que se alternam na composição de um enunciado, que é entendido, portanto, como produto vinculado a uma ação intersubjetiva e por ela definido<br>L’analyse de la projection du narrateur, à travers des digressions appréciatives, vise à identifier, dans des fables assez particulières, des stratégies de "discursivisation" et des procédés typiques de ces fables par rapport à la production de la signification, qui constitue un nouvel ordre discursif sans faire disparaître les caractéristiques du genre textuel. Les interventions faites par un nouveau type de narrateur, à mesure que celui-ci se positionne particulièrement en comparaison du narrateur des fables traditionnelles, rendent actuel le discours fabuleux, car le text, en tant qu’un processus sémiotique, développe la signification. Les fables seront comprises comme un processus dans lequel on tend à découvrir son fonctionnement sémiotique, construit dans des conditions spécifiques de production. Pour cette analyse, on envisage les relations entre langage, genre textuel et discours, symboles des pratiques sociales, lesquels émergent d’une relation intersubjective, dialogique et sociale; l’insertion du genre textuel fabuleux dans la tradiction orale, sa composition et caractérisation; on procède à une étude de la fable de l’écrivain brésilien Millôr Fernandes, qui se fait avec le style — l’élément constitutif du propre genre discursif. Ainsi, il se fait conduire par une théorie linguistique discursive responsable de la langue dans une communication vivante, afin d’élaborer une étude à partir de laquelle on peut déduire que la signification construite dans un text par une donné discursive provient du système linguistique en usage — une composante pragmatique fondamentale pour l’investigation à laquelle on procède — de ses possibilités à l’élaboration de significations partagées par des individus qui se relayent dans la composition d’un énoncé, qu’on comprend donc comme un produit lié à une action intersubjective et défini par cette action

La longue genèse discontinue de la Pucelle trouve son unité dans le thème du voyage, qui s'exprime dans le poème héroï-comique en un mouvement rapide des personnages, qui a pour effet de souligner de façon burlesque leur comportement. Voltaire exhibe dans son poème sa fantaisie créatrice sur les moyens de transport et utilise l'espace par la réduction à des lieux symboliques. La mobilité étant un gage de variété, les péripéties, les effets de rythme et les digressions évitent la monotonie du poème, qui est présenté comme un genre hybride, où des détails hétéroclites signalent un échec esthétique et servent de paravent à un message philosophique. Le thème du voyage dans La Pucelle permet à Voltaire de s'abandonner à son génie burlesque<br>The long and discontinuous history of La Pucelle finds its unity in the theme of the voyage. The trip is expressed in this hero-comic poem, through the timely movements of the characters, which has a burlesque effect on their behavior. In his poem, Voltaire shows his creative imagination through transport as well as his use of space through the reduction of symbolic places. Mobility guarantees variety. The events effects of rhythm, and digressions avoid the monotony of the poem, which is presented as a hybrid genre, where mixed details signal a failure in aesthetics and serve as a screen to a philosophical message. The theme of the voyage, in La Pucelle, allows Voltaire to abandon himself to his burlesque genius

Notre projet de thèse vise à analyser ce qui porte la trace du travail de la mémoire collective dans un discours de littérature orale, de la transmission qui assure la compréhension et la conservation du message. Il s'agit pour nous d'expliquer comment la profération du discours de littérature orale et la performance à laquelle il donne lieu restitue les valeurs culturelles des loma.Cette épopée retrace l'histoire d'un chef de guerre qui fait encore de nos jours partie de la culture populaire au pays des loma en République de Guinée. Nous assurons la transcription en langue locale lɔɠɔmagooy et la traduction en français de cette épopée dont il n'existe aucune version écrite.Au-delà de la présentation géographique et culturelle du pays des loma, l'analyse proprement dite du corpus pour laquelle nous mobilisons à la fois la performance et la rhétorique prend en compte la pluricodicité des messages socio-historico-culturel et la dynamique de réception. Nous focalisons l'attention sur des procédés discursifs spécifiques de l'oralité à travers le conte et le proverbe.Notre travail ne se limite pas à la transcription-traduction du discours épique, l'analyse montre comment l'oralité constitue une dimension essentielle de l'épopée dont l'épaisseur discursive et référentielle atteste du travail de composition artistique et mémorielle de l'orateur<br>This thesis aims at analyzing the collective memory content imbedded in an oral literature speech performance, right from the message transmission to its understanding and preservation. We are to explain how an oral literature speech production and its performance can retitute the Loma cultural values.The epic retraces the history of a former war leader among the Loma people of the Republic of Guinea; a history which still remains a vibrant part of the people's culture in that country. Because it doesn't exist any former written version of the epic, we ensured its transcription into Lɔɠɔmagooh language (a loma variant) and also its translation into French language.Beside the geographical and cultural presentation of the Loma area and people, the real corpus analysis in which we mobilize both performance and rethorics also takes into account the multicoding nature of the social, historical and cultural messages and their reception dynamics. We focus attention on the specific discursive technics of oral literature or tradition which exist in tales and proverbs.However, our work is not just limited to transcription and translation of the epic production. Our analysis shows how oral tradition constitutes an essential dimension of the epic genre whose discursive and referential deepness is the reflection of the artistic and memorial work of the orator

Création Dans le roman Sous la Tiffany, Mikaël Langevin, le personnage principal, vit une pénible remise en question. Dans les derniers mois, il a délibérément sabordé son couple, sa vie sociale et même sa santé en misant tout sur sa réussite professionnelle en tant qu'enseignant. Tout pour une carrière où, selon sa perception, il ne réussit pas comme il l'aurait souhaité. Une nuit de la fin d'août, attablé devant des dizaines de cahiers noircis de sa main, il revisite un journal tenu chaque soir de l'été qui s'achève, un été pendant lequel de nombreuses fenêtres sur le passé auront été ouvertes, puis refermées. Le jour poindra dans quelques heures, il le sait bien. Mais nul éclairage ne le sert mieux que celui de la vieille Tiffany. Réflexion La deuxième partie, une réflexion d'ordre narratologique sur la dynamique de l'écart et ses procédés (analepse, prolepse, sommaire, scène, pause, ellipse, digression), vise à expliciter ce qui m'a tant séduit dans Hotaru, d'Aki Shimazaki, et dans L'Attrape-coeurs, de Jerome David Salinger, deux romans primés1 où les procédés d'écart sont habilement exploités. J'indiquerai aussi où, comment et pourquoi j'ai utilisé ces procédés dans Sous la Tiffany. Le but, au final, est de montrer comment la dynamique de l'écart contribue à accrocher le lecteur et à enrichir le récit, à conférer au texte le caractère évocateur si présent dans les oeuvres littéraires de Shimazaki et de Salinger.

Rural China has gone through dramatic transformation from the Mao era to the post-Mao era. China scholars have been studying the institutional changes closely in the past few decades. However, Chinese peasants’ living experience and their memory and understanding of the past have not yet received enough attention and discussion. By examining personal writings of a peasant named Luo Xuechang in Jiande, Zhejiang province, this paper discusses the complex interactions between the state and the individual. This paper attempts to unfold the juxtaposition of state narratives and personal narratives embedded in Luo’s unpublished memoir, almanacs from 1972 to 1980, notebooks and other personal writings. By focusing on Luo’s writings on his family life, education, work and political perspectives, this paper reveals how Luo altered his personal narratives over time and how Luo carefully conformed with and digressed from state-produced national narratives to make sense of his own history.

碩士<br>輔仁大學<br>英國語文學研究所<br>83<br>This thesis aims to explore the profound dominance of Milton's sense of self on the presentation of the antiprelatical tracts. Formalistic integrity is my major concern. Three of the five antiprelatical pamphlets carry numerous lengthy digressions.o prove the wholeness of the form, I will show the digression as non-digressive and non-interruptive but necessary and crucial elements of the organic whole. In each pamphlet the wholeness of the form is expressed in the balanced combination of systematic reasoning and personal digressions unified by a symbol that illustrates the speaker's role in the controversy and the forming of the pamphlet and, finally, the permissibility of his using digressions. The three key symbols are all drawn from the digressive passages to show Milton's self-portrayals as a wise scholar, a virtuous poet, and a zealous prophet, respectively form Of Reformation, The Reason of Church- Government, and An Apology against a Pamphlet. The three self- portrayals, when considered together, illustrate Milton's self- definition.

Partant de la réputation naïve, colorée et digressive de La Conquête de Constantinople de Robert de Clari, ce mémoire propose une analyse méthodique de ce récit en prose vernaculaire de la quatrième croisade de façon à en circonscrire les moments de continuité et de rupture. En fonction de plusieurs facteurs, dont leurs formules d’introduction et de clôture, leur rapport au temps de la croisade, leur longueur relative ainsi que leur positionnement dans l’économie globale du texte, les épisodes divergents sont identifiés puis analysés en travaillant lestement avec trois caractéristiques fondamentales de la digression plutôt qu’avec une définition nucléaire du concept, ce qui permet de discerner des degrés de digressif et d’offrir un panorama nuancé de l’oeuvre. Afin d’adopter un regard plus large sur le phénomène de la digression, quatre autres récits de croisade sont étudiés, et tous, qu’ils soient écrits en prose ou en vers, en français ou en latin, sont à leur façon coupables de s’être laissés emporter par leur sujet dans des excursus qui trahissent la personnalité et les convictions de leur auteur. Tout comme Clari, Villehardouin, l’auteur de l’Estoire de la guerre sainte, Eudes de Deuil et Albert d’Aix laissent entrevoir leur propre histoire lorsque celle qu’ils mettent à l’écrit s’égare de la droite voie de sa narration. Les digressions contenues dans les récits de croisade constituent ainsi une fenêtre privilégiée sur l’histoire des mentalités du Moyen Âge central, une mine d’informations qui ne peut être adéquatement exploitée que par les efforts conjoints de l’histoire et de la littérature.<br>Taking the naïve, colorful and digressive reputation of Robert de Clari’s La Conquête de Constantinople as a starting point, this master’s thesis presents a methodical study of this vernacular prose account of the Fourth Crusade in order to determine where the narration flows and where it breaks. Divergent episodes are identified with respect to their introductory and closing formulas, their relationship to the time of the crusade, their relative length as well as their positioning in the general arrangement of the text. Based on a loose understanding of three characteristics that are fundamental to digression as opposed to an univocal definition of the concept, they are then analysed in terms of degrees of digressiveness, thus offering a nuanced picture of the work. To allow a broader outlook on the phenomenon of digression, four more crusade narratives are studied, and all of them, whether written in French or in Latin, in prose or in verse, are guilty of getting carried away by their subject in excursus that betray their author’s interests and personality. Just like Robert, Villehardouin, the author of the Estoire de la guerre sainte, Odo of Deuil and Albert of Aachen all let their own story supersede the one they are writing in those moments where the narration goes astray. The digressions found in crusade narratives are thus privileged access points to the history of high-medieval mentalities, a fertile field whose fruits must be harvested by the joint efforts of both history and literature.

碩士<br>東海大學<br>中國文學系<br>98<br>Witch Word" does for the Zhu Tianwen second novel, has some special significances in her long writing history, writing time elongation, as well as the number of words and the detail multiplication, and penetrates the divergence and the detail vine fresh writing special characteristic spreading entire chapter novel. "Witch Word" named “witch” and “word”, so-called “witch”, is Zhu Tianwen embarks by own experience, models one kind of metaphor to the self-shape, so as to when ancient times Wu Zheneng the witchcraft drill communicated the God, and passed the knowledge abundantly, had the unspeakable mystical strength, was the person and the god middle medium, but Zhu Tianwen did is one modern witch, stood in the spectrum ultra-left place, thought that the world was also very novel, still wanted to speak with the world, therefore Wu Zhexiang carried nation Colonel who Ya the magnet walked to shoulder many things in all directions on the body, 11 claimed with names, entrusts withThe thing henceforth has mystical powers, is similar to the luminous spot which the writer of fiction will live trivially collects reads in the novel, causes each detail the luminous spot respectively to shine brightly, the witch/writer of fiction's magic arts are the writing to offer a sacrifice to execute the law, transforms the novel plot to the life record is similar to the witch entrusts with the supernatural power which the thing has mystical powers. Therefore the author from accounts orally the history to do for studies "Witch Word" the starting point, by "Witch Word" overlapping which fords into with Zhu Tianwen own experience, may refer to Zhu Tianwen the life main key which and esthetics thought in unfolds in "Witch Word", does is “the witch”, Zhu Tianwen from accompanying to the life course which does not accompany, hoped that discovers the more life feelings in the biography research the existence. 　　But Wu Zhe speaking, also, because witch's posture dissociation does not decide, in the literary style and sex crossing the border, walks into another divergence from a story's divergence the beginning, causes "Witch Word"Reading not found the export that easily, each place has the divergence and the detail, actually passes "Witch Word" only narrated that a way's story, Wu Zhezhi writes superficial the daily experience, enables each thing only direction oneself, thus has its difference respectively, Wu Zhe has like the new angel gaze with to remember, enables daily daily to have its life, entrusts with the intelligence with to remember. Therefore this paper attempt by "Witch Word" diverges repeatedly and the derivation detail two clues cuts into, elaborates "Witch Word" in the way and the process all sorts of metaphor significance, so diverges esthetics view which and the detail gathers, Wu Zhe during dissociation marching forward, watching has the strange detail view respectively, transforms one kind of dissociation strange esthetics.

SUmmaries in Afrikaans and English<br>Text in Afrikaans<br>Die oogmerk van hierdie verhandeling is om te wys op die tekstuele en visuele kontraste in Georgi con 11.1 - 108. Ten aanvang word 'n bree vergelyking getreftussen Georgicon I en II om sodoende die funksie asook die effek van Boek 2 in die viertal gedigte te bepaal. Vir 'n meer indringende ontleding word Boek 2, asook die relevante verse, skematies verdeel en alhoewel die panoramiese effek versteur word, kan die problematiek van hierdie gedig alleenlik s0 noukeuriger opgelos word. Daar word getoon dat Boek 2 in drie afdelings verdeel is met 'n laus-tema wat telkens as hoogtepunt dien vir elk van die dele. Ook die oorkoepelende tema van variatio-labor en die wisselwerking daarvan kan duideliker waargeneem word. Verse I - I 08 is didakties van aard en eenvoudige patrone word saamgestel uit alledaagse objekte en idees. Vergilius slaag daarin om vergelykings af te dwing en om kontras te bewerkstellig deur die skep van imagines. Hierdie beelde kom duideliker na vore deur 'n baie noukeurige analise van die teks en s6 word vorm, lyn, kleur en tekstuur beklemtoon en gekontrasteer. W anneer die fokus verskuif vanaf die natuur na die mens, word daar gewys op die kontras in verse 3 5 - 46 tussen die landbouers en die politieke magsfiguur van Maecenas. Die onderliggende felix I fortuna/us tema word s6 beklemtoon. Die problematiek van didaktisisme word aangespreek deur die effek van die kontrastering van parallelle passasies aan te toon. As Leitmotiv word telkens gewys op die tekstuele en visuele kontraste in die digter se keuse en rangskikking van 'n ryke verskeidenheid van borne - met spesifieke verwysing na hulle aard, voorkoms, herkoms en funksie.<br>The aim of this dissertation is to indicate the textual and visual contrasts in Georgi con TI.l - 108. In a broad comparison between Georgica I and II the function and the effect ofBook 2 within the framework of the four poems is determined. With a view to a more penetrating analysis, Book 2 as a whole and specifically lines 1 - 108 will be dealt with schematically. Although this puts the panoramic effect at risk, it is the only way in which the complexities of this poem can be successfully resolved. Book 2 is shown to have a tripartite structure, with a taustheme as the climax of each of the three divisions. The over-arching theme of reciprocating variatio- labor also comes to light more clearly. Lines I - I 08 are of a didactic nature, and simple patterns are shaped out of everyday objects and ideas. By creating imagines Vergil manages to enforce comparisons and to bring about contrasts. A meticulous analysis of the text highlights these images more clearly and in this manner the poet accentuates colour, form, line and texture. When the focus shifts from nature to man, the contrast between the farmers and the politically powerful Maecenas in lines 3 5 - 46 is brought to the fore to emphasize the underlying theme of felix I fortunatus. The problem of didacticism is addressed by focusing on the effect of the contrasts between parallel passages. The textual and visual contrasts in the poet's choice and marshalling of a rich variety of trees, with a particular reference to their nature, occurrence, provenance and function, serve as Leitmotif for the dissertation as a whole.<br>Classics and Modern European Languages<br>M.A. (Latyn)