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Hallquist, Pola L. "Intertextuality as internal adaptation in Ann-Marie MacDonald's "Goodnight Desdemona (Good Morning Juliet)", Robert Lepage's "Le Confessionnal," and Atom Egoyan's "The Sweet Hereafter"." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape9/PQDD_0009/MQ61767.pdf.
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Lamothe, Serge. "La tierce personne, roman ; suivi de L'intertextualité, un élément constitutif du processus de création littéraire." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2001. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/MQ57815.pdf.
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Hanania, Cécile. "Marguerite duras : scenographie d'un intertexte." Paris 7, 1997. http://www.theses.fr/1997PA070055.
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Derive de la notion d'intertextualite, qui designe une relation entre des textes, le terme d'intertexte s'est investi, au gre des recherches theoriques, de multiples acceptions, parfois contradictoires. Apparue il y a une trentaine d'annees a la suite des travaux de julia kristeva, la notion d'intertextualite qui redonnait, a l'origine, un dynamisme et une epaisseur sociale au texte en le degageant a la fois d'une periode structuraliste et d'une rhetorique pesante, a fini par retomber, par le biais de certaines taxinomies ardues, dans un classement rigide. Pratique commune a tout auteur, qui n'elabore jamais son oeuvre a partir d'une tabula rasa, l'usage intextuel est aussi bien considere par les theoriciens comme une version moderne de l'imitation classique que par les ecrivains comme le moyen d'etablir une relation viviante et ludique avec le lecteur. La presence intertextuelle chez marguerite duras rompt a la fois avec une demarche traditionnelle et avec une attitude concertee d'ouverture du sens. Le recours a un patrimoine culturel acquiert dans son oeuvre une double dimension. Il lui permet tout d'abord de contester un usage rebattu et canonique des textes, en perturbant les signaux de leur presence et en s'opposant a des lectures consacrees. Par la nature et la manifestation singulieres des textes ou des supports scripturaires intervenant dans ses narrations, il est egalement l'occasion pour marguerite duras de se degager explicitement de references serviles, et, en revenant sur le moment de creation de textes pourtant deja ecrits, de mettre en jeu une reflexion sur l'ecriture et sur les conditions de son avenementThe word intertext comes from the notion of intertextuality, that is, a relation between texts. This term has acquired from one theory or another different meanings, which are sometimes contradictory. The notion of intertextuality, that was first defined some thirty years ago by julia kristeva, was originally conceived to give dynamism and social dimension to the text to break with a period of rigid structuralism and strict rhetoric. But the concept, because of certain taxonomies, was reborn progressively as a strictly structured notion. A common practice among writers, who never create their works from a tabula rasa, the intertextual use may be considered by theoreticians as a modern version of classical imitation, and by authors as a way to establish a lively and playful relationship with the reader. The intertextual presence in the works of marguerite duras, challenge both a traditional attitude and a deliberate tendency to "open" the meanings. The use of cultural patrimony has a double dimension in her works. First it allows her to go against a hackneyed conception of great works by disturbing the conventional indications of their presence and in breaking with dogmatic interpretations. By the nature and the singular manifestation of the texts or the scriptural supports occuring in her narratives, it is also an opportunity for marguerite duras to break definitively from slavish references and, in returning to the moment of creation of books already written, to put in play thoughts on writing and the circumstances of its appearance
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Pascone, Valeria. "Piramo e Tisbe, Narciso e Semele : tre miti ovidiani in Dante." Thesis, Grenoble, 2012. http://www.theses.fr/2012GRENL036.
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La thèse, intitulée "Tre miti ovidiani in Dante : Piramo e Tisbe, Narciso e Semele" est une analyse de la présence de ces trois fabulae des Métamorphoses dans l'œuvre de Dante. La sélection des mythes a été dictée par la nécessité de définir un champ aussi vaste et par l'intention de mettre en évidence la relation entre l'Eros et la Connaissances, qui est si important dans le système poétique et philosophique de l'auteur florentin.Cette étude se fie par ailleurs l'objective de souligner la manière dont Dante utilise le modèle d'Ovide: la rencontre avec la source classique prévoit un dialogue continu, à la fois textuel et théorique-conceptuel. Le mythe devient ainsi un récit qui faut démêler dans ses applications multiples et parfois contradictoires. En ce qui concerne les sources, une attention particulière a été accordée aux commentaires médiévaux sur les Métamorphoses. En particulier, les œuvres suivantes ont été gardées à l'esprit : le Allegoriae super Ovidii Metamorphosi de Arnolfo d'Orléans, le Integumenta Ovidii de Jean de Garland, l'exégèse de Giovanni del Virgilio et l'Ovide moralisé. Ce poème mythographique de la première moitié du XIVe siècle, même si postérieur, s'est révélé utile en vue d'une reconstruction de la réception du mythe après la Commedia. On a donc essayé de reconstruire la perception réelle que le Moyen Age avait du texte d'Ovide, en prenant également en compte la présence des fabulae dans la littérature vernaculaire antérieure ou contemporaine de Dante.L'ensemble de l'analyse tend à montrer comment, dans le voyage de perfectionnement de Dante, le concept d'Eros soit intimement lié à la possibilité d'une vraie connaissance, à condition qu'elle soit soutenue par la raison et la foiAnalysis of three ovidian myths in Dante's Comedy
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HOWSON, FRANK. "Les manuels de devotion de la reine kateryn parr." Limoges, 1997. http://www.theses.fr/1997LIMO2002.
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La reputation de kateryn parr reste celle d'une des lumieres de la reforme. Sa vraie distinction est ailleurs: elle fut la premiere anglaise a publier des oeuvres personnelles. Prieres ou meditations (1545) et lamentation d'une pecheresse (1547) semblent contredire l'histoire peu fouillee de foxe, qui utilise kateryn pour la propagande anglicane, mais qui ne fait aucune mention de ses oeuvres, lesquelles furent longtemps oubliees. Ces manuels sont importants aussi a cause de leur qualite litteraire. L'habilete de kateryn parait a sa juste valeur a la lumiere des restrictions qui pesaient sur la femme de rang pendant la renaissance anglaise. Prieres est une adaptation et reduction de l'imitation du christ, livre iii. Kateryn a opere de nombreux changements a la fois discrets et systematiques. En restant apparemment pres du texte de whytford ou en supprimant des passages, elle a pu donner expression a sa vision personnelle du monde, la grace et l'amour de dieu. Lamentation est de la creation pure. La faction conservatrice y etait hostile. Il a ete suggere que la raison pourrait etre l'adherence de kateryn a la doctrine de la justification par la foi. Mais une copie de lamentation circulait deja a la cour en 1545 et cette doctrine "lutherienne" avait deja ete reconnue par henri viii ainsi que par certains theologiens de l'eglise de rome avant le concile de trent. Un regard sur la variete des oeuvres que kateryn a sans doute consultees montre une compatibilite, sous-jacente mais reelle, entre la reine et ses predecesseurs. Kateryn montre egalement un refus d'etre dogmatique et une mefiance profonde des positions extremes. La structure et la langue de lamentation placent kateryn aussi loin des veritables protestants sous henri viii que des traditionalistes de la faction conservatrice. Les pratiques religieuses et les oeuvres de kateryn ne pourraient justifier ni l'antipathie acharnee des conservateurs ni l'adoration de foxe. Par contre prieres et lamentation meritent une place dans la litterature anglaise, pour le merite de kateryn parr et pour la beaute que leur est propreThe reputation of kateryn parr is that of one of the leading lights of the reformation. Her real real distinction lies elsewhere as the first englishwoman to publish her own personal literary creation. Praiers or medytacions (1545) and lamentacion of a synner (1547) refute the partly unsubstantiated stories of foxe, who uses kateryn for anglican propaganda without mentioning her works, which fell into oblivion. These manuals also important because of their literary quality. Kateryn's skill can only be fully appreciated when we consider the restrictions hampering noblewomen during the english renaissance. Praiers is an adaptation of imitation of christ, book iii. Kateryn made many discreet and systematic changes. By remaining apparently very close whytford's text or skipping certain passages, she was able to give expression to her own vision of the world, grace and the love of god. Lamentacion is creation rather than reworking. The conservative faction was hostile to it. It has been suggested that this was due to kateryn's adherence to the doctrine of justification by faith alone. But a copy of lamentacion was already circulatingin 1545 and this "lutheran" doctrine had already been accepted by henry viii as well as by certain roman catholic theologians before the council of trent. A comparison between lamentacion and some of the works which kateryn may have consulted shows an underlying but real compatibility between the queen and her predecessors. Kateryn also refuses dogmatism and is deeply suspicious of any extreme position. The structure and the language of lamentacion place kateryn as far from the actual protestants during the reign of henry viii as from the conservative faction. Kateryn's own religious practices and her works could hardly justify the conservatives' opprobrium or the adoration of foxe. However, praiers and lamentacion deserve a place in english literature, both for the merit of their author and for the their substantive beauty
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Rocchi, Rainier. "L'oeuvre de Nathalie Sarraute à l'épreuve de l'intertextualité." Thesis, Nice, 2014. http://www.theses.fr/2014NICE2005.
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L’intertextualité devrait permettre d’appréhender l’œuvre sarrautienne dans ses contradictions structurelles, réflexivement représentées, dans son évolution problématique, dans sa spécificité littéraire. Une première partie, analytique, met en évidence le régime moderne de l’emprunt, à travers l’étude de deux Nouveaux Romans emblématiques (Portrait d’un inconnu, Le planétarium), tandis que s’amorcent, avec « disent les imbéciles » et Ich sterbe, un tournant autobiographique et une restauration de la directivité auctoriale, caractéristiques des derniers opus. Une seconde partie, synthétique, retrace le contexte culturel de l’emploi figuré du mot tropismes ; s’efforce de répondre à l’objection qui oppose la composition d’Enfance à la discontinuité fragmentaire des autres livres ; propose d’identifier, dans la « sous-conversation », la réécriture d’une forme de dialogue commenté que Proust, héritier de Balzac, a perfectionnée, mais qui devient, chez Sarraute, le lieu d’une déconstruction littéraire du soupçon moderne, où son œuvre peut trouver sa cohérence thématique et stylistique comme sa pertinence historique en se mesurant à un paradigme majeur du XXème siècle. Enfin, un Répertoire des allusions est joint en Appendice pour illustrer la densité de l’intertexte sarrautien, de Tropismes à Ouvrez. – Manifestant la radicalité d’une recherche expérimentale, d’un « tâtonnement aveugle dans le langage », l’intertextualité offre un point de vue critique sur l’œuvre sarrautienne, permettant de saisir comment le projet littéraire, à la fois psychologique et poétique, d’un auteur se réfléchit et s’épuise dans les tensions souvent extrêmes de ses textes indécidables, à l’inapparente opacité, attendant de l’avenir d’imprévisibles métamorphosesIs Intertextuality a permanent (even a structural) component of the Nathalie Sarraute’s writing? To maintain this critical position, we should first scrutinize how the intertextuality system, especially in Portrait of a Man Unknown and in The planetarium, is strongly perturbing the narrative conventions and promoting a reflexive approach of the text; while Fools say and Ich sterbe show an autobiographical evolution and a restoration of the author’s directivity; then some examples from a missing Index of References based upon the whole of the Sarrautean oeuvre should confirm the extent of intertextuality; in a second section, we should relativize the originality of the sarrautean tropisms by studying how the traditional forms of dialog or fragment are renewed by such a rhetorical “estrangement”. So, with the question of intertextuality, we could realize how a literary project become distorted by the practice of writing, since the Sarraute’s post-romantic conceptions heavily contrast with the modernist features of her works, which is a deciding factor of their aporetic ambiguity
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Simpson, Tracey. "L'intertextualité de l'oeuvre poétique de Jim Morrison." Pau, 1997. http://www.theses.fr/1997PAUU1002.
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Cette etude, consacree a "l'intertextualite de l'oeuvre poetique de jim morrison," explore les sources (notamment nietzsche, rimbaud, artaud et kerouac) et les parentes litteraires ou thematiques de l'oeuvre (avec blake, huxley, yeats, lawrence, hesse). Son eclectisme reflete la nature heterogene de l'heritage poetique de morrison. En effet, ce dernier se situe a un veritable carrefour, cherchant dans le passe et le present un remede a sa vision pessimiste du futur d'une amerique gangrenee. La premiere partie de la these se penche sur la maniere dont l'artiste envisage la perception poetique, reprenant a sa maniere la problematique platonicienne de la vision humaine, voie d'acces et obstacle a la connaissance. La deuxieme partie developpe la mystique morrisonienne, dans le sillage de la tradition illuministe (reprise par blake, yeats et lawrence). Le raffinement de sa perception permet au poete de spiritualiser sa quete de la verite. Sa mort symbolique lui permet de decouvrir son etre spirituel, occulte par la societe, qui prone une exteriorisation excessive de la vision. Redecouvrant ainsi la dualite fondamentale de l'etre, le poete renait symboliquement a une sagesse ancienne, jusqu'alors latente. La troisieme partie s'interroge enfin sur la nature et le role de la creation artistique : morrison pousse a bout les theories syncretistes et, par la transmutation du langage, il s'efforce de creer un art total, universel, mobilisant toutes les ressources de l'homme. Il rejoint tres nettement les traditions alchimiques et chretiennes en assimilant d'abord l'artiste a l'adepte, recepteur et emetteur du message hermetique, puis a l'apotre, "pecheur d'ames" et martyrThis study concentrates on the notion of "intertextuality in the poetic works of jim morrison. " it explores the sources (notably nietzsche, rimbaud, artaud and kerouac) and the literary and thematic relationships of the work (with those of blake, huxley, yeats, lawrence, hesse). Its eclecticism reflects the heterogeneous nature of morrison's poetic legacy. Morrison is situated at a crossroads, seeking, in the literature of the past and the present, a solution to his pessimistic vision of a corrupted america. The first part of the thesis concentrates on the nature of poetic perception, re-assessing the platonic philosophy of human vision which simultaneously represents the key and obstacle to knowledge. The second part develops morrison's mysticism, in the wake of the illuminist tradition (reinterpreted by blake, yeats and lawrence). The purification of his perception allows the poet to spiritualize his quest for the truth. His symbolic death enables him to discover his spiritual being, denied by a society which advocates an excessive exteriorisation of man's vision. By thus rediscovering the fundamental duality of man's being, the poet is symbolically reborn into an ancient wisdom, until then latent within him. The third part questions the nature and the role of artistic creation : morrison pushes syncretist theories to the extreme and by a transmutation of language, he endeavours to create a universal art summoning up all of man's resources. In this way he adheres to the alchemical and christian traditions by assimilating the artist firstly with the adept, receiver and transmitter of the hermetic message, and secondly with the apostle, "fisher of souls' and martyr
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Gallo, Pierino. "L'intertexte épique moderne dans la théorie et la pratique de l'épopée chez Chateaubriand." Phd thesis, Université Jean Monnet - Saint-Etienne, 2012. http://tel.archives-ouvertes.fr/tel-00921107.
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Les diverses formes de l'intertextualité (citation, allusion, résumé, traduction), appliquées aux mécanismes du premierdes genres (l'épopée), et analysées chez un auteur imprégné de révolutions, vont bien au-delà d'un simple exerciced'érudition. Interrogé dans un traité à vocation apologétique comme le Génie du christianisme, puis dans le rejetonpoétique de deux épopées capitales, Les Natchez et Les Martyrs, l'intertexte épique moderne- car c'est la modernitéqu'il faut construire au tournant de l'Ancien Régime à la Révolution et de cette dernière à l'Empire- dessine une grillede lecture qui relève à la fois du statut générique et de l'histoire des mentalités. Les poètes convoqués parChateaubriand dans le tissu textuel de l'épopée deviennent alors les interlocuteurs idéaux pour développer un discourssur l'Histoire. En suivant une démarche tripartie suggérée par l'auteur (sujet, caractères/passions, paysages), lamosaïque intertextuelle de Chateaubriand s'assemble tantôt pour révéler une connivence culturelle, tantôt pour ouvrirune contestation à la fois poétique et politique. L'analyse de ces mêmes tensions nous aide enfin à construire l'image laplus représentative du poète dans son Temps.
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Wallin, Elin. "Miljöhänsyn i reklam." Thesis, Malmö högskola, Fakulteten för kultur och samhälle (KS), 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-21431.
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Förmedling av olika budskap i reklam genom användandet av visuella retoriska begrepp är en metod som kan utföras på olika sätt. Syftet är att analysera hur visuella retoriska begrepp används för att förmedla miljöhänsyn i reklambilder. Tre av åtta bilder ur reklamkampanjen ”Form the future” som skapades åt Lantmännen och marknadsfördes 2015 har analyserats genom en semiotisk bildanalys och begreppen logos, etos och patos från den visuella retoriken. Resultatet är att reklamen primärt använts ur ett marknadsföringsperspektiv för produkten och sekundärt ur miljöhänsyn. Förslag på framtida forskning inom området ges genom analysen att användandet av flerteorier och metoder hade gett en fördjupad analys samt att en högre validitet hade uppnåtts.The mediation of different messages in advertising with the use of visual rhetoric concepts is a method that can be used in different ways. The purpose is to analyze how the visual rhetoric concepts is used to mediate environmental concern in advertising pictures. Three of eight pictures from the advertising campaign “Form the future” that was created for “Lantmännen” and marketed 2015 have been analyzed with the use of a semiotic analysis and the concepts logos, ethos and pathos from the theory of visual rhetoric. The result is that the advertisement primary has been used from a marketing perspective for the product and secondary out of a concern for the environment. The suggestion for future research is given through the analysis that the use of more theories and methods had enhanced the analysis and a higher validity had been achieved.
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Debbèche, Patrick. "Sémiotique, intertextualité et Beaumarchais." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp02/NQ41545.pdf.
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McMonagle, Catherine Ann. "Dancing feminisms and intertextuality." Thesis, Cardiff University, 2006. http://orca.cf.ac.uk/56134/.
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This thesis investigates representations of dancing women in three postmodern novels, arguing that their radical revisions of traditional texts offer readers steps to be taken in the future. Resistant and troublesome dances are deployed here to address feminisms, multiple and contradictory subjectivities and intertextuality. I suggest that a consideration of a nuanced view of multiple subjectivities can benefit women more than striving towards an illusory, autonomous identity. Intertextuality invites contemplation of the dance between different texts and the meanings invoked as a result. Not only are the texts' meanings unstable, but the novels themselves dance with other texts, taking them into account and departing from them by taking different steps their instability of meaning and lack of absolute origins and authority allows them to become sites of resistance to dominant values. My research primarily draws on work by Julia Kristeva, Roland Barthes, Jean-Francois Lyotard and Jacques Derrida. Eilis Ni Dhuibhne's The Dancers Dancing is a postmodern text, which deals with the influence of nationhood on Irish women, and in which Irish subjectivity confronts irreconcilable alternatives. This chapter poses the Irish dance as a space where a new generation can come to terms with their past and reconfigure it. Jeanette Winterson's Sexing the Cherry rewrites the tale of 'The Twelve Dancing Princesses' and in the process challenges patriarchal marriage and heterosexuality as norms. The text 'dances' between traditional and postmodern historical representations of seventeenth-century England, offering readers conflicting versions of history and time. In Margaret Atwood's Lady Oracle, the secret writing of gothic romances alerts readers to the influence of art on life. The novel takes into account, but steps beyond, those narratives that have encouraged readers to believe that they will have their feet cut off if they resist tradition. All three texts offer readers resistance to convention enlisting them in a metaphorical dance, where the steps are not known in advance.
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Maurer, Bernard. "Psalm 95 and intertextuality." Online full text .pdf document, available to Fuller patrons only, 2001. http://www.tren.com.
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Finscher, Ludwig. "Intertextualität in der Musikgeschichte." Bärenreiter Verlag, 1998. https://slub.qucosa.de/id/qucosa%3A36797.
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Salha, Habib. "Poétique maghrébine et intertextualité." Paris 13, 1990. http://www.theses.fr/1990PA131004.
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Le travail se propose d'analyser les invariants et les variations qui caracterisent les textes de kateb, boudjedra,khatibi et khair-eddine. Une telle etude, menee a la lumiere de deux concepts 'poetique' et "intertextualite" nous a permis de relever une serie de paradigmes consideres comme les variantes les uns des autres. La lecture ouverte de ces paradigmes montre que c'est le travail de production, de reproduction et de transformation qui sous-tend une poetique en quete de nouvelles valeurs. En effet, la parodie et le pastiche subvertissent les structures definitives,dejouent les codes figes et elargissent l'horizon d'existence d'une litterature qui annonce l'avenement d'une pensee-autreThis research work proposes to analyse the permanent as well as the changing features in the texts of kateb,boudjedra khatibi and khair-eddine. Availing itself of the key concepts of "poetics" and "intertextuality", this study highlights a cluster of paradigms that we regard as variables of one another. An open reading of these paradigms indicates that the very process of production reproduction and transformation sustains a poetics constantly seeking new values. As a matter of fact and pastiche subvert playfully definitive structures and rigid codes as well as broaden the scope for a literature heralding the advent of new possibilities of its own investigation
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Johansson, Ingrid. "Informationsöverflödets dystopi : En intertextuell diskursanalys från Future Shock till The Shallows." Thesis, Uppsala universitet, Institutionen för ABM, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-201846.
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Today it is common to state that we are living in an information overloaded society. But there are many different definitions of what can be said to constitute Information Overload and there is a lack of substantial research on the subject. Conclusions in the available literature on Information Overload are often drawn on anecdotal evidence and carries a dramatized picture of the causes and effects of the phenomenon. With the tools of discursive analysis this two years master’s thesis explores how the phenomenon Information Overload is portrayed in six popular science books that deals with the subject: Alvin Toffler (1970) Future Shock, Orrin Klapp (1986) Overload and Boredom, Richard Wurman (1989) Information Anixety, Andrew Keen (2007) The cult of the amateur, Maggie Jackson (2008), Distracted and Nicholas Carr (2010) The Shallows. The result of the analysis shows that there is a common discourse of how the subject of Information Overload is represented, which stretches in and between the books intertextually. In this study that discourse is called the dystopian discourse of Information Overload. It is structured by a unified use of narratives, concepts, themes, metaphors and statements and by its separation from the opposite utopian discourse of Information Overload. In the final discussion the results of the analysis are compared to postmodern theory, a problematisation of the concept of distraction and to the Swedish government’s 2012 investigation of reading habits of young people in the country. The conclusion of the study is that the two binary discourses discovered in the analysis – the dystopian and the utopian – should be avoided in the debate and research on Information Overload. Instead the discussion should be influenced by pluralism, complexity and awareness.
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Altero, Lydia. "Réception critique et relecture de textes narratifs subsahariens et canadiens de langue française." Nice, 1998. http://www.theses.fr/1998NICE2022.
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Notre travail se veut un état des lieux de la littérature romanesque francophone de l’Afrique subsaharienne et du Canada depuis les années soixante-dix jusqu'aux années quatre-vingt-dix. Nous découvrirons que sans être identiques, les récits ont subi des transformations esthétiques à une même époque qui correspond à des mutations sociales et politiques profondes. La première partie de notre travail est consacrée à la lecture de la critique. Nous avons constaté que les exégètes orientent leur étude des oeuvres selon un axe sociocritique oubliant parfois que l'écriture est un acte de création. Ensuite, nous avons analysé le cheminement du roman africain à partir de la période des indépendances. Si les romanciers s'inspirent de la réalité sociale et politique, ils l'expriment d'une façon originale. Ainsi, par exemple, une étude des pages érotiques de ces romans nous révèle, sous forme de mise en abyme, la représentation du pouvoir, mais aussi la psychologie d'un personnage. Enfin, nous avons remarqué que, depuis les années quatre-vingt, se dessinaient avec les romans canadiens et subsahariens, des récits aux préoccupations moins politiques et plus philosophiques. L'étude du Chercheur d’Afriques, de Sur l'autre rive du congolais H. Lopes et du Semestre du québécois G. Bessette met en évidence une écriture plus complexe. Le Récit du cirque de A. Fantouré nous a paru concrétiser tous les éléments qui traduisent l'expression du renouveau romanesque africain. Nous avons comparé les techniques narratives de ce roman avec celles utilisées par les nouveaux romanciers français. Nous avons constaté que même si cette intertextualité était notable, elle aboutissait à des oeuvres originales
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Regin, Ida. "Konstruktioner av lärares yrkesidentitet i Inte gå under." Thesis, Karlstads universitet, Institutionen för språk, litteratur och interkultur, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-39878.
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Läraryrket är ett av de mest omdiskuterade yrkena i Sverige under senare år. Samtidigt som skolan har genomgått en rad förändringar har det också ställts nya krav på lärare. Inte minst lärarnas roll och lärarnas villkor har diskuterats i den mediala debatten. Ofta verkar det som att alla har något att säga om lärare. Denna uppsats utgår från att det som sägs och diskuteras om lärare också får faktiska konsekvenser för hur verksamma lärare formar sin yrkesidentitet. Även skönlitteratur kan ha en roll i att forma verkligheten och i denna uppsats analyseras romanen Inte gå under (2015) av Malin Hedin. Romanen är skriven av och om en gymnasielärare och kan ses som en dagsaktuell inblick i hur skolan fungerar idag. Den metod som använts i uppsatsen har varit en innehållsanalytisk läsning utifrån ett intertextuellt perspektiv. Syftet med undersökning är att analysera hur lärarrollen konstrueras i romanen. Undersökningen kommer fram till att läraren konstrueras i berättelsen genom de kopplingar som finns till omgivningen, vilka är delaktiga i att konstruera vad vi uppfattar som verklighet. Tre olika aspekter av yrkesidentitet framkommer i romanen: att vara lärare är att vara utbildad, att vara lärare är att inte ha det lätt och att vara lärare är att komma till undsättning.The teaching profession is one of the most debated occupations in Sweden in later years. The Swedish school has gone through a series of changes which has led to new demands on teachers. Not least, is it the teachersʼ roles and the teachersʼ working conditions that have been discussed in the media. It often seems like everyone has something to say about teachers. This paperʼs outset is that what is said and debated about teachers also gets actual consequences to how working teachers form their professional identity. Literature can also have a role in shaping reality and this paper analyses the novel Inte gå under (2015) by Malin Hedin. The novel is written by and about a highschool teacher and can be viewed as an up-to-date insight to how the Swedish school works today. The method used in this paper is a content analytical reading with an intertextual perspective. The aim with this investigation is to analyse how the role of teachers are constructed in the novel. The result of this paper is that the teacher is being constructed through the connections to the surroundings, which take part in the construction of what we perceive as reality. There are three different aspects of professional identity that appear in the novel: to be a teacher is to be well educated, to be a teacher is not easy and to be a teacher is to come to the rescue.
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Ngesa, Ambrose K., Enock Matundura, and John Kobia. "Mwingilianomatini katika tamthilia za Kiswahili: Mashetani na Kijiba cha Moyo." Universitätsbibliothek Leipzig, 2016. http://nbn-resolving.de/urn:nbn:de:bsz:15-qucosa-199683.
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Tamthilia ya Kiswahili imedhihirisha, kwa njia moja au nyingine, uhusiano wa kimwingilianomatini. Makala haya yanadhamiria kuchunguza viwango na aina za mwingilianomatini baina ya tamthilia mbili za Kiswahili. Tamthilia hizi ni Mashetani (Hussein 1971) na Kijiba cha Moyo (Arege 2009). Tathmini hii inaongozwa na nadharia ya mwingilanomatini. Tumeteua na kuhakiki tamthilia hizi kwa misingi kwamba, kwa muda mrefu, Ebrahim Hussein ameaminika kuwa mmojawapo wa watunzi bora wa tamthilia ya Kiswahili katika eneo la Afrika Mashariki. Wahakiki wa fasihi wanaelekea kukubalia na kwamba Ebrahim Hussein ameathiri watunzi wengi wa baadaye wa tamthilia kimtindo, kimaudhui na usawiri wahusika. Lengo la makala haya ni kujaribu kuonesha jinsi tamthilia za Mashetani na Kijiba cha Moyo zinavyofanana kwa kuchunguza viwango vya mwingilianomatini baina ya tamthilia hizo kwa kurejelea, motifu, maudhui, matumizi ya lugha, na wahusika. Je, ni kwa kiwango gani mtunzi wa Kijiba cha Moyo ameathiriwa na mtunzi wa Mashetani? Je, amemnukuu, kudondoa au kumwiga mtangulizi wake kwa kiwango gani?
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Pavarani, Cecilia. "La memoria di Stazio in Claudiano : Commento intertestuale." Thesis, Paris 4, 2014. http://www.theses.fr/2014PA040088.
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Ce travail de recherche étudie le dialogue intertextuel entre l’oeuvre de Stace et celle de Claudien, en mettant en évidence - dans les vers de ce dernier - les reprises les plus significatives de thèmes et de styles staciens. Ayant constaté la mémoire persistante de Stace chez Claudien, il vérifie la pertinence des références notifiées à ce jour par les éditeurs et commentateurs et il intégre les remarques critiques jugées valables à travers des argumentations diverses et selon certains axes thématiques importants chez les deux auteurs. En suivant les critères de recherche intertextuelle et la classification des passages parallèles illustrés dans le chapitre I, l'étude comparative est divisée en sept sections, sur autant de thèmes : le pouvoir dans l'univers mythique, le pouvoir parmi les hommes, la conception et la représentation de la discorde et de la guerre, la valorisation de la culture, l'éloge du mariage, l'image de la mère. La présente contribution, au-delà des coïncidences verbales qui – sans être dues au hasard – peuvent être considérées comme des réminiscences inconscientes, approfondit la relation entre les deux poètes sous le signe du processus afférent de leurs textes à une koinè thématique et stylistique qui s’est stratifiée dans le temps, mais surtout sous le signe d’une imitatio directe, créative et volontaire. Les textes de Claudien sont donc présentés à la lecture enrichis de réflexes et de significations provenant de la leçon de l’illustre prédécesseurThe paper studies the intertextual dialogue between the work of Statius and that of Claudian, showing the most significant recurrences of Statius’ themes and stylistic features in the latter’s verses. Having ascertained the persistent memory of Statius in Claudian, it verifies the relevance of the allusions reported to date by editors and commentators and it supplements the critical remarks deemed valid with various arguments and in accordance with certain thematic axes of importance in both authors. Following intertextual research criteria and the classification of the parallel passages illustrated in Chapter I, the comparative survey is divided into seven sections dealing with as many themes: power in the mythical universe, power among men, the conception and representation of discord and war, the valorization of culture, the nuptial encomium, the image of the mother. The present contribution, apart from verbal coincidences which, albeit not casual, can be explained as unconscious reminiscences, explores the relation between the two poets in terms of the relevance of their texts to a stylistic-thematic koiné stratified in time, but above all in terms of a direct, creative and deliberate imitatio. Claudian’s texts are therefore presented to the reading enriched with reflections and meanings stemming from the example of his illustrious predecessor
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Lhermelier, Cyrille. "Lectures des Premiers vers de Germain Nouveau (1851-1920) : Paul Verlaine, Arthur Rimbaud, intertextualité, intermétricité." Thesis, Rennes 2, 2015. http://www.theses.fr/2015REN20004.
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Ce travail est consacré à l'étude quasi exhaustive des Premiers poèmes de Germain Nouveau (1851-1920) qui recouvrent la période 1872-1879. Le fil conducteur en est l'approfondissement de l'analyse des liens poétiques et personnels que le poète entretint avec Paul Verlaine et Arthur Rimbaud. L'objectif est de montrer comment la passion de Nouveau pour les oeuvres de ces deux étoiles a déterminé son esthétique, mais également dansquelle mesure sa poésie est restée très personnelle, lui conférant une place de choix parmi les poètes de la décennie qui suivit la Guerre de 1870. Une première partie étudie les poèmes des années 1872-1873, qui pour laplupart paraissent dans la Renaissance littéraire et artistique. Ces textes sont déjà parsemés de références métriques et intertextuelles aux poèmes de Verlaine et Rimbaud. Un deuxième mouvement est consacré à la rencontre humaine et poétique entre Germain Nouveau et Arthur Rimbaud. Nous tentons d'y préciser la chronologie des événements, à Paris puis à Londres, à travers la correspondance de Nouveau et divers témoignages, dont celui de Jean Richepin. Notre recherche s'intéresse enfin aux poèmes ultérieurs à 1874, ou non datés, parfois en prose, qui, toujours pleins d'inventions et d'originalité, témoignent des centres d'intérêt du poète, parmi lesquels la Commune de Paris et son écrasement semblent tenir bonne placeThis work is devoted to the almost exhaustive study of early poems written by Germain Nouveau (1851-1920) covering the period 1872-1879. The common thread is the deepening of the analysis of poetic and personalrelationships that the poet has with Paul Verlaine and Arthur Rimbaud. The aim is to show how Nouveau’s passion for the works of these two stars has determined its aesthetic, but also how his poetry is still very personal, givinga prominent place among the poets of the decade that followed the war of 1870. The first part examines the poems in 1872-1873, most of which appeared in the literary and artistic renaissance. These texts are dotted with metric and intertextual references to Rimbaud and Verlaine’s poems. The second movement is dedicated to human and poetic meeting between Germain Nouveau and Arthur Rimbaud. We try to clarify the chronology of events, in Paris then in London, through Nouveau’s correspondence and various accounts, including the one of Jean Richepin. Our research is finally interested in subsequent poems to 1874 or undated, sometimes in prose, which, always full of invention and originality, show the Paris Commune and its crushing seem to hold a goodposition
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Wallheim, Henrik. "Katalogen som tolkningsredskap : Bibliografiska relationer i Resource Description and Access (RDA), med särskild hänsyn till operationaliseringsproblem." Thesis, Uppsala universitet, Institutionen för ABM, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-201088.
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The new cataloging code Resource Description and Access (RDA) provides a system of instructions for recording relationships between related resources by means of a controlled vocabulary of relationship designators. The purpose of this two years master’s thesis in Archive, Library and Museum studies is to examine the construction of this system, as well as its theoretical foundation. One theoretical point of departure is the necessity of operational definitions for consistent identification of bibliographic relationships. Another such point of departure is that the theoretical model on which RDA is based (the FRBR model) is not a complete description of the bibliographic universe, but merely a limited representation of a set of assumptions about that universe. The thesis first examines Barbara B. Tillett's and Richard P. Smiraglia's theories and taxonomies of bibliographic relationships. The analysis shows that, in spite of their claims to provide a theoretical basis for consistent treatment of bibliographic relationships, neither Tillett nor Smiraglia offers operationally applicable definitions. The thesis then turns to RDA in order to examine the instructions and the list of relationship designators. After an introductory survey of RDA chapters 24 to 28, the possibility to record relationship designators at different entity levels is discussed. Remarkably, RDA neither provides instructions for how to choose between the entity levels, nor does it point out what this choice signifies. Finally, a selection of relationship designators representing content relationships is examined. The selected designators are analysed and compared to corresponding categories in literary theorist Gérard Genette's attempt to classify intertextual relationships. The analysis shows that though some of the selected designators are satisfactorily operationalized, most are not.
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Malmqvist, Jenny. "Belfast Textiles : On Ciaran Carson’s Poetics." Doctoral thesis, Linköpings universitet, Avdelningen för moderna språk, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-97390.
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This thesis is a study of the formation and development of Ciaran Carson’s poetics from his debut in the 1970s up to and including his fourth principal collection of poems, First Language, published in 1993. Examining Carson’s recourse to different kinds of rewriting, made manifest as intertextuality and translation, it aims to account for the thematic formulation and formal realization of this poetics. The poetics is elicited from two distinct groups of poems. The first group comprises poems, given in the consecutive volumes The Lost Explorer (1978), The Irish for No (1987), Belfast Confetti (1989) and First Language, in which textile techniques serve metaphorically as poetic techniques. These poems are read as formulating a poetics which is formally realized in a second group of poems in which rewriting is the dominant technique. By examining the textile/textual metaphors, and their gradual reconfiguration, and the different manifestations of rewriting in Carson’s work the thesis seeks to describe and demonstrate some of the main principles and expressions of this poetics and its development over time. The thesis sees rewriting as integral to Carson’s poetic method: Earlier texts are deliberately drawn upon and made a constitutive part of a new poem. To account for the textual relations and their effect on meaning-making perspectives are borrowed from theories of intertextuality, especially intertextuality as conceptualized by Gérard Genette and Laurent Jenny, as well as from contemporary translation studies and poetics. A theoretical framework is also provided by the textile/textual metaphors which are employed as analytical tools. It is argued that rewriting is not an end in itself but an important means for the poet to articulate his views on both aesthetic and historical issues. The thesis relates the practice of rewriting to a prominent concern in Carson’s work: the relation between form and material and how to adequately express the complicated experiences associated with Northern Ireland in poetic form. The thesis contends through detailed analysis of Carson’s strategies of rewriting that his persistent recourse to recycling discloses his attentiveness to his own poetic expression and that his poetics should be seen as both an aesthetics and an ethics – an evolving response along both aesthetic and ethical lines to the complexities of his situation and his role as a poet.Avhandlingen är en studie av den nordirländske poeten Ciaran Carsons poetik, dess framväxt och utveckling till och med Carsons fjärde diktsamling, First Language, som publicerades 1993. Genom en undersökning av Carsons användning av olika slag av omskrivning, manifesterade som intertextualitet och översättning, syftar avhandlingen till att ge en redogörelse för hur Carsons poetik har tematiskt formulerats och formellt realiserats. Carsons poetik friläggs genom ett närstudium av två grupper dikter. Den första gruppen består av dikter från samlingarna The Lost Explorer (1978), The Irish for No (1987), Belfast Confetti (1989) och First Language, där textila tekniker tjänar som metaforer för poetiska tekniker. Dessa dikter läses som formuleringar av en poetik som förverkligas i en andra grupp dikter där omskrivning är den huvudsakliga tekniken. Genom att undersöka dikternas textila/textuella metaforer och deras gradvisa omvandling samt olika manifestationer av omskrivning i Carsons verk, söker avhandlingen beskriva och demonstrera några av de huvudsakliga principerna i Carsons poetik, liksom de uttryck dessa tar sig, samt hur dessa principer och uttryck förändras över tid. Avhandlingen ser omskrivning som en väsentlig del av Carsons poetiska metod. Tidigare texter får tjäna som underlag för en ny dikt. När det gäller textuella relationer och deras betydelseskapande kraft stöder jag mig på teorier om intertextualitet, främst Gérard Genettes och Laurent Jennys, liksom på perspektiv hämtade från samtida översättningsteori och poetik. Teoretiska perspektiv ges också av de textila/textuella metaforer som används som analytiska redskap. Omskrivning är dock inte ett mål i sig för Carson, utan ett viktigt sätt för poeten att artikulera sin syn på både estetiska och historiska frågor. I avhandlingen relateras omskrivningens praktik till något som upptagit Carson i hela hans författarskap: förhållandet mellan form och material och hur de komplexa nordirländska erfarenheterna ska kunna ges ett adekvat poetiskt uttryck. Utifrån en detaljerad analys av Carsons omskrivningsstrategier hävdas att hans genomgående bruk av återanvändning återspeglar en höggradig medvetenhet om det egna poetiska uttrycket. Hans poetik ska ses som både en estetik och en etik – ett sätt att fortlöpande återknyta, längs både estetiska och etiska linjer, till den komplexa situation han befinner sig i och till hans roll som poet.
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Arlebrand, Jonas. "Adaptionens potentiella didaktiska dimensioner : Att arbeta med Robinson Crusoe som ett klassiskt litterärt verk i gymnasieskolan." Thesis, Högskolan för lärande och kommunikation, Högskolan i Jönköping, Språk-, litteratur- och mediedidaktik, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:hj:diva-25863.
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In this essay i examine the adaption process of the book Robinson Crusoe (1719) and the movie Robinson Crusoe from 1997. From my findings i will discuss the didactic potential of working with classic literature in a widened textual sense. I aim to answer the following questions: 1. What could be found in the adaption process between text and movie? 2. How can film be used as didactical tool in teaching classical literature in upper secondary school? The methods i have used in this essay are narrative method which means that you study the story as a whole and it´s parts. In specific I have studied the plot, use of time and the characters. I have found that the characters have been modernized in order to fit in a changed society. Which is also shown is the polarization of the characters´ religion. A women is added to the story which change the cultural context in comparison to the original story. I found several potential didactic dimensions; for example the use of a female character in the movie which can engage a larger audience, different living conditions and the questions of different religions.
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Amadessi, Veronica. "Pour une nouvelle poétique de l'extase : Abdelwahab Meddeb et l'héritage des poètes arabes et persans de l'Antiquité et du Moyen Age. Comparaisons et pistes de lectures intertextuelles." Thesis, Paris 3, 2009. http://www.theses.fr/2009PA030052.
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Ce travail a pour objectif d’analyser la production narrative et poétique de l’écrivain tunisien Abdelwahab Meddeb, en comparaison avec les ouvrages du Moyen Age arabe et persan. L’auteur reprend en effet, par le biais de pratiques intertextuelles, les ouvrages des philosophes et des écrivains orientaux qui plus ont marqué le monde musulman, en arrivant à en faire une synthèse originale. Cette perspective multiculturelle ouvre la voie à une instance narrative polyphonique, où les textes se confondent et se mélangent. En un premier moment, l’étude porte sur les théories intertextuelles et leur application chez Meddeb ; dans la deuxième partie, l’analyse se concentre sur les correspondances internes à l’œuvre meddebienne, pour laisser la place, dans la dernière partie, aux aspects intertextuels que le texte francophone entretient avec les autres auteursThis dissertation focuses upon francophone Tunisian literature, with particular attention to Abdelwahab Meddeb’s novels and poems. The author constantly quotes Arabic and Persian medieval works which enrich his text. Meddeb’s works are based on this intertextuality and have for this reason a polyphonic style. The research seeks to show the relation between the authors and to analyse them. This work is structured in 3 sections: the first one maps out intertextual theories and applies them to Meddeb’s works; the second focuses on correspondences inside Meddeb’s works, and the third considers intertextual aspects with Arab and Persian medieval authors
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Park, Chang Hwa. "Nerval, écrivain voyageur : une nouvelle forme de voyage littéraire." Thesis, Paris 10, 2012. http://www.theses.fr/2012PA100046/document.
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Cette étude est consacrée aux procédés narratifs du récit de voyage de Nerval, du point de vue de l’intertextualité et de l’autobiographie. Dans la première partie, nous abordons le récit de voyage en général, en centrant l’attention sur le voyage littéraire subjectif et autobiographique : son statut spécifique en tant que genre littéraire, son évolution chronologique, ses formes, son intertextualité et son caractère autobiographique. Dans la deuxième partie, nous étudions la spécificité du récit de voyage de Nerval sur le plan narratif, sur celui de l’intertextualité et sur celui de l’écriture autobiographique, selon les différents types des voyages nervaliens : voyage réaliste (Voyage en Orient, Lorely), voyage excentrique (Les Faux Saulniers), voyage parodique (Les Nuits d’octobre), voyage autobiographique (Promenades et Souvenirs) et voyage intérieur (Aurélia). Enfin, dans la troisième partie, nous analysons la poétique du voyage littéraire de Nerval dans la perspective de la modernité de son écriture, en considérant le mélange des formes, les pratiques intertextuelles (référence, réécriture et recomposition), l’originalité du voyageur fantaisiste, le récit poétique et dialogique et l’écriture réalisteThis study focuses on the narrative processes of travel story of Nerval, in terms of intertextuality and autobiography. In the first part, we discuss of the travel story in general, with a focus on the subjective and autobiographical literary travel : its special status as literary genre, its chronological develpment, its forms, its intertextuality and its autobiographical nature. In the second part, we study specificity of the travel story of Nerval on the narrative level, that of intertextuality and that of autobiographical writing, according to diffrents types of Nerval’s travels : realistic travel (Voyage en Orient, Lorely), eccentric travel (Les Faux Saulniers), parodic travel (Les Nuits d’octobre), autobiographical travel (Promenades et Souvenirs) and interior travel (Aurélia). Finally, in the third part, we analyse the poetics of travel writing of Nerval in the context of the modernity of his writing, considering the mixture of forms, the intertextual practices (reference, rewriting and reorganzation), the originality of fanciful traveler, the poetic and dialogic stroy and realistic writing
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Hermansson, Casie Elizabeth. "Feminist intertextuality and the Bluebeard story." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk2/tape15/PQDD_0004/NQ35183.pdf.
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Yau, See-wing Catherine. "Intertextuality in Helen Lai's dancing texts." Click to view the E-thesis via HKUTO, 2007. http://sunzi.lib.hku.hk/hkuto/record/B38675754.
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West, Russell Brian. "Conrad and Gide : translation and intertextuality." Thesis, University of Cambridge, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.387504.
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Amaral, Tiago Kern do. "Intertextuality in Neil Gaiman's American Gods." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2016. http://hdl.handle.net/10183/143658.
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A presente dissertação consiste em um estudo do romance Deuses americanos de Neil Gaiman levando em consideração suas conexões a outros textos bem como inserções de diversos textos provenientes de outros trabalhos na prosa do romance. A proposta de leitura do texto de Gaiman segundo este trabalho utiliza os conceitos de intertextualidade e arquétipos de forma a analisar a relação entre a trama de Deuses americanos às várias utilizações de textos cuja escrita “original” não é atribuída ao autor do livro inseridos (ou referenciados) na prosa do romance. Embora o objeto de estudo seja comumente visto como um livro difícil de ser categorizado dentre de um certo gênero, a proposta desta dissertação é demonstrar que o movimento e o fluxo contínuo de discursos (textos) e estilos na prosa do romance remonta a uma visão de um estrangeiro sobre os Estados Unidos e como o país foi criado: ou seja, que ele é não somente um ponto geográfico de confluência de muitos povos, mas também de muitas crenças e culturas que, de um modo ou outro, trouxeram os seus deuses consigo. A análise do uso de intertextos, intratextos e arquétipos no romance está estruturada em três capítulos centrais: o primeiro contextualiza os mitos que aparecem no romance e discute a questão de gênero literário do livro, além do conceito de América no texto de Gaiman. O segundo capítulo examina o uso de mitos por Gaiman em relação a outros trabalhos, tanto os manuscritos antigos de crenças pagãs quanto instâncias mais modernas de mito e alegoria, além de estudar as conexões entre Deuses americanos e outros textos escritos por Gaiman de acordo com o conceito de intratextualidade proposto por Affonso de Sant’Anna. Por fim, o terceiro capítulo se concentra no uso pontual de intertextos no romance, organizando-os entre alusões literárias, referências à cultura pop, além de estudar o conflito entre a era digital e o antigo reinado da fé religiosa, sem deixar de investigar o uso de arquétipos e apropriação na prosa do romance. O trabalho, assim, tem como objetivo verificar a alegação de que a qualidade intertextual do romance é essencial tendo em vista sua trama e cenário, bem como a afirmação de que ele redefine o conceito da América do final dos anos 90 como um espaço multicultural, dinâmico e mítico.This thesis consists of a study of Neil Gaiman’s American Gods in the light of its connections to other texts as well as the punctual insertions of various texts from other works in the novel’s prose. The proposed reading of Gaiman’s text employs the concepts of intertextuality and archetypes in order to further analyze the relation of the plot of American Gods to the various uses of texts - that were not originally written by the book’s author – which are inserted (or alluded to) in the novel’s prose. Although the object of study is generally seen as a book that is hard to brand within a certain genre, this thesis’ approach to the novel demonstrates that movement and the continuous flow of speeches (texts) and styles in the novel’s prose comprises an outsider’s view of America and how the country came into existence – that is, that it is the geographical conflux not only of many peoples, but also of many beliefs and cultures, which in some way or other brought their gods with them. This examination of the use of intertexts, intratexts and archetypes in the novel is structured in three main chapters: The first chapter contextualizes the myths that appear in the novel and discusses the issues of genre and the concept of America in Gaiman’s text. The second chapter analyzes Gaiman’s use of myths in relation to other works – the original manuscripts of ancient beliefs as well as modern instances of myth and allegory – along with the connections between American Gods and Gaiman’s other works according to Affonso de Sant’Anna’s concept of intratextuality. Finally, the third chapter focuses on the punctual uses of intertexts in the novel, breaking them down into literary allusions, references to pop culture and the conflict between the digital era and the age of religious faith, and the use of archetypes and appropriation in the novel’s prose. At the end of the work, I aim to assert my belief that the intertextual nature of the novel is essential to its plot and setting, and re-defines the concept of late-90’s/early 2000’s America as a multicultural, dynamic mythical space.
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Bailey, Iain Andrew Aitchison. "Samuel Beckett, intertextuality, and the Bible." Thesis, University of Manchester, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.520492.
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This thesis takes up the question of intertextuality between the Bible and Samuel Beckett’s oeuvre. It starts with the contention that this relationship has acquired something of the status of a commonplace within Beckett studies; not that substantial scholarly works have not widened out considerably the way that this is understood, but in Ruby Cohn’s words: ‘today every Beckett student knows his literary allegiances—the Bible and Dante, above all’. The Bible’s status for Beckett comes to be treated as a matter of common sense. In response to this critical situation, one aspect of the thesis is to disclose and analyse previously overlooked examples of the Bible’s presence in Beckett’s work, engaging with hitherto occluded parts of the oeuvre (unpublished manuscript texts and the French works, for example). But at the same time, it looks to critically question what is at stake in the claim that the Bible is a matter of common knowledge for Beckett. The methodology put to work in the thesis always begins in close readings of Beckett’s texts, and also of the discourses surrounding his oeuvre. In doing so, it resists an idea that close reading entails a retreat into an ahistorical formalism; rather, it argues for an historicism that does not simply rest on broad notions of orthodoxy and shared values. Rather than taking for granted a common sense idea of what the Bible is (even in the limited sense of what it is for Beckett), the thesis argues for its instability as a ‘text’ across more than one language. Nor, I argue, does Beckett’s oeuvre fix down a particular, single notion of the Bible as the relevant one for its own purposes (the King James Bible, for instance); on the contrary, his work is deeply engaged with the Bible in all its complex, multilingual textuality. The thesis contends that the particular relationship between Beckett and the Bible poses distinctive problems for the kinds of epistemological value invested in a certain understanding of intertextuality; indeed, I look throughout to interrogate the authority invested in familiarity—both that of the author and that of the critic. Following this thread, the thesis also undertakes a sustained engagement with the way in which archival materials are used and valued by a critical practice interested in questions of intertextuality. Through this, I look to do two things at once: both to respond to the extraordinary value of archival documentation for opening up new possibilities within Beckett studies, and at the same time to analyse closely the extents and limitations of what can be claimed on the basis of such analyses. In working through these kinds of question, and responding to the particular exigencies produced by the Bible in relation to the Beckett oeuvre, I also engage with critical issues having to do with theories of affect, the notion of style (asking what it means to adduce some piece of text as ‘biblical’ or ‘Beckettian’), and the analysis of intertextuality in performance. Through all of these readings, the thesis is interested in what it means to read intertextuality in relation to a Beckett ‘oeuvre’, when the ambit of that oeuvre, its internal interrelationships and its points of connection with the world, constantly shift and reformulate themselves. Rather than treating the Bible as a thread that can be safely followed from one end of the oeuvre to the other, guaranteeing a continuity that remains free from the complexities, irruptions and discontinuities performed in Beckett’s texts, the thesis argues that biblical intertextuality is actively involved in those complex Beckettian movements.
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Lindberg, Tobias, and Andreas Karlsson. "Interkontextualitetens universella trådar : Strävan efter medvetenhet inför interkontextuella förhållanden, subjektiva normer & sociala mutationer inom nutida remixkulturer." Thesis, Blekinge Tekniska Högskola, Institutionen för teknik och estetik, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:bth-10365.
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I det rådande informationssamhället där utbytet av information och digitalt material har blivit mer framträdande än någonsin tidigare har även upphovsrättsfallen kring dess användande och återanvändande blivit allt mer aktualiserade. I denna uppsats har vi sökt att studera hur normer kring skapande och originalitet har påverkat kreativa aktörers syn på återanvändning och rekontextualisering under det senare 00-talet och tidiga 2010-talet. Genom att utveckla metoden interkontextualitet har vi studerat hur människan och hennes kognitiva processer influerar rättsfall som rör just deriverade verk och/eller rekontextualisering. Den digitala tekniken har fört med sig nya normer kring skapande tillika hur information förmedlas mellan människor, vilket resulterat i förändrade konsumtionsmönster och en remixkultur där individuella verk inte ses som statiska enheter utan som levande, sammanlänkade uttryck. Kognitiva processer kan ha bidragit till denna remixkultur och i sin tur mer generaliserade attityder från mediadistributionsbolag och myndighetsorganisationer. Med bakgrund av detta söker vi att förespråka en mer öppen syn på de interkontextuella samband som binder kreativa verk och deras bakomliggande kreatörer till varandra. Att se kreativa uttryck som en del i den globala meme-pool,där människor tillsammans bygger vidare på vårt kulturella arv, kan vara ett steg i att motverka skadlig egoism kring det egna skapandet.In the current information society where the exchange of information and digital material has grown to become more prominent than ever before, so has the copyright cases regarding the usage and reusage of said materials become increasingly actualized. In this thesis, we’ve sought to study how norms surrounding creation and originality has affected the views on reuse and recontextualization of creative actors during the latter parts of the 2000’s as well as the early 2010’s. By developing the method intercontextuality, we’ve been studying how mankind and her cognitive processes influence court cases concerning derivative works and/or recontextualization. The digital technology has brought forth new norms surrounding creation as well as how information is mediated between people, which has resulted in changed consumption patterns and a remix culture where individual works are no longer viewed as static entities, but as living, interconnected expressions. Cognitive processes may have contributed to this remix culture and in turn more generalising attitudes from media distribution companies and government organizations. We proceed to advocate a more open view on the intercontextual connections that bind all creative works and their underlying creators together. To view creative expressions as a part of the global meme-pool, where together people keep building on our cultural heritage may just be a step towards preventing harmful egoism surrounding one’s own creations.
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Rehnberg, Hanna Sofia. "Organisationer berättar : Narrativitet som resurs i strategisk kommunikation." Doctoral thesis, Uppsala universitet, Institutionen för nordiska språk, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-234996.
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The subject of this thesis is the communicative practice of strategic storytelling. The aim of the study is to analyse how storytelling is used and handled by organizations to reach comprehensive organizational goals. Within the all-embracing cultural context of modern Western society, here discussed through the concept of the new economy, strategic storytelling is explored in four areas: organizational discourses of strategic storytelling, narrativity as a resource to create and express values connected to the organization, storytelling as a practice of recontextualization and storytelling as an interactive tool. The data consists mainly of strategic stories but also of interviews, observations and documents collected from four Swedish organizations: two companies, a municipality and a congregation of the Church of Sweden. Applying a narratological, social semiotic and dialogical perspective the study investigates how narrativity is used by organizations as a resource to create identification and relations with and among stakeholders. The analyses in the study indicate that meaning is created in different layers. The structural resources of stories are used in various combinations to make organizations appear in specific ways in different situations. Furthermore, the picture of the organization is shaped not only by the stories themselves but also by the very fact that the organization is using storytelling. The potential of recontextualization that is characteristic of narratives is shown to be essential in offering possibilities of identification and a sense of community through storytelling. Furthermore, the fact that a story is told by an individual is shown to play a crucial role in creating a personalized picture of the organization. In strategic storytelling the interpersonal function seems to dominate over the ideational. This is a major finding of the analysis. More specifically, ideation is used as a tool to create interpersonal relations. The study also indicates that strategic storytelling comes with different possibilities and complications depending on what kind of organization is using it. Moreover, it is proposed that narrative as a form of communication fits perfectly within the broader cultural context of the new economy, characterized by commercialization, informalization, individualization and management practices founded on the strategic use of values.
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Ögren, Jennifer. "Tjänarinnornas berättelser : En studie om intertextualitet i Margaret Atwoods Tjänarinnans berättelse." Thesis, Uppsala universitet, Gamla testamentets exegetik, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-384927.
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Margaret Atwoods dystopiska roman Tjänarinnans berättelse (The Handmaid’s Tale) från år 1985 fick åter uppmärksamhet år 2017 när teveseriens första säsong, baserad på romanen, hade premiär. I berättelsen skildras tjänarinnan Offreds liv i republiken Gilead, före detta USA, där infertilitet är ett av de stora problemen. Det föds sällan barn i landet och av de som föds är endast tre av fyra barn friska. Kvinnor med låg social status, men med fungerande livmoder, utses till tjänarinnor och enligt republiken har de en ärofylld uppgift; att föda friska barn åt aristokratiska makar. Republiken legitimerar tjänarinnornas avsaknad av frihet genom att hänvisa till Bibelns texter, främst till Genesisberättelsen om Bilha, Rakel och Jakob. Bilhas uppdrag i hushållskonstellationen är att förse patriarken Jakob med avkommor och på liknande sätt fungerar Offreds roll i romanens handling. Denna uppsats undersöker den bibliska intertextualiteten i romanen. Det förekommer både uppenbara citat och mindre tydliga allusioner. Genom att tillämpa Lina Sjöbergs system om markör, sätt och effekt analyseras bibelreferenserna på tre nivåer. Den första nivån identifierar referensen som citat, refererat, allusion eller tema. Den andra nivån undersöker på vilket sätt intertextualiteten sker och den tredje nivån beskriver vilken effekt bibelreferensen får hos läsaren. Bibeln har länge inspirerat olika kulturyttringar och sedan den senare halvan av 1900-talet har den allmänna populärkulturen studerats ur ett bibelvetenskapligt perspektiv. Trots sekulariseringsteorier går det inte att avfärda bibelberättelsers inflytande i moderna verk. Bibeln har länge varit en del av vår kultur och många känner till de klassiska gammaltestamentliga berättelserna om Adam och Eva, Noa och flodvågen, Abrahams söner, Jobs olycka och Jona i valfisken. Detta bibliotek av böcker, med spridda stilar, har på många olika sätt influerat modern skönlitteratur och Tjänarinnans berättelse är en av dessa.
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Pujol, i. Coll Josep. "Els vilancets 'de negre' al segle XVII." Doctoral thesis, Universitat Autònoma de Barcelona, 2016. http://hdl.handle.net/10803/383042.
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Aquest treball té com a objectius analitzar de forma contextual, textual i intertextual les peces literàrio-musicals conegudes com a vilancets 'de negre' al llarg del segle XVII al Vell Món (les corones espanyola i portuguesa). Molt difoses i interpretades en catedrals i esglésies, aquestes obres còmiques en romanç tenien com a protagonistes personatges negres esclaus, un estereotip present també a altres productes culturals coetanis.
L'apartat contextual s'inicia comparant el fenomen de l'esclavitud africana a Espanya amb el reflex deformat que n'ofereixen les lletres dels vilancets: l'organització en confraries dels esclaus, la seva quotidianitat o l'argot característic. Seguidament se centra en el context de les mateixes obres, interpretades per Nadal, Epifania, Corpus o festes marianes, i elaborades per mestres de capella i poetes 'vilanciquers' com Vicente Sánchez, Manuel de León Merchante o José Pérez de Montoro, que hi van mantenir un to popularitzant.
En la part d'anàlisi, es parteix de la transcripció de 208 textos i 10 partitures inèdits, a les quals s'afegeixen nou fonts musicals més, per constituir un repertori de fonts primàries divers i representatiu. Pel que respecta als textos, se n'estudien diversos àmbits temàtics (paròdia de la societat blanca, la crítica de costums, jocs metateatrals...) i els mecanismes humorístics. Pel que respecta a les músiques, se n'analitzen recursos retòrics d'expressió del text, en especial el tema de l'esternut, molt característic del gènere.
Una part important la constitueix l'anàlisi intertextual, en tant que els vilancets 'de negre' foren molt permeables a introduir-hi recursos teatrals, en especial les formes de teatre breu que li eren properes, com la moixiganga. També amb les danses, sobretot les danses que eren caracteritzades com a 'negres', és a dir, el guineo, el paracumbé i el zarambeque. Es completa la mirada intertextual amb fonts iconogràfiques que també dialoguen amb els vilancets: les Adoracions dels Mags i, en l'àmbit festiu, gegants i tarasques.
L'estudi conclou que els vilancets 'de negre' foren una forma de música devocional que va permetre integrar l'esperit carnavalesc d'arrel profana dins el marc de la Contrareforma catòlica, retratant-hi un tipus d'esclau cristià dòcil que emergia com a "alteritat domesticada" enfront d'altres més problemàtiques, com el turc.The goal of the present work is to analyse, in a contextual, textual and intertextual way, musical and literary pieces known as villancicos 'de Negro' composed during the Seventeenth Century in the Old World (the Spanish and Portuguese crowns). Widespread at that time and performed in all the cathedrals and churches, these comic pieces written in Romance language had as main characters black slaves, which were stereotypes also present in other contemporary cultural products. The contextual chapter begins comparing the phenomenon of African slavery in Spain with the distorted vision that offered the lyrics of the villancicos: their organization in confraternities, their everyday life and their characteristic slang. Then the chapter focuses on the context of these pieces, performed during Christmas, Epiphany, Corpus Christi or during the Marian feasts, and produced by chapel masters and poets 'villanciqueros' as Vicente Sanchez, Manuel de Leon Merchante or José Pérez Montoro, who gave to their works a popular vein. The analysis section deals with the transcription of 218 unpublished works (208 lyrics and 10 scores), plus nine more musical sources. Altogether constitute a diverse and representative repertoire of primary sources. The lyrics are studied from several thematic aspects (parody of the white society, criticism of customs, metatheatrical games...) and humoristic mechanisms. The scores are analysed from their rhetorical resources of expression of the lyrics, especially the issue of sneezing, characteristic of the genre. Another important part of the work is the analysis of intertextuality, as the villancicos 'de negro' were very receptive to introduce theatrical resources, especially short theatre forms, like the 'mojiganga'. Also with the dances, especially the ones characterized as 'black', that is to say, the 'guineo', the 'paracumbé' and the 'zarambeque'. The intertextual approach is complemented with iconographic sources which also dialogue with the villancicos: Adoration of the Magi and festive giants and 'tarascas'. The study concludes that the villancicos 'de negro' were a form of devotional music that allowed the integration of the secular carnival spirit within the Catholic Counter-Reformation, portraying a type of slave, docile and Christian, who emerged as a "domesticated otherness" in relation with other more problematic one, as were the Turkish.
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Zamaron, Sylvie. "Une approche de l'autobiographie : reprises et variations dans les écrits de l'enfance chez Marguerite Duras." Thesis, Paris 4, 2012. http://www.theses.fr/2012PA040199.
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Marguerite Duras place la répétition, en tant que principe d’écriture, au cœur de la plupart de ses œuvres et cette répétition se situe à différents niveaux : celui de la diégèse, du style et des thématiques choisies. Cette étude se fixe donc pour objectif de comparer les écarts qui s’insinuent entre les nombreuses redites dans les récits de l’enfance et d’analyser les procédés narratifs selon trois axes : la restitution des connaissances objectives d’un narrateur omniscient, ses commentaires subjectifs, et enfin l’introduction dans le récit des voix des personnages et de l’auteur elle-même. C’est dans la confrontation de ces points de vue, mis en lumière par des procédés relevant de la syntaxe, de la sémantique ou de la pragmatique, que sont étudiés les enjeux et les effets de ce processus de réécriture d’un livre à l’autre ou même de certains passages à l’intérieur d’un même ouvrage. Ces variations prennent également leurs racines dans le maniement de conventions littéraires et cinématographiques en raison de la diversité de l’œuvre de Marguerite Duras qui propose des réécritures dans des genres littéraires variés et induit une véritable réflexion sur l’écriture elle-même. Enfin, si ces variations répondent à des besoins esthétiques et stylistiques, elles prennent également racine dans la vie réelle de l’auteur puisque la dimension biographique est essentielle dans l’œuvre de Marguerite Duras. Cette recherche est segmentée en fonction des épisodes les plus fréquemment repris d’un ouvrage à l’autre et les procédés sont analysés dans la confrontation des fragments qui se font échoMarguerite Duras uses repetition, as a principle of writing, at the heart of most of her works and this repetition takes place at different levels: the diegesis, the style and themes chosen. Therefore, this study compares the differences between the many repetitions in the childhood narratives and analyzes narrative processes along three axes: the return of objective knowledge of an omniscient narrator, her subjective comments, and finally the introduction of different voices of the characters or of the author herself. It is in the comparison of these views, highlighted by processes within the syntax, semantics or pragmatics that are studied, as well as issues and effects of this process of rewriting from a book to another or even between passages within the same work. These changes also take their roots in the use of literary and cinematic conventions due to the diversity of the work of Marguerite Duras, offering rewritings in various literary genres, and creating a true reflection on the writing itself. Finally, if these variations meet aesthetic needs and style, they also take root in the real life of the author as the biographical dimension is essential in the work of Marguerite Duras. This research is segmented according to the most frequently repeated episodes from one book to another. Processes are analyzed in the confrontation of fragments that écho one another
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Duhamel, Cédric. "Les figures du monstre dans la littérature mexicaine contemporaine (XXème - XXI ème siècles) : héritage, intertextualité et invention." Thesis, Normandie, 2017. http://www.theses.fr/2017NORMR114/document.
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Le monstre intrigue et fascine : il a été étudié, disséqué, et abondamment mis en scène dans des œuvres littéraires. Il reste pourtant mystérieux : nous retrouvons par exemple des monstres similaires dans des cultures éloignées sans aucun contact aussi bien temporellement que géographiquement. Mais si la tératologie est florissante dans de nombreux pays, cet engouement paraît être moins partagé lorsqu’il s’agit de la littérature mexicaine contemporaine car les monstres y sont moins analysés. Ils y sont pourtant présents et nombreux. Une grande partie de notre travail consiste à proposer une typologie des figures du monstre du folklore mexicain en regroupant ceux qui apparaissent dans des recueils de légendes ou des dictionnaires de créatures étranges. Cela permet de comprendre comment il est perçu dans la croyance populaire puis ensuite réutilisé par des auteurs d’œuvres fictionnelles.Le monstre est inscrit dans un imaginaire populaire collectif partagé d’abord oralement puis passé à l’écrit, et ainsi transmis en héritage aux générations futures. L’écriture littéraire s’inspire de cet héritage, ce qui crée une sorte d’hypertextualité entre l’imaginaire collectif présent dans les mythes et légendes, et l’imaginaire individuel de l’auteur par le biais de ses œuvres de fiction. Ce dernier réactive ces sources et même les modifie. L’intertextualité est aussi présente entre les fictions mexicaines et celles du reste du monde, ce qui nous invite à proposer une analyse littéraire comparatiste lorsque celle-ci est possible. Le but de ce travail est de déterminer à travers ces jeux d’écriture et ces inventions, les enjeux de ces figures du monstre dans la littérature mexicaineThe monster intrigues and fascinates: he was studied, dissected, and abundantly staged in literary works. He remains nevertheless mysterious: we find for example similar monsters in distant cultures without any contact so temporarily as geographically. But if the teratology is prosperous in numerous countries, this craze appears to be less shared when it is the contemporary Mexican literature because monsters are less analyzed there. Nevertheless, they are present and numerous. A big part of our work consists in proposing a typology of the figures of the monster of the Mexican folklore by grouping those who appear in collections of legends or the dictionaries of strange creatures. It allows to understand how it is perceived in the popular belief and then reused by authors of fictional works.The monster is registered in a collective popular imagination, shared at first orally then passed to the paper, and transmitted in inheritance to the future generations. The literary writing is inspired by this inheritance, what creates a sort of hypertextuality between the present collective imagination in the myths and the legends, and the individual imagination of the author by means of its works of fiction. The latter revives these sources and even modifies them. The intertextuality is also present between the Mexican fictions and those besides of the world, what invites us to propose a comparative literary analysis when this one is possible. The purpose of this work is to determine through these sets of writing and these inventions, the stakes in these figures of the monster in the Mexican literature
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Burr, Benjamin J. "Intertextuality in the Fiction of Cormac McCarthy." Diss., CLICK HERE for online access, 2006. http://contentdm.lib.byu.edu/ETD/image/etd1374.pdf.
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Penninkilampi, Kai. "Intertextuality : Death in Brunswick : novel into film /." Title page and introduction only, 1993. http://web4.library.adelaide.edu.au/theses/09AR/09arp414.pdf.
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Butcher, John. "Poetry and intertextuality : Eugenio's Montale's later verse /." Perugia : Volumnia, 2007. http://www.loc.gov/catdir/toc/casalini07/07331363.pdf.
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Rim, Dohyun. "Shakespeare and Yeats's plays : impact, influence, intertextuality." Thesis, University of Liverpool, 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.491355.
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This is a study of the multi-faceted relationship between the plays of Shakespeare and W.B. Yeats. While existing studies have tended to focus on the question of poetic influence, this thesis argues that specifically theatrical questions were also at the heart of Yeats's interest in Shakespeare, and shows that these dramatic concerns were closely bound up with the system of thought Yeats developed in A Vision. Moreover, this thesis resists the limitations of an emphasis on the problematic question of influence by taking an intertextual approach that sets the plays of the two dramatists alongside one another, and examines them in terms of the wider framework of Yeats's theoretical writings. In doing so the thesis reflects the cyclical structure ofA Vision. Chapters One and Two assess the respective uses given to thresholds and masks by the two playwrights. It examines their development by Yeats as a means to representing the struggle between subjectivity and objectivity, and looks at how Yeats finds a critical stimulus for his concern with these devices in Shakespeare. The threshold is seen to originate in physical lines of demarcation on the stage which later become more sophisticated and less literal representations of liminality. Masks are considered as the functional successors to thresholds in Yeats's plays, and again both their physical and symbolic contributions are examined. Both devices are shown especially to reflect the symbolic tendencies of Shakespeare and Yeats. While masks offer one way in which a character's anti-self can be suggested, Chapter Three analyses the comparable achievement of the play-within-a-play. This self-consciously theatrical set-piece is shown to be employed by Shakespeare and Yeats as a way of confronting on-stage audiences with parallel and alternate versions of their selves. Chapter Four surveys two interlocking dramatic devices: the subplot, which is used to mirror and comment upon the main plot, and 'Shakespeare's Myth', which pairs contrasting characters in order to mutually enhance the audience's understanding of them. These devices posit subjective and objective qualities against each other. The Fool is considered as representative of subjectivity in Chapter Five, which looks at how both Shakespeare and Yeats conceive of the Fool as subversive of conventional wisdom. The analysis of self and anti-self of preceding chapters is extended. Chapter Six explores tragic joy, which is experienced by the hero in his acceptance of death. It is shown how the themes of liminality, destiny and subjectivity are conjoined in the act ofputting on a mask to confront death. In recapitulating the material of the preceding chapters the Conclusion argues that what Shakespeare and Yeats share is an interest in the subjective conflict of the soul as opposed to a concern for practical objective appearance. Shakespeare's ability to represent the soul is a great inheritance for Yeats as a symbolist dramatist because the soul is, to him, a constant subject of drama and the only subject of symbolism. The continuation of the anti-naturalistic dramatic tradition in twentieth century absurdist plays is regarded as a legacy of Shakespeare and Yeats. Supplied by The British Library - 'The world's knowledge'
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Fairhall, Adam Leslie. "Intertextuality and the dialogic principle in jazz." Thesis, Manchester Metropolitan University, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.496183.
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This PhD project examines the central issue of intertextuality and dialogism m jazz trom a range ot critical, analytical and practical perspectives. A Lcal vocabulary drawn from theories of 'codes', including work in the fields of intertextuality studies and semiotics, is applied to the study of jazz performance in order to further expand on theories of signifyin' already popular in jazz studies. The concept of 'code-mixing' is central to the thesis, and various methods by which jazz musicians juxtapose and blend codes, often representative of different cultural areas, are identified and analyzed using notated examples.
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Appleton, Rosemary Jane. "Intertextuality and Gender in C.U.L. MSFf.1.6." Thesis, University of Oxford, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.503969.
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Bracker, Nicole. "Rewriting Robinson Crusoe : excessive economies of intertextuality." Thesis, University of East Anglia, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.365165.
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Corre, Christian. "Citation et intertextualité dans les musiques récentes." Lille 3 : ANRT, 1988. http://catalogue.bnf.fr/ark:/12148/cb37613025n.
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Sisson, Michael. "Intertextuality in the poetry of Pedro Shimose /." Connect to resource, 1994. http://rave.ohiolink.edu/etdc/view.cgi?acc%5Fnum=osu1265300683.
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Osswald, Juliane. "Intertextualität und Gesellschaftdebatte in Jelineks Die Schutzbefohlenen." Thesis, Högskolan Dalarna, Tyska, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:du-29610.
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Diese Examensarbeit untersucht die Intertextualität und die Hintergrundinformation des Theateressays die Schutzbefohlenen von Elfriede Jelinek. Es werden dabei aktuelle Ereignisse untersucht und die von Jelinek angegebenen Intertexte.
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Martinuci, Aguinaldo. "Stilnovisti intertextualité : memorial e análise do disco." reponame:Repositório Institucional da UFPR, 2017. http://hdl.handle.net/1884/48542.
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Orientador : Prof. Dr. Daniel Eduardo QuarantaDissertação (mestrado) - Universidade Federal do Paraná, Setor de Artes, Comunicação e Design, Programa de Pós-Graduação em Música. Defesa: Curitiba,16/03/2017
Inclui referências : f. 118-121
Resumo: Este trabalho é simultaneamente uma investigação artística, um memorial composicional e uma análise de um disco. Ambos se fundamentam no dialogismo e na intertextualidade. O dialogismo aparece como ferramenta analítica para explicar a formação da voz, ou antes, das vozes que habitam a voz do compositor. A intertextualidade aparece de forma ambivalente: é utilizada tanto como ferramenta composicional - sobretudo na elaboração dos arranjos e na arte final do disco - quanto método de análise de seu resultado final. Palavras-chave: Dialogismo; intertextualidade; análise intertextual; investigação artística.
Abstract: This work is at once an artistic investigation, a compositional memoir and an analysis of an album. All of them are based on dialogism and intertextuality. Dialogism is used as an analytical tool to explain the formation of the songwriter's voice, or rather the voices that inhabit his voice. Intertextuality has an ambivalent role as it is used as a compositional tool - especially on the creation of the arrangements and art of the album - as well as a method to analyse the work as a whole. . Keywords: Dialogism; intertextuality; intertextual analysis; artistic investigation.
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Corre, Christian. "Citation et intertextualité dans les musiques récentes." Paris 8, 1988. http://www.theses.fr/1988PA080252.
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La musique recente ne s'est pas seulement fondee sur l'abandon de systemes syntaxiques et de codes esthetiques herites de l'age precedent : elle a largement imite, copie, fait reference a un passe -proche ou lointain. Toutefois, le sens de ces pratiques (extremement courantes en musique depuis toujours) a change avec l'avenement de la modernite, et la citation, sous toutes ses formes, apparait aujourd'hui comme un phenomene general, un effet objectif du materiau musical a un moment donne (au tournant des xixeme et xxeme siecles). Mais la legitimite de l'emprunt n'etait pas assuree : le discours musicologique dans son ensemble, qu'il se soit attache a la definition de son objet (chapitre i) ou au cas de createurs exemplaires (ch. Ii) s'est employe a proscrire ou a banaliser une telle conduite avant de pouvoir, plus recemment, la reconnaitre pour elle meme. Restait a interpreter la citation en tant que geste musical : cette specificite reside dans le rapport que l'enonce cite entretient avec la memoire et le temps (ch. Iii), rapport que les musiques ulterieures mettront, pour de bon, en pleine lumiere (ch. V). De la citation-reminiscence a la citation-ready-made, s'operera un glissement : la musique s'interessera moins a sa propre histoire qu'a sa propre realite (ch. Vii). Enfin, une autre operation vient ici redoubler et pour une part supporter la citation : transcrire, (ch. Iv) comme travail d'ecriture propre au texte musical et a lui seulRecent music has not only been founded on the abandonment of syntactical systems and aesthetic codes inherited from the previous age : it has widely imitated, copied, alluded to the past -near or distant. However, the meaning of all these practices (extremely common throughout history) has changed with the advent of modernity, and citation in all its forms appears today as a general phenomenon, an objective effect of the musical material at a given moment ( at the turn of this century). But the legitimacy of borrowing was not assured : the discourse of musicology as a whole, wether applied to defining its object (chapter i) or to examples of creators (ch. Ii), has concerned itself with proscribing or standarding quch a practice before being able, more recently, to recognise it in its own right. It remained to interpret citation as a musical gesture : the specific character of it lies in the relation which the cited text maintains with memory and time (ch. Iii), a relation which later music will ultimately bring to light. A gradual shift will take place from reminiscence-citation to ready-made-citation : music will interest itself less with its own history than with its own reality (ch. Vii). Finally, another operation comes to double and in part support citation : transcribing (ch. Iv) as a work of writing peculiar to the musical text, and to it alone
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Brown, Llewellyn. "Giono et la Bible : intertextualité et imaginaire." Paris 3, 1989. http://www.theses.fr/1989PA030131.
Full textAbstract:
Les motifs bibliques subissent des transformations importantes lorsqu'ils sont transposes dans l'univers romanesque. Toutefois on remarque la presence de noms, de titres et de citations bibliques. Trois figures caracterisent l'ecriture "biblique" de giono ; la metaphore pour les valeurs religieuses ; le catalogue, solidaire des babels infernales du monde moderne ; l'exhortation pour le style "prophetique". L'etude de l'opposition paradis-enfer se suit des motifs d'eclatement (apocalypse et deluge). Un personnage central joue souvent le role de messie. Les anges figurent l'etat paradisiaque ou bien ils s'engagent en une lutte avec "jacob". La religion de giono est celle qui se vit a travers l'ecriture elle-memeThe biblical motifs undergo important transformations when they are transposed into the univers of the novel. However we can notice the presence of biblical names, titles and quotations. Three rhetorical figures characterise giono's "biblical" writing ; the metaphore for the religious values ; the catalogue, typical of the modern world's infernal babels ; the exhortation for the "prophetic" style. The study of the paradise-hell dichotomy is followed by motifs of bursting (apocalypse and deluge). A central character often plays the role of messiah. Angles represent the paradisiac state or otherwise they become involved in a fight with "jacob". Giono's religion is one which is completely involved in the act of writing
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Sisson, Michael Drew. "Intertextuality in the poetry of Pedro Shimose." The Ohio State University, 1994. http://rave.ohiolink.edu/etdc/view?acc_num=osu1265300683.
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