To see the other types of publications on this topic, follow the link: Literary genres.
Dissertations / Theses on the topic 'Literary genres'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the top 50 dissertations / theses for your research on the topic 'Literary genres.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Browse dissertations / theses on a wide variety of disciplines and organise your bibliography correctly.
1
Van, Niekerk A., and M. Conradie. "Literary genres as points of interest in print advertising." Journal for New Generation Sciences, Vol 12, Issue 2: Central University of Technology, Free State, Bloemfontein, 2014. http://hdl.handle.net/11462/665.
Full textAbstract:
Published ArticleThe article focuses on the interplay between print advertisements and literary genres such as poetry, drama, folklore, etc. This interplay may be used to develop an advertisement's point of interest to attract attention from a specific target audience. Based on previous research we hypothesise that literary genres are exploited as a means to engage audiences. The study aims to give a description of the typical genre characteristics of modern literary genres in SA print advertising. It also endeavours to do a pragmatic analysis of these advertisements against the background of the specific literary genre category and the genre qualities of advertisements to identify the implied marketing message.
2
Myo-Myint, M. "A study of the interpersonal dimension of narrative fiction with specific reference to power and control in Muriel Spark's Memento Mori and its implications for the teaching of English literature in a TEFL context." Thesis, University of Edinburgh, 1987. http://hdl.handle.net/1842/20053.
Full text
3
Balevičienė, Dainora Ieva. "Density and distribution of cohesive devices in the texts of literary and legal genres." Master's thesis, Lithuanian Academic Libraries Network (LABT), 2014. http://vddb.library.lt/obj/LT-eLABa-0001:E.02~2014~D_20140721_105522-20260.
Full textAbstract:
The aim of this paper was to analyze the impact of the genre on the use of cohesive devices in the literary and legal texts. To achieve the aim the following objectives were specified: to determine the typical patterns of the use of cohesive devices in literary and legal texts and to identify similarities and differences of the use of cohesive devices in the texts of different genres under investigation. The approaches to the research were quantitative and qualitative as well as content analysis method was chosen for the analysis. The research demonstrated that the genre has an evident influence on the density and distribution of cohesive devices. It also demonstrated that most often used cohesive devices in fiction belong to the group of reference and in legal documents to the group of lexical cohesion. The amassed data showed that the literary genre demonstrates all possible types of substitution and ellipsis whereas in the legal genre this type of cohesive devices has very low frequency. In addition, conjunction was identified as the least commonly employed type of cohesive devices in fiction as well as in the legal documents. Cohesive devices are important in all types of communication as they signal to the addressee the connections between the sentences of the text; therefore, the further studies are required to determine the influence of textual genre on the choice of cohesive devices in the genres that were not thoroughly investigated before.Tyrimo tikslas yra panagrinėti, kokią įtaką teksto žanras turi renkantis tarpfrazinio ryšio priemones literatūriniame ir teisiniame žanruose. Suformuluoti šie tyrimo uždaviniai: apibrėžti tipiškus tarpfrazinio ryšio priemonių vartojimo literatūriniame ir teisiniame tekstuose modelius ir identifikuoti tarpfrazinio ryšio priemonių vartojimo panašumus ir skirtumus tirtuose skirtinguose žanruose. Tarpfrazinio ryšio priemonių vartojimo dažnumui ištirti buvo taikytas kiekybinis požiūris. Žanro įtaka tarpfrazinio ryšio priemonių pasirinkimui buvo vertinta kokybiniu požiūriu. Tarpfrazinio ryšio priemonėms tekstuose išskirti buvo panaudotas turinio analizės metodas. Tyrimas parodė, kad teksto žanras iš esmės nulemia tarpfrazinio ryšio priemonių vartojimo dažnumą ir jų pasiskirstymą tekste. Dažniausiai vartojamos tarpfrazinio ryšio priemonės literatūriniame tekste priklauso referencijos tipui, o teisiniuose dokumentuose – leksinio tarpfrazinio ryšio priemonių tipui. Literatūrinio žanro tekste sutinkami visi substitucijos ir elipsės tipai, tuo tarpu kai teisinio žanro tekste šis tarpfrazinio ryšio tipas yra vienas iš rečiausiai vartojamų. Jungtukinis ryšys ir literatūrinio, ir teisinio žanrų tekstuose yra rečiausias. Tarpfrazinio ryšio priemonės yra svarbios visoms komunikacijos formoms, nes jos signalizuoja adresatui jungtis tarp sakinių. Siekiant apibrėžti teksto žanro įtaką tarpfrazinio ryšio priemonių pasirinkimui žanruose, kurie iki šiol nėra pakankamai ištirti, yra reikalingos... [toliau žr. visą tekstą]
4
Rodriguez, Zina L. "Writing to survive nuyorican literary and cultural performativities across genres in the 1970s and 1980s /." Diss., UC access only, 2009. http://proquest.umi.com/pqdweb?did=1874932051&sid=1&Fmt=7&clientId=48051&RQT=309&VName=PQD.
Full text
5
Kenney, Stephen Robert. "Briefs: A Discussion of Genre and a Presentation of Short Fiction." Thesis, University of North Texas, 1993. https://digital.library.unt.edu/ark:/67531/metadc501044/.
Full textAbstract:
Eleven short fictions are introduced with a discussion of genre. Genre is looked at as being a matter of degree ranging from absolute prose on one end of the spectrum to a very specific form of poem with conventions of its own such as the Shakespearean Sonnet on the other end of the spectrum. The analysis is made in an appeal for the short-short story (or sudden fiction) as being a genre of its own. It is argued that regardless of what category a fiction may fall into (and some of the distinctions seem arbitrary), that what is most important is success at conveying a meaningful experience.
6
Mac, Mathúna Liam. "The growth of Irish (L1) : English (L2) Literary Code-mixing, 1600-1900: contexts, genres and realisations." Universität Potsdam, 2007. http://opus.kobv.de/ubp/volltexte/2008/1928/.
Full textAbstract:
Extract:
[...]Intriguing as they undoubtedly are, the early sixteenth-century lists of books in the Earl of Kildare’s library may well have inadvertently helped to lull scholars into visualising a rather idealised picture of language balance in multilingual late medieval Ireland. The lists reflect a society in which the four languages, Irish, English, Latin and French, vied as scholarly media and where the outcome in the Earl’s library was a four-way photo-finish. The number of volumes in each of the languages was recorded as follows: Latin, 34; French, 35; English, 22; Irish, 20 (Mac Niocaill 1992: 312-314). But of course the multilingual contact situation in Ireland had always been quite dynamic, both at vernacular and at scholarly levels, following the Anglo-Norman invasion of 1169. Although French continued to be employed in official documents into the second half of the 15th century, it had already ceded its vernacular role to English in the towns of the colonists prior to the drawing up of the Statutes of Kilkenny in 1366. These Statutes, composed in Norman-French, the primary language of English law at the time, provide an earlier snapshot of the language situation within the areas under English jurisdiction, as they sought to compel the colonists to desist from adopting Irish as a community vernacular. Ironically, no mention is made of Norman-French in the Statutes themselves. It is clear that what was at issue was a contest for supremacy between Irish and English as the principal vernacular among the colonists.[...]
7
Desmarais, Maya. "En quête d'une écriture hors genre(s) : processus de déconstruction générique dans l’œuvre d’Angélica Gorodischer." Thesis, Toulouse 2, 2011. http://www.theses.fr/2011TOU20091.
Full textAbstract:
Nous proposons, dans la lignée des études culturelles et des études de genre, de mettre en corrélation genres littéraires et genre (gender) à partir de l’analyse de l’œuvre narrative d’Angélica Gorodischer (1928), une auteure argentine contemporaine. Le positionnement de cette auteure féministe dans le champ littéraire repose sur la déconstruction des modèles normatifs pour interroger la logique même de catégorisation, tant au niveau des genres littéraires que des représentations sociales hétéronormatives, et donc genrées. En effet, le canon littéraire, en interaction avec le champ social, se structure à partir de rapports de domination, rendus invisibles et ahistoriques par un processus de naturalisation, dont la logique taxinomique renforce l’aspect hiérarchisant. Nous analysons les champs social et littéraire dans lesquels évolue cette auteure qui se caractérise par la rupture et assume une position périphérique par rapport à de multiples centres dont elle interroge, par son écriture, la légitimité. Ensuite, nous observons plus précisément son rapport à la norme et aux genres littéraires en étudiant les modulations génériques qu’elle opère vis-à-vis d’un cadre générique précis, puis les processus inter- ou transgénériques que les textes de l’auteure mettent en œuvre pour déconstruire, dans une logique postmoderne, taxinomies et hiérarchies. Les écarts ainsi générés par rapport au canon, qui participent à des processus anamorphotiques, mettent en tension les genres et perturbent le lecteur par rapport à ses horizons d’attente, tout en renouvelant ledit canonWe intend, as it is traditionally done in cultural and gender studies, to connect literary genres and gender by analyzing Angelica Gorodischer’s narrative work (1928), an Argentinian contemporary female writer.This feminist female writer undoes normative models in order to question the very logic of categorization, in literary genres as well as in heteronormative social representations. Indeed, the social field and the literary canon are defined by the naturalization of a domination scheme. Indeed, the literary canon, linked with the social field, is built from domination schenes, which become invisible and out of history thanks to a naturalization process. The categorization logic of this process thus strengthens the feeling of a hierarchical organization. We analyse the social and literary fields in which this female writer evolves. She represents a rupture and questions the legitimacy of multiple centres while keeping a peripheral position. Then, we study more precisely the way she considers norm and literary genres by analyzing the generic modulations she uses in her writing, starting from a specific generic background. We then focus on the inter or transgeneric process the feminist female writer’s texts implement to undo, in a post-modern logic, categories and hierarchies. By doing so, she deviates from the canon, creating anamorphosis process which bring out the limits of genres and disturb the reader’s expectations, renewing this canon
8
Arellano, Socorro. "Using Project GLAD strategies in the teaching of literacy genres to second grade bilingual students." CSUSB ScholarWorks, 2006. https://scholarworks.lib.csusb.edu/etd-project/2997.
Full textAbstract:
The project provides second grade teachers at the Perris Elementary School District with teaching approaches, tools, and strategies that have been proven to increase comprehension skills in English language learners (ELL) when teaching literary genres. Project GLAD (Guided Language Acquisition Design) offers an alternative curriculum to the scripted curriculum as required by the No Child Left Behind Act.
9
Chamayou-Kuhn, Cécile. "Les écritures du corps dans les oeuvres d'Evelyn Schlag et Elfriede Jelinek. Étude des genres sexuels et des genres littéraires." Thesis, Paris 3, 2010. http://www.theses.fr/2010PA030156.
Full textAbstract:
Le corps, objet d’analyse duel pris dans une série de dichotomies souvent qualitatives [nature vs culture, discursivité vs expression inédite de soi], entretient des liens étroits avec le langage. Centrée sur les mécanismes de « corporalisation » [Judith Butler], qui sont abordés à travers le prisme de la différence sexuelle, cette étude comparative interroge certaines oeuvres écrites par deux auteures autrichiennes contemporaines : Evelyn Schlag et Elfriede Jelinek. Leurs écritures, bien que nourries par une évidente critique du langage, laissent apparaître de profondes divergences qui dénotent une conception différente du masculin et du féminin. Favorisant une approche heuristique et critique des théories féministes énoncées dans les années 1970-1980 avant d’ouvrir une réflexion sur les fondements textuels de la culture [Kulturwissenschaften] et, surtout, sur leurs implications au sein des études de genres [Gender Studies], ce travail s’attache aux processus de « mise en texte » du corps. La méthode adoptée se situe en effet à l’intersection d’une analyse des genres sexuels [psychanalyse, déconstruction, métarécit] et d’une analyse des genres littéraires [romans, pièces de théâtre, poésie, etc.] afin d’éprouver, dans une perspective plus large que ne le serait la stricte corrélation entre féminité et subversion du logos, les stratégies de confirmation, de détournement ou d’abolition des frontières génériques auxquelles obéissent les poétiques de chacune des deux auteures. Parallèlement sont étudiés les effets provoqués par de tels maniements textuels dans l’optique d’une « resémantisation » [non-essentialiste] du corps féminin par le littéraireAnalysing the body often entails a series of – often qualitative – dichotomies [nature vs. culture, discourse vs. novel self-expression], and invariably intertwines with language. This comparative study centres on “embodiment” mechanisms [Judith Butler], and broaches them through the prism of sexual differences, in books by two contemporary Austrian authors: Evelyn Schlag and Elfriede Jelinek. Their writing self-evidently criticises language but likewise unveils deep divergences that denote different conceptions of male and female. This work favours a heuristic approach, which critiques the feminist theories from the 1970s and 1980s before homing in more specifically on the textual foundations of culture [Kulturwissenschaften] in general, and their implications for gender studies in particular. This study zooms in on the process of producing text about the body. The method is at the crossroads between an analysis of gender [psychoanalysis, deconstruction and metalanguage] and of literary genres [novels, plays, poetry, etc.]. It probes strategies to cement, twist or eliminate the generic frontiers that each of these authors’ poetic angles follow, from a wider perspective than the strict correlation between femininity and logos subversion. It simultaneously questions the effects of literates handling text with a view to “re-semantising” the feminine body in a non essentialist manner
10
Briquet, Aurélie. "Le Jeu des genres dans l'oeuvre romanesque d'Alfred Jarry : transformations, hybridations, mélanges." Thesis, Paris 3, 2013. http://www.theses.fr/2013PA030113.
Full textAbstract:
Cette thèse se propose d’étudier sous l’angle des genres et formes littéraires les romans d’Alfred Jarry : Gestes et opinions du docteur Faustroll, pataphysicien (posth. 1911), Les Jours et les nuits (1897), L’Amour absolu (1899), Messaline (1901), Le Surmâle (1902) et La Dragonne (posth. 1932). Il s’agit d’analyser la manière dont ces œuvres trop méconnues, qui se déclarent « romans » par leur sous-titre, résultent en réalité de phénomènes de transformation, d’hybridation ou de mélange des genres. Alfred Jarry, qui a commencé sa carrière littéraire sous les auspices du symbolisme, participe d’abord à faire évoluer le genre romanesque lui-même en élaborant des œuvres anti-illusionnistes qui accordent une large place à l’onirisme, s’appuient sur une temporalité originale, une structure non-linéaire et des personnages évanescents. Ces romans sont aussi des textes hybrides : ils exploitent les ressources de l’argumentation en donnant naissance à des digressions didactiques teintées de pataphysique, tandis que la théâtralité fait éclore des dialogues et des personnages influencés par le mode dramatique et l’imaginaire des arts du spectacle. Enfin, les romans d’Alfred Jarry subissent la contamination de la poésie, à l’heure où celle-ci tend à investir tous les genres littéraires et où émerge le vers libre. Des poèmes versifiés font leur apparition au sein des textes romanesques, et la prose est elle-même infléchie en direction de l’expression poétique, par son emploi de l’image et d’un rythme spécifique. Ces œuvres apparaissent alors comme le laboratoire d’un nouvel espace générique, en pleine métamorphose à la charnière du XIXe et du XXe siècleThis thesis aims at studying, under the perspective of literary genres and forms, Alfred Jarry’s novels : Gestes et opinions du docteur Faustroll, pataphysicien (posth. 1911), Les Jours et les nuits (1897), L’Amour absolu (1899), Messaline (1901), Le Surmâle (1902) and La Dragonne (posth. 1932). It shows how these largely overlooked works, labelled as « novels » by their subtitles, are actually the result of transformations, hybridization and mixings of genres. First, Alfred Jarry, who began his literary career under the auspices of symbolism, plays a role in the evolution of fiction itself, by creating anti-illusionist works where dreams prevail, and which are set in an original temporality, with a non-linear structure and evanescent characters. Then, these novels are also hybrid texts: they resort to argumentation, giving birth to didactic digressions coloured with “pataphysique”, while theatricality brings about dialogues and characters which are influenced by the dramatic genre and the imaginary world of the performing arts. Finally, Alfred Jarry’s novels are contaminated by poetry at a time when the latter tends to pervade all the literary genres and when free verse emerges. Verse poems appear in the novels, and prose itself turns to poetic expression, by using images and a specific rhythm. Therefore these fictional works can be seen as the laboratory of a new generic space, undergoing a deep transformation at the turn of the nineteenth and the twentieth century
11
Mourão, Mônica Assunção. "Leitura, linguagem e letramento: o conto de fadas no ensino fundamental." Universidade do Vale do Rio dos Sinos, 2015. http://www.repositorio.jesuita.org.br/handle/UNISINOS/4822.
Full textAbstract:
Submitted by Silvana Teresinha Dornelles Studzinski (sstudzinski) on 2015-10-07T15:16:20Z
No. of bitstreams: 1
MÔNICA ASSUNÇÃO MOURÃO_.pdf: 1706936 bytes, checksum: 1829ae1e79010f85857ea7d0e13ce362 (MD5)Made available in DSpace on 2015-10-07T15:16:20Z (GMT). No. of bitstreams: 1 MÔNICA ASSUNÇÃO MOURÃO_.pdf: 1706936 bytes, checksum: 1829ae1e79010f85857ea7d0e13ce362 (MD5) Previous issue date: 2015-03-12
UEMA - Universidade Estadual do Maranhão
O presente estudo procurou identificar como ocorre o letramento literário de alunos dos anos iniciais, do ensino fundamental. Para isso foi realizada uma pesquisa em uma turma de 5º ano de uma escola da rede pública municipal em Imperatriz, Maranhão. Na fundamentação teórica foi indispensável a concepção teórica de autores como Vygotsky (1988), Bakhtin (1995, 1997), Bettelheim (2002), Bronckart (2006), Schneuwly e Dolz (2004), Soares (2004, 2009, 2011), Rojo (2008), Guimarães e Kersch (2012), Marcuschi (2008), Cosson (2012), e Mota-Roth (2011) entre outros, pois trazem ao centro das atuais discussões o papel da Linguística Aplicada em relação ao entendimento que se tem sobre os gêneros textuais e letramento.A base deste estudo encontra-se justamente no processo intitulado, na altura dos anos 80, como letramento, ou seja, um olhar direcionado não apenas para a aquisição do ler e do escrever, mas também para o desenvolvimento do indivíduo enquanto ser social, inserido em uma sociedade letrada que faz uso da linguagem em diversos contextos, com inúmeras finalidades e com objetivos específicos.A pesquisa se configura como qualitativa interpretativa, com aspectos da pesquisa ação e, além da observação, teve-se como instrumentos entrevistas semiestruturadas, diário de campo e produções de alunos. O trabalho girou em torno do gênero contos de fadas. Os dados revelaram que houve um letramento literário apesar de ser pouco presente em sala de aula. Dessa forma, pode-se dizer que o letramento literário pode ocorrer desde os anos iniciais de escolarização, apesar dos obstáculos de acesso aos livros, que, principalmente, as escolas periféricas enfrentam. Percebeu-se também que, se o trabalho com o texto literário for mais dinâmico e sistematizado, os resultados alcançados podem ser bastante significativos para o processo de desenvolvimento da escrita e da leitura. As oficinas de letramento literário aplicadas pela pesquisadora deram margem a tal afirmação, pois o interesse da turma sempre foi algo presente no decorrer das aulas de Língua Portuguesa, Literatura e Produção textual, mas seria necessário um maior número delas para se avançar nessa questão.
This present study aimed to identify how the literary literacy of the students of the early elementary school occurs. For this the research was carried out in a class of 5th year of a public municipal school in Imperatriz, Maranhão. In the theoretical foundation was indispensable the theoretical conception of authors such as Vygotsky (1988), Bakhtin (1995, 1997), Bettelheim (2002), Bronckart (2006), Schneuwly and Dolz (2004), Soares (2004, 2009, 2011), Rojo (2008) , Guimarães and Kersch (2012), Marcuschi (2008), Cosson (2012), and Mota-Roth (2011) among others, as they bring to the center of the current discussions the role of the Applied Linguistics in relation to the understanding we have about genres and literacy. The basis of this study is just up the process entitled, at the time of the 80’s, such as literacy, so, a directed look not only to the reading and writing acquisition, but also to the development of the individual as a social being, inserted in a literacy society which makes use of the language in different contexts, with innumerous purposes and specific objectives. The research is configured with the interpretative qualitative aspects of the action and, beyond the observation, it was taken as the instruments the semi-structured interview and the dairy field. The data revealed that there was the literary literacy even though was not enough in the classroom. Thus, it can be said that the literary literacy can occurs since the early years of schooling, despite of the obstacles that mainly the peripheral schools face. It was also realized that, if the work with the literary text is more dynamic and systematic, the results achieved can be quite significant to the process of development of writing and reading. The literary literacy workshop applied by the researcher gave rise to such claim, because the interest of the class was always something present during the classes of Portuguese, Literature and Textual Production, but it takes a greater number of them to move forward on this issue.
12
Marro, Frédérique. "Ecritures romanesque, critique et épistolaire : la croisée des genres dans l'oeuvre de Barbey d'Aurevilly ( 1851-1865)." Thesis, Paris 4, 2013. http://www.theses.fr/2013PA040080.
Full textAbstract:
Jules Barbey d’Aurevilly laisse une œuvre polymorphe. Les années 1851-1865 sont, à cet égard, exemplaires. Chaque semaine, il écrit un article pour Le Pays et envoie une lettre à son ami Trebutien. Jamais autant de récits aurevilliens n’auront paru qu’à cette période : la première des Diaboliques, Le Dessous de cartes d’une partie de whist, et les romans Une vieille maîtresse, L’Ensorcelée, Le Chevalier des Touches et Un prêtre marié. Menant de front ces écritures, Barbey semble cependant les dissocier. L’écriture critique, soumise aux conditions éditoriales des journaux, relève de l’urgence, de la censure et de “ la Nécessité ”. En revanche, les lettres donnent la liberté de “ rugir ” ; elles ouvrent une parenthèse au milieu du “ tintamarre ” pressant des journaux et de la “ fournaise ” du travail romanesque. Celui-ci – par le pouvoir de l’Imagination – apparaît néanmoins comme le lieu privilégié d’une expression personnelle authentique. Pouvons-nous imputer de manière aussi catégorique une fonction à la lettre, à l’article et au roman ? Certes, la correspondance est un espace de spontanéité où Barbey pénètre souvent en “ triple hâte ” ; elle ouvre aussi une véritable réflexion sur l’écriture, sert de matrice au roman et à la critique. De même, l’écriture critique nourrit la création romanesque, affine les choix esthétiques. Ce polymorphisme, loin de cantonner les genres dans une fonction et une esthétique particulières, dessine une cohérence générale où chaque écriture influence l’autre pour tenter d’atteindre “ l’éloquence du cœur ”. C’est bien cet idéal d’écriture que Barbey d’Aurevilly poursuit de 1851 à 1865 et qui fonde l’esthétique de sa proseJules Barbey d’Aurevilly left a polymorphous work. In that respect, the years 1851-1865 were exemplary. Every week he wrote an article for Le Pays and sent a letter to his friend Trebutien. No other period saw so many Aurevillien tales published : the first short story of Les Diaboliques, Le Dessous de cartes d’une partie de whist, and novels : Une vieille maîtresse, L’Ensorcelée, Le Chevalier des Touches et Un prêtre marié. Though he had to deal with those pieces of writing at the same time, Barbey seemed to dissociate them. Critical writing, submitted to editorial conditions of newspapers resulted from emergency, censorship and “Necessity”. On the other hand, the letters gave him a chance to “roar”: they opened parentheses amongst the pressing “din” of the newspapers and the “furnace” of novel writing. The latter – through the power of Imagination – appeared nonetheless as the privileged place for authentic personal expression. However, can we grant a function to a letter, an article or a novel in such a categorical manner? Of course, letters offered Barbey space for spontaneity into which he entered hurriedly. They also gave food for thought on writing itself, and were used as a pattern for novel and critical writing. In the same way, critical writing improved fiction and refined esthetic choices. This polymorphism did not limit genres to a particular function or aesthetic choice but designed a global coherence in which each piece of writing influenced another to try and reach ‘the eloquence of the heart’. Indeed that was the ideal writing Barbey d’Aurevilly pursued from 1851 to 1865 and which created the aesthetic qualities of his prose
13
Fonseca, Malavasi Marisol. "El agua cántara: incursiones de la belleza." Thesis, University of Iowa, 2014. http://ir.uiowa.edu/etd/4630.
Full textAbstract:
El agua cántara es una historiografía apócrifa de la literatura. Esta compilación incluye versiones paródicas del realismo, el romanticismo, el costumbrismo y el posthumanismo, entre otros discursos, géneros y movimientos (los cuales, desde la óptica del absurdo, bien pueden ser una misma cosa). Además de realizar un recorrido por algunas de las principales formas textuales de Occidente, esta antología elabora y rastrea su propio mito de origen de la literatura: el sonido como máximo valor estético.
14
Girardi, Lucas Werlang. "As tramas do Passo Honroso: uma análise comparativa entre as narrativas do evento do Passo Honroso de Suero de Quiñones." Universidade de São Paulo, 2018. http://www.teses.usp.br/teses/disponiveis/8/8138/tde-23112018-124808/.
Full textAbstract:
Esta pesquisa busca estabelecer a análise de diversas fontes produzidas entre os séculos XV e XVI, em território ibérico, ligadas a um evento denominado Passo Honroso de Suero de Quiñones. Dentro desta variedade de fontes, há uma narrativa detalhada do que ocorreu neste evento, que apesar de variações entre os textos, obedece a uma mesma linha mestra, um enredo. Assim, levanta-se o questionamento sobre qual a relação entre a constelação documental selecionada, de recorte temporal aproximado, e tratando de uma mesma narrativa, ainda que possam apresentar variações entre si. O trabalho percorrerá por apreciações individuais das fontes, assim como da comparação entre as mesmas, investigando suas características físicas de forma técnica, codicológica e paleográfica, e compreendendo suas composições, como os escribas participantes, suas interações entre os fólios, as lacunas e disposição dos conteúdos. Serão averiguadas relações de aproximação e distanciamento entre as fontes, dadas suas proximidades de produção e conteúdo. A análise comparativa será realizada através da colação das transcrições dos textos, e através de sistematizações em tabelas será abordada a construção da narrativa do evento a partir das variantes entre as versões do texto e as particularidades de cada escriba ao transmitir o conteúdo. Outra temática a ser questionada identifica-se como o gênero textual da narrativa do Passo Honroso, uma vez que seu enredo apresenta características diversas, abrangendo uma escrita supostamente historiográfica, por seu formato e intenção de legitimação, além de sua afinidade com a literatura, aspectos que devem abarcar discussões sobre as noções de história e verdade para os sujeitos do período.This research seeks to establish the analysis of several sources produced between the fifteenth and sixteenth centuries, linked to an event denominated \"Passo Honroso de Suero de Quiñones\". Within this variety of sources, there is a detailed narrative of what occurred in this event, which despite variations between texts, they follow the same guideline, a plot. Thus, the question about the relationship between the selected documentary constellation, with an approximate time of production, and the same narrative, is raised, even though they may presente vairations from one another. The work will be based on an individual and comparative appreciation of these sources, investigating their physical characteristics in a technical, codicological and paleographic manner, and understanding their compositions, such as the participating scribes, their interactions among the folios, the gaps and the arrangement of contents. Relationships of approximation and distancing between the sources will be ascertained, given their proximity of production and content. The comparative analysis will be done through the collation of the transcriptions of the texts, and through systematizations in tables, will be approached the construction of the narrative of the event through the variants between the versions of the text and the particularities of each scribe when transmitting the content. Another theme to be questioned is the textual genre of the narrative of the Passo Honroso, since its plot presents diverse characteristics, covering a supposedly historiographical writing, its format and intention of legitimation, as well as its affinity with literature, aspects which should encompass discussions on the notions of history and truth for the people who lived in the period.
15
Bénard, Élodie. "Les Vies d’écrivains français : développement et mutations d’un genre (1570-1770)." Thesis, Paris 4, 2015. http://www.theses.fr/2015PA040027.
Full textAbstract:
On a souvent considéré qu’au cours du XVIIIe siècle s’opérait une mutation dans l’histoire du genre biographique, qui se manifestait par le passage des « Vies » aux « biographies ». Pourtant d’importantes transformations affectent la manière de raconter la vie dès la fin du XVIe siècle. Ces changements sont particulièrement sensibles dans un sous-genre de la biographie, la Vie d’écrivain. En effet, outre l’affaiblissement de la pression rhétorique qui touche les pratiques narratives dans leur ensemble, celle-ci est modifiée par une nouvelle habitude éditoriale qui consiste à inclure une Vie de l’auteur en avant-propos de l’oeuvre et par l’évolution du statut de l’écrivain qui commence à se différencier des autres hommes de lettres. Pour comprendre la spécificité du genre, il convient de définir les conditions de production de la Vie d’écrivain, liées aux nouvelles exigences de l’historiographie et au développement de la culture mondaine, en particulier de l’art de la conversation. La Vie d’écrivain permet, par ailleurs, de mesurer l’évolution du régime de l’exemplarité, à travers la régression des modèles éthiques traditionnels, l’apparition de nouveaux modèles, mais aussi la recherche de plus en plus affirmée d’une singularité de l’auteur. Il faudra enfin s’interroger sur l’apport particulier des Vies d’écrivains à l’histoire littéraire, en relation avec la place accordée à la narration, qui constitue l’évolution majeure du genre au XVIIIe siècle. Ces différentes questions, rencontrées au fil de notre travail, nous aideront à mieux comprendre les ressorts d’une démarche inhérente à la biographie d’écrivain : le va-et-vient entre la vie et l’oeuvreIt has often been considered that, throughout the 18th century, there took place a profound change in the history of biographical genre, expressed by the shift from “Lives” to “biographies”. However, important transformations have affected the way of telling life as far back as the end of the 17th century. The changes are particularly noticeable in one subgenre of biography, the Lives of writers. Actually, besides the weakening of the rhetorical pressure which concerns the narrative practices, as a whole, it is altered by a new editorial habit which consists in including a Life of the author as a preface to the works and by the evolution of the status of the writer who, then, starts differing from other men of letters. So as to understand the specificity of the genre, it is advisable to define the conditions of production of the Lives of writers, linked to the new demands of historiography and to the development of society culture, particularly the art of conversation. Furthermore, the Lives of writers allows to assess the evolution of the system of exemplarity, through the regression of traditional ethical models, the appearance of new models, but also the search – more and more emphasized – for the writer’s peculiarity. At last, we shall have to wonder about the particular contribution made by the Lives of writers to literary history, in relation to the place granted to narration, which constitutes the major evolution of the genre in the 18th century.These different questions, raised throughout our work, will help understand the motives of a process inherent in biographies of writers, namely, going back and forth between life and works
16
Hubert, Gwenaelle. "L’acte de commencer : étude comparée de débuts d’œuvre dans plusieurs genres poétiques de la période augustéenne." Thesis, Paris 4, 2016. http://www.theses.fr/2016PA040211.
Full textAbstract:
Cette thèse s'inscrit dans une démarche de comparaison – encore peu entreprise malgré l'intérêt que suscitent les débuts d’œuvre – entre des œuvres des genres épique, didactique et élégiaque de la période augustéenne. Nous cherchons à saisir les principes guidant la composition des débuts d’œuvre en poésie et à expliquer les variations apparaissant dans la pratique. En resituant les œuvres augustéennes dans une tradition, nous établissons qu’il existe à cette époque des rituels de début différenciés entre les proèmes épiques et didactiques, à tel point qu’ils contribuent à l’inscription des œuvres dans deux genres distincts. Puis en mobilisant les éléments que les comparaisons font apparaître comme marqueurs de début en raison de leur récurrence, mais aussi les outils de la pragmatique et le concept de paratexte, nous mettons en évidence les caractères qui, au-delà d’une représentativité programmatique, qualifient les pièces liminaires des recueils élégiaques pour ouvrir l’œuvre. Il apparaît alors que seul Ovide se positionne par rapport à l’épopée en jouant avec les codes de début de celle-ci, parce qu’il écrit à un moment où le genre élégiaque a gagné en maturité et où le proème de l’Énéide a établi un modèle de début épique de référence en latin. Mais au stade du premier livre de Properce et de Tibulle, aucun rituel de début d’œuvre spécifiquement élégiaque n’est institué, le positionnement de l’élégie par rapport à l’épopée ne se traduit pas dans la forme du début d’œuvre, et il ne sera formulé plus explicitement en termes méta-littéraires que dans les livres suivants. D’une manière générale, le premier début est moins réflexif que les débuts de livres intermédiairesThis thesis aims at comparing different epic, didactic and elegiac writings from the Augustan period. Although the beginnings of literary works have been extensively studied, comparisons are still needed. We try to understand the principles at work in the beginning of poetry writings. We also explain the variations observed between them.By placing Augustan texts in a tradition, we notice that there are characteristic differences between the rites of epic and didactic proems. These differences are so important that they contribute to the identification of a work's genre.Then mobilizing elements that comparisons reveal as markers for their recurrence, but also the tools of pragmatics and the concept of paratext, we highlight the characters which, beyond programmatic representativity, qualify the poems opening elegiac collections as beginnings.It appears that only Ovid describes his position in relation to epic, by playing with beginning codes of that genre, because he wrote at a time when the elegiac genre had matured and when the proem of the Aeneid had established a Latin model for epic proems. But at the time of the first book of Propertius and Tibullus, no specific ritual of beginning is established for elegiacs. Elegy's relationships to epic do not appear in the form of the beginning and they will be described more explicitly in metaliterary terms in the following books. Generally speaking, the first beginning is less metapoetic than the beginnings of intermediate books
17
Rosa, Alexandre Juliete. "O conto em Lima Barreto: oscilação editorial e hibridismo estético." Universidade de São Paulo, 2017. http://www.teses.usp.br/teses/disponiveis/31/31131/tde-18012018-135610/.
Full textAbstract:
A presente dissertação busca fazer uma análise da obra em contos do escritor Afonso Henriques de Lima Barreto (1881-1922), que se encontra publicada em diversas coletâneas; algumas organizadas pelo próprio autor, outras publicadas por pesquisadores e editores. Foi constatado ao longo de nossa pesquisa que a contística barretiana se encontra, atualmente, em situação bastante problemática. Do ponto de vista da crítica literária, ela tem sido pouco estudada e, com relação à situação editorial, a obra em contos de Lima Barreto tem apresentado inúmeros casos de negligência. Outro dado levantado por nossa pesquisa apontou que um número elevado de textos do autor se encontra presente simultaneamente em coletâneas destinadas aos gêneros conto e crônica. Tal oscilação se constitui como índice de uma problemática ainda maior, que deságua na pouca atenção dispensada pela crítica a esta parcela de sua prosa ficcional. O método utilizado ao longo deste trabalho partiu do entendimento apresentado pelo próprio Lima Barreto sobre a função social da literatura, sintetizada na ideia de literatura militante. Além deste, a pesquisa se pautou pelas discussões travadas pelo autor em torno das questões de gênero literário e pelo próprio contexto no qual o autor produziu, conhecido pela denominação de \"pré-modernismo\". A partir da constatação de que os romances de Lima Barreto já apresentam as marcas de uma diluição nas fronteiras tradicionais entre os gêneros literários, o objetivo da dissertação foi o de tentar demonstrar que esta característica também está fortemente presente em seus contos, sobretudo no aspecto híbrido que apresentam, tais como conto e ensaio; conto e crônica; conto e anedota; conto e diálogo. Além do hibridismo, encontra-se na prosa ficcional curta do autor, de forma mais acentuada que nos romances, a questão da oralidade e da escrita jornalística. Estas, por sua vez, se configuram como prenúncios da modernidade estilística da prosa brasileira que se consagraria pelo século XX afora. Muitas questões ainda restam em aberto, embora a pesquisa tenha conseguido identificar algo que unifique, ainda que precariamente, a totalidade dos textos escritos pelo autor dentro deste gênero literário, qual seja: a diversidade estilística e o hibridismo estético.This paper intends to make an analysis about Afonso Henriques de Lima Barreto\'s short stories (1881 - 1922) that have been published in many collections. Researches and editors published these collections and some of them were organized by the own author. Through this survey, it was observed that the short stories are on a difficult situation. From a literary criticism point of view, this kind of situation is not been studied as much as it should be. From a editorial perspective, the Lima Barreto\'s short stories have various negligence cases. There is another relevant aspect observed through this survey. There are a lot of Lima Barreto\'s texts in collections about short stories and chronicles and this kind of variation reflects a big problem: the literary criticism has given insufficient attention to the fictional prose work of the author. The method used to develop this research was based on Lima Barreto understanding about the social function of literature, summarized in the activist literature idea. In addition to this, the research was based on the discussions held by the author around issues of literary genre and by the context in which the author produced his work, known as the \"premodernism\". The traditional borders between literary genres are more fluids on Lima Barreto\'s novels. Based on the above, the objective of this paper was to show that this characteristic is also in his short stories, foremost with its hybrids aspects as short story and essay; short story and chronicle; short story and jokes; short story and dialogue. Besides the hybrids aspects, there are the orality issue and a kind of writing based on journalism found on the author\'s short fictional prose. This kind of prose is like an omen of stylistic modernity of Brazilian prose, which would be established on XX century and forward. Although the research identified (even in a poor way) something that could unify the texts made by the author in literary genre that involves stylistic diversity and aesthetic hybridism, there are many issues to solve.
18
Mérot, Guillemette. "Le « canon » des poètes grecs et latins de l’Institution oratoire. : Discours critique, traditions doctrinales, contexte culturel." Thesis, Sorbonne université, 2020. http://accesdistant.sorbonne-universite.fr/login?url=http://theses.paris-sorbonne.fr/2020SORUL084.pdf.
Full textAbstract:
La thèse porte sur le « canon » (au sens de « liste des auteurs considérés comme les meilleurs au sein d’un genre donné ») des poètes grecs et latins du chapitre 10.1 de l’Institution oratoire. Dans ce traité de rhétorique de l’époque flavienne, la liste-canon est issue d’une tradition littéraire et doctrinale qui sélectionne certains auteurs à inclure et les évalue les uns par rapport aux autres pour en faire des supports de lecture et des modèles d’éloquence. Le présent travail envisage la liste d’auteurs du chapitre 10.1 à la fois comme le point d’aboutissement d’un processus de constitution de « canons » effectué en diachronie et, en synchronie, comme une émanation du contexte culturel propre à la Rome flavienne. Il interroge sa dynamique de constitution en expliquant les motivations qui sous-tendent différentes opérations de « mise en liste » (sélection – ou exclusion – des auteurs, établissement entre eux de relations de hiérarchisation, et évaluation critique de leurs qualités). Il montre que les principales influences critiques qui s’exercent sur les différentes notices de la liste sont celles de Cicéron, d’Horace et de Denys d’Halicarnasse. Nous montrons notamment que cette dynamique de constitution de la liste est propre à chaque genre poétique. Notre travail entend s’inscrire ainsi au confluent de l’histoire de la rhétorique et de ses doctrines, de l’histoire de la philologie, de l’histoire littéraire et de l’histoire de la critique littéraire ancienneThis thesis deals with the "canon" (in the sense of "list of authors considered the best within a given genre") of Greek and Latin poets in chapter 10.1 of the Institutio oratoria. In this treatise on rhetoric from the Flavian period, the canon-list derives from a literary and doctrinal tradition that selects certain authors for inclusion and evaluates them in relation to each other as reading material and models of eloquence. The present work describes the list of authors in chapter 10.1 both as the culmination of a diachronous process of establishing "canons", and, in synchrony, as an emanation of the cultural context specific to Flavian Rome. It questions the dynamic of how the list was established by explaining the motivations behind different operations of "listing" (selection - or exclusion - of authors, establishment of hierarchical relations between them, and critical evaluation of their qualities). It shows that the main critical influences on the different entries in the list are those of Cicero, Horace and Denys of Halicarnassus. In particular, its show that the dynamics of how the list was established is specific to each poetic genre. Accordingly, the present work is located at the confluence of the history of rhetoric and its doctrines, the history of philology, literary history, and the history of ancient literary criticism
19
Menna, Ligia Regina Maximo Cavalari. "A literatura infantil além do livro: as contribuições do jornal português O senhor e da revista brasileira O Tico-Tico." Universidade de São Paulo, 2012. http://www.teses.usp.br/teses/disponiveis/8/8156/tde-07122012-105735/.
Full textAbstract:
Há vários estudos sobre as relações entre Literatura e Imprensa, livros e periódicos, suas confluências e divergências, seus produtores e seus leitores. Quando o assunto é a literatura destinada ao público infantil, esses estudos tornam-se bastante reduzidos. Este trabalho tem como seu principal objetivo preencher essa lacuna, demonstrando a importante contribuição do jornal português O senhor doutor e da revista brasileira O Tico-Tico para a formação de leitores, assim como para a educação informal e a história da Literatura Infantil. . Verificamos, em uma perspectiva histórica e comparatista, como a literatura infantil foi construída além do suporte livro, levando em conta diferentes concepções de infância, tendências pedagógicas e a própria materialidade dos textos, além das diferentes práticas de leitura suscitadas. A partir desse pressuposto, levamos em conta a estrutura dos periódicos, a periodicidade dos gêneros, o contexto de produção e como a literatura infantil e seus leitores formaram-se além dos livros. É importante ressaltar que a forma como os textos literários para as crianças eram apresentados nos jornais, revistas e almanaques, no início do século XX, imprime-lhes uma legibilidade específica, própria da literatura infantil contemporânea. Essa especificidade confirma tais textos como fontes essenciais para a história dessa literatura, tanto no Brasil quanto em Portugal. Consideramos, portanto, que um estudo mais aprofundado sobre as produções literárias para crianças em periódicos torna-se necessário e justificável Acreditamos também que nossa pesquisa possa contribuir com uma visão mais ampla e consistente do processo de formação da literatura infantil em Língua Portuguesa, assim como sua contemporaneidade e perspectivas futuras.There are multiple studies about the relations between Literature and Press, books and periodicals, their confluences and divergences, their writers and their readers. When the matter is literature destinated to children, little has been carried out. The target of this work is to fill in this gap, showing the contribution of the portuguese newspaper O senhor doutor and the brazilian magazine O Tico-Tico for the education of readers as well as for informal education and the history of Childrens Literature. We have verified, in a historical and comparative perspective, how childrens literature has been constructed beyond the book as a support, taking into account different conceptions of childhood, pedagogical approaches, the materiality of the texts and the different reading practices elicited. From this conjecture, we have considered the strucutre of the periodicals, the periodicity of the genres, production context and how children´s literature and its readers arised beyond the books. It is important to emphasize that the way upon which the literary texts for children were presented in the newspapers, magazines and almanacs in the beginning of the twentieth century imprints specific legibility, characteristic of contemporary childrens literature, and thus marks these texts as essentials to this literature, both in Brazil and Portugal. Therefore, we believe that a further study on the literary productions for children in journals becomes necessary and justifiable. We also believe that our research can contribute to a broader and more consistent vision of the process of children´s literature formation in the Portuguese Language as well as to its contemporaneity and future perspectives.
20
Gatti, Icaro Francesconi. "A Crestomatia de Proclo: tradução integral, notas e estudos da composição do códice 239 da Bibliotheca de Fócio." Universidade de São Paulo, 2013. http://www.teses.usp.br/teses/disponiveis/8/8143/tde-05062013-112806/.
Full textAbstract:
A presente dissertação visa à tradução anotada dos textos que nos dão a conhecer a obra convencionalmente denominada Crestomatia e atribuída a Proclo, junto de um estudo que caracterize, o quanto possível, essa obra que permanece tão obscura quanto relevante para os Estudos Clássicos. Traduziram-se tanto os fragmentos referentes ao Ciclo Épico, prováveis excertos diretos da obra, como o resumo que dela restou na Biblioteca de Fócio, códice 239. A anotação se atém ao códice 239, a fim de tornar conhecido o que fosse o variado conteúdo geral da obra. O códice também é o foco do estudo, que pretende, em três capítulos: 1o) discutir os problemas em torno do texto, i.e., a atribuição, o título, a constituição da obra, sua história etc.; 2o) tendo estabelecido algumas hipóteses sobre essa constituição diversa, explicitá-la comentando a primeira seção do texto e a confluência de saberes diversos sobre as Letras da Antiguidade, fossem a Retórica, a Gramática, a Poética, considerando seus limites; 3o) considerando a seção posterior do texto, sobre a classificação genérica da poesia antiga, relacioná-lo com outros que versem sobre a classificação dos gêneros poéticos, em especial o De Poematibus, de Diomedes.The scope of the current dissertation is to present a commented translation in Portuguese of the group of texts that gives us knowledge of the work conventionaly called Chrestomathy, ascribed to Proclus. We present as well a study that characterizes as much as possible this work that remains as obscure as relevant to the Classical Studies. The fragments that refer to the Epic Cycle, which are probably direct excerpts of the original work, were translated, as well as the summary which was preseved in Photius Library, the 239 codex. The commentary is about the 239 codex, with the purpose of give knowledge of the miscellaneous general content of the work. The codex is also the focus of the study where, in three chapters, 1) it will be discussed the questions around the text, i.e., the ascription, the title, the constitution of the work, its history; 2) having been established some hypothesis about this diverse constitution, it will be exposed on commenting the first section of the text and the confluency, as well as the limits, of multiple knowledges of Literature in Antiquity, comprehending Rhetorics, Grammar and Poetics; 3) considering the later section of the text concerning to the generic classification of ancient poetry, we will relate the text with others that deal with the classification of poetic genres, especially Diomedes De Poematibus.
21
Santos, Ana Claudia Costa dos. "Fabulário : criação poética e reflexão teórica." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2017. http://hdl.handle.net/10183/181610.
Full textAbstract:
Esta dissertação é composta por um conjunto inédito de poemas e três capítulos teóricos relacionados à obra. No primeiro capítulo, são apresentadas reflexões sobre a escrita do livro e sobre o processo de criação literária em geral. Além disso, considerando-se o fato de que muitos poemas da obra baseiam-se em gêneros textuais de aplicação prática (carta, notícia etc.), são comentados certos aspectos distintivos da linguagem poética, bem como a natureza do sujeito lírico. O segundo capítulo apresenta o livro em questão, intitulado Fabulário. No capítulo três, comenta-se a gênese de um poema específico – “Retrato de família”. Por fim, o quarto capítulo consiste em um exercício crítico posterior ao momento da criação: com base em conceitos ligados ao espaço, é feita uma tentativa de análise do poema “Anúncio imobiliário”.This dissertation is made up of an unpublished poetry collection and three theoretical chapters related to it. The first chapter is a reflection on the author’s creative process and on literary creation as a whole. Considering that most poems in the book are inspired by text genres which are used in practical situations (a letter, a news story etc.), this chapter also presents comments on some distinctive aspects of poetic language, as well as on the notion of lyrical subject. The second chapter consists of the poetry collection at issue, titled Fabulário. In chapter three, the creation of a specific poem – “Retrato de família” – is discussed. The final chapter is a critical exercise following the writing of another poem – “Anúncio imobiliário” –, which is analyzed according to concepts related to space.
22
Soudy, Laura. "Littérature et danse contemporaine : modalités et enjeux d'un dialogue renoué." Thesis, Pau, 2015. http://www.theses.fr/2015PAUU1005/document.
Full textAbstract:
Si la danse a partie liée avec la littérature c’est parce que cet art du mouvement a longtemps eu besoin d’une narration pour exister. En ce sens, lorsqu’au XXe siècle la danse s’affranchit du texte, elle s’affirme comme un art à part entière pouvant exister pour lui-même et par lui-même. Dans ce cas, pourquoi des chorégraphes contemporains français se tournent-ils de nouveau vers la littérature pour créer certaines de leurs œuvres chorégraphiques ? Face à une démarche qui pourrait s’apparenter à un simple retour en arrière, l’étude menée s’efforce non seulement de comprendre les enjeux de différents processus de création chorégraphique à partir d’une matière littéraire, elle-même interrogée, mais aussi de mettre en évidence les modalités de traitement du texte de son ébauche à sa finalisation. De la sorte, il est possible de percevoir à la fois ce qui persiste et ce qui change dans la mise en œuvre de ce dialogue renoué où littérature et danse s’enrichissent mutuellementIf dance is linked to literature, it is because this art of movement has long been in need of a narration to exist. In this sense, when dance freed itself from texts during the 20th century, it became an art in its own right, ready to exist for itself and by itself. Why, then, do some French contemporary choreographers revert to literature in order to create their choreographic works? Faced with a phenomenon that could be interpreted as a simple regression, this study will not only endeavour to understand the stakes at play in processes of choreographic creation based on literary materials (which will also be examined), but it will also emphasise the processes of textual treatment from creation to completion. Thus, we will be able to discern both what persists and what changes in this renewed and mutually enriching dialogue between literature and dance
23
Modernell, Renato. "Em trânsito: um estudo sobre narrativas de viagem." Universidade Presbiteriana Mackenzie, 2009. http://tede.mackenzie.br/jspui/handle/tede/2365.
Full textAbstract:
Made available in DSpace on 2016-03-15T19:47:44Z (GMT). No. of bitstreams: 1
Renato Modernell.pdf: 329387 bytes, checksum: 17cdb59d27e5953c0cb01e62d2bdc3ff (MD5)
Previous issue date: 2009-06-01Fundo Mackenzie de Pesquisa
The present paper investigates how Travel Narrative is connected to literary fiction. Taking into consideration composition processes, tools of style and thematical hybridism, this study discusses if these narratives can be considered as a significant genre of post-modern culture. Three books appear at first: The last opium den, by Nick Tosches; Woman of Porto Pim, by Antonio Tabucchi; and A fortune-teller told me, by Tiziano Terzani. In these books the authors narrate their impressions while travelling through the southeast of Asia and also through the archipelago of Azores. The Bakhtinian notion of dialogism sustains the theoretical basis of this paper, which compares the two texts between themselves and the others.
Este estudo investiga de que modo a Narrativa de Viagem se articula com a ficção literária. Levando em conta processos de composição, recursos de estilo e o hibridismo temático, discute se essa narrativa constitui um gênero representativo da cultura pós-moderna. Três obras aparecem em primeiro plano: A última casa de ópio (The last opium den), de Nick Tosches; Mulher de Porto Pim (Donna di Porto Pim), de Antonio Tabucchi; e Um adivinho me disse (Un indovino mi disse), de Tiziano Terzani. Nessas obras, os autores relatam suas impressões de viagem por países do sudeste asiático e pelo arquipélago dos Açores. A noção bakhtiniana de dialogismo permeia o lastro teórico deste trabalho, correlacionando os textos entre si e a diversos outros.
24
Silva, Tulana Oliveira da. ""Claras" dos anjos /." São José do Rio Preto : [s.n.], 2010. http://hdl.handle.net/11449/99130.
Full textAbstract:
Orientador: Norma WimmerBanca: Paulo Sérgio Nolasco dos Santos
Banca: Giséle Manganelli Fernandes
Resumo: O corpus da pesquisa é composto por três versões de Clara dos Anjos de Lima Barreto. A primeira, datada de 1904, constitui um romance inacabado, incluído em "Diário íntimo"; a segunda surgiu sob a forma de conto inserido em Histórias e sonhos (1920); quanto à terceira, esta constitui o romance Clara dos Anjos (1948). A fim de ir além do reducionismo de julgar que Lima Barreto tenha escrito três obras parecidas e dado a elas o mesmo nome, nosso intuito foi compará-las no que se refere à forma e ao conteúdo. Estendendo a questão à forma dos textos em si, tentamos afirmar ou negar a menção paratextual que foi dada a cada um deles. Estes textos foram comparados e analisados em duas etapas: a primeira consistiu na exploração das relações textuais (ou transtextuais, mais especificamente) existentes nas suas construções, para a qual fomos guiados pela teoria de Gérard Genette exposta em Palimpsestes (1982); a segunda consistiu na verificação dos gêneros literários (conto / romance) como formas escolhidas pelo escritor para cada uma das versões. Nosso estudo fundamentou-se no reconhecimento das formas literárias referidas, bem como na revisão de suas origens e evoluções. Foi necessário, também, introduzir algumas considerações sobre a intertextualidade, para que as diferenças ou proximidades em relação à teoria de Genette fossem esclarecidas. Concluímos, por fim, que o primeiro e o terceiro textos são romances e que o segundo, apesar de inúmeras discordâncias, é um conto devido ao seu tamanho em relação ao romance. Um conto foi escrito em 1920 e, para escrever seu romance, anos depois, mantendo a história de Clara dos Anjos, Lima Barreto lançou mão da expansão do texto anteriormente produzido.
Abstract: This is a study of three versions of Clara dos Anjos, by Lima Barreto. The first one, published in 1904, is an unfinished novel, present in "Diário íntimo"; the second is a short story published in Histórias e sonhos (1920); the third is the novel Clara dos Anjos (1948). In order to go beyond the reductionism of stating that Lima Barreto wrote three resembling works whose names are the same, it was necessary to compare the texts and their subject matters. By analyzing the form of the texts, it was possible to confirm or deny the paratextual feature in each one of them. These texts were compared and examined in two ways: firstly, to explore the textual relation (or transtextual, more specifically) in the construction of the texts, according to Gérard Genette's theory found in Palimpsestes (1982); secondly, to verify the literary genres (short story / novel) chosen by the author to each of the versions. The research was based on the characteristics of the literary forms mentioned above, as well as their origins and developments throughout different periods. Considerations on intertextuality were also essential to clarify the differences and the similarities in relation to Genette's theory. The conclusion is that the first and the third texts are novels and that the second, although there are controversies, is a short story due to its length. The short story was written in 1920 and, years later, Lima Barreto expanded the text that was previously produced to write his novel, keeping the story of Clara dos Anjos.
Mestre
25
Courant, Elsa. "Poésie et cosmologie dans la deuxième moitié du XIXème siècle : nouvelle mythologie de la nuit à l'ère du positivisme." Thesis, Paris Sciences et Lettres (ComUE), 2018. http://www.theses.fr/2018PSLEE042.
Full textAbstract:
La poésie et la cosmologie sont étroitement liées depuis l’Antiquité. Des traités d’astronomie didactiques en vers aux récits mythologiques, en passant par les hypothèses cosmologiques versifiées sur la structure de notre monde, les formes de ce dialogue sont aussi nombreuses que diverses. Or les échanges féconds entre poésie et cosmologie perdurent à travers les âges, pour culminer au XIXe siècle, dont les débuts marquent une promotion remarquable de la nuit dans l’imaginaire littéraire, à compter du premier Romantisme européen. Le cosmos, source inépuisable d’enchantement poétique, devient au XIXe siècle un sujet d’autant plus riche que les découvertes scientifiques bouleversent notre conception des cieux, ouvrant la voie à une cosmologie moderne gouvernée par les mathématiques et l’astrophysique. En France, poésie et cosmologie connaissent alors un ensemble de mutations dues à une crise de légitimité engagée par le discours positiviste. L’enquête montre comment le contexte de redéfinition des méthodes scientifiques et de renversement progressif de la hiérarchie des discours entre science et Belles-lettres a informé le dialogue entre la poésie et la cosmologie, dans le cadre d’une redéfinition parallèle de leurs formes, enjeux et valeurs. En étudiant le moment de cette transition, elle permet de porter un regard nouveau sur un ensemble de problématiques majeures qui traversent la poésie du second XIXe siècle : la forme totale et le problème du didactisme, la hiérarchie des discours de la science et de la poésie, et la question du sacerdoce poétique au regard d’un renouvellement du rapport à la mythologieSince Antiquity, there has been a close relationship between poetry and cosmology. We can perceive the coevolution of these two disciplines in a wide range of different poetic forms: mythological tales, versified didactic treatises, or versified cosmological hypotheses on the structure of worldly existence. Nineteenth-century France witnesses particularly intense debates about the nature of both poetry and cosmology, however, and the functions of these two disciplines increasingly merge, especially after Romanticism. The cosmos assumes a new relevance as both the subject of scientific investigation and poetic creation. In this period of history, crucial scientific discoveries change our perception of the skies and give rise to the modern science of cosmology, based on the principles of mathematics and astrophysics. The legitimacy of both poetry and cosmology is tested by positivist discourse, as the definition of scientific methods change and the hierarchy between science and literature is inverted. This study shows the importance of this historical context in the dialogue between poetry and cosmology. Focusing on this crucial historical turning point, this thesis sheds a new light on various major issues that French poets faced in the second half of the twentieth century: the poetic quest for a totalizing form, the difficulties posed by the didactic genre, the value of domains of knowledge and literature, the question of the religious mission of poetry, and the renewal of mythology at the time
26
Giraldelli, Carla Giulia Corsi Moreira. "Gestos de interpretação na leitura de um texto literario de divulgação cientifica : crianças em situação escolar." [s.n.], 2007. http://repositorio.unicamp.br/jspui/handle/REPOSIP/251502.
Full textAbstract:
Orientador : Maria Jose Pereira Monteiro de AlmeidaDissertação (mestrado) - Universidade Estadual de Campinas, Faculdade de Educação
Made available in DSpace on 2018-08-09T15:02:59Z (GMT). No. of bitstreams: 1 Giraldelli_CarlaGiuliaCorsiMoreira_M.pdf: 37067248 bytes, checksum: 8e269b8a7235e93c47bc830c5270b94c (MD5) Previous issue date: 2007
Resumo : Este estudo foi realizado tendo em vista compreender o funcionamento de um texto de narrativa que tem características de cartum e de divulgação científica, com questões referentes ao conhecimento científico, em situação escolar, com crianças de 10 a 12 anos, estudantes da quarta série do ensino fundamental em uma escola pública. Compreendemos as significações das crianças e notamos que o texto foi mediador de um processo que suscitou algumas questões referentes à construção de conhecimentos científicos; à memória discursiva e produziu diferentes gestos de interpretação. Fundamentamo-nos nas considerações sobre análise de discurso, tendo como referencial as publicações de Eni Orlandi no Brasil; em concepções sobre aprendizagem histórico-culturais, como as de L. S. Vygotsky e sobre a construção do conhecimento científico, como as de Gaston Bachelard. Analisamos os sentidos dados pelas crianças a partir do objeto simbólico livro. Muitas crianças interpretaram a história de acordo com a proposta do autor do texto, inclusive historicizando seus dizeres. Mesmo sendo uma leitura coletiva e única, a nossa atividade possibilitou que os estudantes entrassem em detalhes das características do texto. Em alguns momentos nossa mediação foi mais significativa; temos um exemplo disso quando a imagem das minhocas presente no livro trouxe um questionamento que foi detonador de conhecimento formal. Em outros momentos pudemos perceber também esse processo de mediação, quando questionamos sobre os vertebrados e os invertebrados e quando falamos sobre a desidratação das lesmas pelo sal. Nas cartas, que solicitamos às crianças que escrevessem, alguns autores mostraram certo humor, semelhante ao do livro. Temos ainda manifestações demonstrando o gosto pela leitura e interpretações que apontam para diferentes aspectos presentes na história, pois entre os conhecimentos científicos suscitados, o texto enfatiza as questões ambientais, a visão de uma donzela, Benedita e suas interferências evidenciando o desconhecimento dessas questões, além de uma perspectiva sobre comportamento humano representado antropomorficamente pelo personagem ¿minhoquinho¿.Também tivemos alguns interditos, que representaram apenas 8,3% das cartas escritas
Abstract : This study was conducted in order to understand the functioning of a narrative text of which has characteristics of cartum and disseminating scientific, with issues relating to scientific knowledge, at school, with children from 10 to 12 years, students of the fourth grade of elementary education in a public school. We understand the meanings of children and noticed that the text was moderator of a process that has raised some questions regarding the construction of scientific knowledge; The discursive memory and produced different gestures of interpretation. We based into considerations on analysis of speech, with the benchmark publications of Eni Orlandi in Brazil; In conceptions about learning history - cultural, such as L. S. Vygotsky and on the construction of scientific knowledge, such as Gaston Bachelard. We reviewed the data experienced by children from the object symbolic book. Many children interpreted the story in accordance with the proposal of the author of the text, including in their sayings the histories of their own. While a reading collective and unique, our activity enabled students entering in detail the characteristics of the text. At times our mediation was more significant; We have an example where the image of earthworms present in the book brought a questioning that was detonator of a formal knowledge. At other times we have also understand the process of mediation, when we questioned on the vertebrates and invertebrates and when talking about dehydration of sluggard by salt. In the letters, that we asked the children to write, some authors showed some humor, similar to the book. We have demonstrations showing a taste for reading and interpretations that point to different aspects in the story, because among the scientific raised, the text emphasizes environmental issues, the vision of a donzela, Benedita and its interference showing the ignorance of those issues, as well for a perspective on human behavior represented anthropomorphologically by the character "little earthworm." We also had some banned, which represented only 8.3% of the letters written
Mestrado
Ensino, Avaliação e Formação de Professores
Mestre em Educação
27
Da, Costa Georges. "Éthique et esthétique de l'ironie chez José Rodrigues Miguéis." Thesis, Paris 3, 2010. http://www.theses.fr/2010PA030058/document.
Full textAbstract:
José Rodrigues Miguéis [1901-1980] quitte le Portugal en 1935 et, malgré quelques tentatives de retour, il passera la plus grande partie de sa vie aux États-Unis. Cet exil, en grande partie dû à ses activités politiques contre le régime salazariste, va marquer profondément son œuvre fictionnelle. En effet, si, d’un côté, les préoccupations éthiques du militant imprègnent fortement des récits qui obéissent souvent à une stratégie littéraire globale à visée pédagogique où l’ironie classique et satirique est un instrument privilégié, de l’autre, l’écrivain fait régulièrement preuve d’une attitude critique envers soi et envers le réel et met régulièrement en scène ses doutes et ses questionnements à travers une autre ironie, romantique et moderne, qui se traduit par l’utilisation de techniques littéraires signalant un rapport réflexif à la création. Le paradoxe constitutif de toute ironie – dire simultanément l’adhésion et la mise à distance – est ainsi exacerbé par la présence de ces deux ironies contradictoires, souvent dans la même œuvre. L’objectif de ce travail est de montrer que la particularité de la fiction migueisienne réside dans cette cohabitation doublement ironique : une fiction vue comme une aire de jeu caractérisée par l’ambiguïté, où l’écrivain joue avec les conventions littéraire, avec les genres, avec les instances personnage-narrateur-auteur qu’il tend à confondre, et, surtout, avec la dimension autobiographique, prépondérante. L’ironie classique et l’ironie romantique et moderne apparaissent alors comme les deux faces littéraires d’un même drame identitaire, celui d’un écrivain exilé qui se veut et qui est, avant tout, portugaisJosé Rodrigues Miguéis [1901-1980] leaves Portugal in 1935 and, despite several attempts to come back, he spends most of his life in the United States. This exile, mostly due to his political activities against the Salazar regime, will deeply influence his fictional work. Indeed, on the one hand, his ethical concerns as an activist strongly riddle his narratives which very often obey a global literary strategy with an educational intention where classical and satirical irony is a tool of choice. On the other hand, he regularly shows a critical attitude towards the self and towards the real and often stages his doubts and questionings through another irony, romantic and modern, using literary techniques pointing out a reflexive relationship to creation. The paradox constituting any irony – to say at the same time adhesion and detachment – is thus exacerbated by the presence of those two contradictory ironies, often in the same work. This study aims to prove that the particular nature of the Migueisian fiction lies in the simultaneous presence of those two ironies: a fiction considered as a playground characterized by ambiguity, where the writer plays with the conventions of literature, with genres, with the character-narrator-author categories that he tends to mix up all together and, above all, with the autobiographical dimension, which really plays a predominant role. The classical irony and the romantic and modern one then reveal themselves as the two literary faces of the same identitary drama, that of an exiled writer who wishes to be and is, above all, Portuguese
28
Carpinetti, Luís Carlos Lima. ""O aspecto polêmico da apologia de Jerônimo contra Rufino"." Universidade de São Paulo, 2003. http://www.teses.usp.br/teses/disponiveis/8/8143/tde-01122003-132058/.
Full textAbstract:
Nesta tese, desenvolvemos a partir de categorias literárias o aspecto polêmico da obra Apologia contra Rufino, de São Jerônimo, padre latino do século IV da era cristã, importante autor da Antiguidade Tardia e da Literatura Latina Cristã. Descrevemos a variedade dos aspectos de gênero de que se serviu São Jerônimo para construir seu texto da Apologia contra Rufino, como o gênero apologético, a diatribe cínico-estóica, os gêneros aristotélicos da Retórica, a sátira e a epístola. Visto que a obra é palco de debates, refutações e invectivas, o texto foi submetido a análises intertextuais, resultando em interessante diálogo entre Jerônimo e seu ex-amigo Rufino, bem como, igualmente interessante, retrato cultural do contexto de época em que o texto foi gerado. O trabalho contém análise estilística com reflexões sobre a língua latina cristã, as figuras de linguagem, os recursos expressivos da língua de Jerônimo, os motivos clássicos, os motivos bíblicos, o bestiário, de modo a reconstituir o processo formal e expressivo do texto da Apologia. Nosso trabalho recupera, pois, em aspectos formais, boa parte do conteúdo e da construção da polêmica da Apologia contra Rufino.In this thesis, we develop with literary categories the polemical aspect of Saint Jeromes Apology against Rufinus, whose author was an important Latin Father of the Fourth Century of our era, an important author of Late Antiquity and Christian Latin Literature. We describe the variety of gender aspects employed by Saint Jerome in order to construct his Apology against Rufinus text, such as the apologetic gender, the cynic-stoical diatribe, the aristotelic rhetorical genders, the satire and the epistle. Because the text is a place where we find debate, refutations and invective, we submitted it to intertextual analysis, and the result was an interesting dialogue between Jerome and his ex-friend Rufinus and also no less interesting cultural background of the epoch in which the text appeared. This work contains stylistic analysis with analyses on the Christian Latin Language, the figures of speech, the expressive ressources of Saint Jerome language, the classical and biblical motifs, the presence of the beasts, in such a way of reconstituting the formal and expressive process of Apologias text. Our work rescues in formal aspects a good portion of the contents and the polemical construction of the Apology against Rufinus.
29
Pinho, Maria Helena da Silva Corrêa. "A Crônica em Drummond: um gênero em trânsito." Pontifícia Universidade Católica de São Paulo, 2011. https://tede2.pucsp.br/handle/handle/14677.
Full textAbstract:
Made available in DSpace on 2016-04-28T19:58:42Z (GMT). No. of bitstreams: 1
Maria Helena da Silva Correa Pinho.pdf: 614154 bytes, checksum: dc0be8e50d1aadce67c980429dac3c3e (MD5)
Previous issue date: 2011-10-04The specific objectives sought to demonstrate Drummond‟s skillfulness at moving between the various literary genres. In his work there is an intermingling of prose fiction, nature studies, literary criticism and essays, all in a poetic and metalinguistic dimension. We set out to identify and critically examine the aesthetic phenomena of intertextuality, the meta-language and elements of orality, characteristic of modern prose. As theoretical basis we resort to concepts of the poetic function of language of Roman Jakobson, the incorporation of mass media, the breakdown of genres, the merger between prose and poetry, problematized by Haroldo de Campos and Octavio Paz. However, we found that drummondiana chronic fulfills its function, as in reporting the facts of daily life, makes for a seemingly uncompromising light, but reveals an intense and thoughtful literary figure
Esta dissertação de Mestrado analisa a obra de Carlos Drummond de Andrade, em particular a crônica - um gênero em trânsito. Para análise do corpus, escolhemos as crônicas: Divagação sobre as ilhas , Carta aos nascidos em maio , do livro Passeios na ilha(1962); Lembra-se de maio, Caso de escolha e Caso de ceguinho , do livro Cadeira de Balanço(1966) e Surge o poeta da flor do livro Caminhos de João Brandão(1970). Como objetivos específicos procuramos demonstrar a maestria com que Drummond transita entre os diversos gêneros literários. Na sua obra há um entrelaçamento da prosa ficcional, estudos de natureza ensaística e critica literária, tudo numa dimensão poética e metalingüística. Propusemo-nos à identificação e exame critico dos fenômenos estéticos da intertextualidade, da metalinguagem e de elementos da oralidade, característicos da prosa moderna. Como embasamento teórico recorremos à conceitos da função poética da linguagem de Roman Jakobson, à incorporação do meios de comunicação de massa, à ruptura dos gêneros, à fusão entre a prosa e a poesia, problematizados por Haroldo de Campos e Otávio Paz. Contudo, observamos que a crônica drummondiana cumpre sua função, pois ao relatar os fatos do cotidiano, o faz de uma forma leve aparentemente descompromissada, mas que deixa transparecer uma personalidade literária intensa e reflexiva
30
Vinclair, Pierre. "De l'épopée et du roman : énergétique comparée." Thesis, Le Mans, 2014. http://www.theses.fr/2014LEMA3013/document.
Full textAbstract:
L’« énergétique comparée » propose de considérer les textes comme des dispositifs à la fois économiques, sémiotiques et praxéonomiques (dont l’utilisation produit des types de subjectivations, des modes de pensée et des domaines idéologiques). Afin de comprendre la nature du roman et de l’épopée, nous confrontons, dans chacune de ces trois dimensions, l’analyse de ces genres littéraires. L’économie du dispositif est à la fois une théorie de la production et de la consommation ; la sémiotique se décompose en rhétorique et en noétique ; la praxéonomie en politique et en éthique.L’énergétique se veut ainsi une nouvelle approche de la littérature, nourrie autant par l’anthropologie culturelle que par la narratologie, par la métaphysique de Hegel que par la pragmatique d’Austin. Enfin, dans chaque partie, un « contrepoint » permet d’aiguiser, transversalement, les instruments d’analyse sur des oeuvres particulières qui semblent a priori échapper à la distinction entre roman et épopée (du roman populaire chinois au roman postcolonial) ou qui prétendent donner à la modernité son épopée (de la poésie épique à l’épopée humanitaire). Ces « contrepoints » se font également le lieu d’un débat de l’énergétique comparée avec les poétiques « indigènes » de leurs auteurs ou de leurs contemporains.L’énergétique, s’opposant à la « poétique des traits génériques » comme à l’« esthétique des registres » permet ainsi de fournir une définition comparée de l’effort de l’épopée (dispositif politique de subjectivation collective par mobilisation de la tradition dans la cérémonie de la reconnaissance) et de celui du roman (dispositif éthique de subjectivation individuelle par valorisation de l’originalité dans la performance d’émancipation), ainsi que la mise en évidence des conditions de possibilité d’une épopée contemporaineThis dissertation attempts to understand what it is exactly that makes an epic and a novel. Through a "comparative energetics" we propose to consider literature as a set of ‘economical’, ‘semiotical’ and ‘praxeonomical’ dispositions the use of which contributes to specific types of subjective rendering, ways of thinking and ideological domains. These three categories constitute the framework of the current endeavor: Textual economics is a theory of both production and consumption; semiotics decomposes into rhetorics and noetical analysis; praxeonomy into politics and ethics.Energetics consists in a new approach to literature, influenced by cultural anthropology, narratology, Hegel’s metaphysics and Austin’s pragmatics. Each section of the dissertation includes a “counterpoint" bringing up a transversal approach to works outside the main corpus considered, that either seem to escape the distinction between the established genres of novel and epic, e.g. popular Chinese novels, postcolonial novels, or purport to give its proper epic (epic poetry, humanitarian epic, etc) to modernity. These "counterpoints" also allow a comparison between the energetic approach and the “indigenous” poetics of the authors considered or their contemporaries.Energetics, both objecting to the "poetics of features" and to the "aesthetics of registers," provides a comparative definition of the epic (political disposition of collective subjectification by mobilizing tradition in the ceremony of recognition) and of the novel (ethical dispositif of individual subjectifive rendering by valuing originality in the performance of emancipation). It also sets the conditions for a possible modern epic
31
Fatello, Fabienne. "Les emplois de "quando" dans différents genres textuels du latin préclassique au latin postclassique." Thesis, Université Clermont Auvergne (2017-2020), 2018. http://www.theses.fr/2018CLFAL002.
Full textAbstract:
Cette recherche sur corpus a pour objet les emplois de quando (quandoque, quandoquidem, quandocumque) dans différents genres textuels du latin préclassique au latin postclassique. À partir du CD-ROM de la Bibliotheca Teubneriana Latina nous avons répertorié les occurrences de quando dans les Comédies de Plaute, les Discours de Cicéron, le De rerum natura de Lucrèce, l’Histoire romaine de Tite-Live et les Traités philosophiques de Sénèque. En principe, le terme en kw- peut servir d’adverbe interrogatif, indéfini ou relatif et de conjonction temporelle ou causale. Or la distinction de ces différents emplois ne peut se faire à l’aide de procédés classificatoires qui prendraient comme cadre d’analyse maximal la phrase en raison d’ambiguïtés sémantiques et d’interférences fonctionnelles entre types de subordonnées. Aussi optons-nous pour une approche macro-syntaxique tenant compte des relations dépassant le segment phrastique et alliant les points de vue morpho-syntaxique et sémantico-énonciatif. D’abord, l’étude de quando, terme polyvalent susceptible de fonctionner à plusieurs niveaux de la structure phrastique, nous amène à nous interroger sur les niveaux d’insertion et la fonction de quando dans la phrase. Ainsi, les interférences fonctionnelles entre relatif et conjonction temporelle mettent en évidence la perméabilité des frontières entre fonctions syntaxiques. Ensuite, l’ambiguïté sémantique invite à dépasser le strict cadre phrastique et à considérer les inférences contextuelles du terme étudié en vue de distinguer notamment la valeur temporelle de la valeur causale de quando. Enfin, l’outil grammatical ne peut être appréhendé sans considération de sa valeur illocutoire. Par la grande diversité d’actes réalisés, l’analyse des emplois interrogatifs peut révéler certaines caractéristiques liées à l’écriture générique. Dans une approche empruntée à la grammaire fonctionnelle sera étudiée enfin la portée du terme au niveau du discours. Une telle analyse s’avère nécessaire pour caractériser l’emploi causal, dans la mesure où ce dernier intervient au niveau interpersonnel et non référentiel, et joue, dans la terminologie de la grammaire fonctionnelle, le rôle de satellite disjoint. En ce sens, cette étude prouve l’utilité d’une approche éclectique dans l’analyse des emplois de quando : le recours à différentes approches linguistiques, selon les besoins de l’interprétation, met en évidence la complémentarité des points de vue morpho-syntaxique et sémantico-pragmatique dans une description empirique des faits de langue et de discours visant à définir, à partir de données textuelles apparemment disparates, les valeurs de base des différents emplois de quando. L’intérêt de l’étude réside ainsi dans la polyvalence du terme, permettant d’aborder un large éventail de problèmes linguistiques voire extralinguistiques liés à la structure phrastique, au texte et à la situation de discoursThis corpus-based study analyses the use of quando (quandoque, quandoquidem, quandocumque) in different textual genres from Early to Postclassical Latin. From the Bibliotheca Teubneriana Latina CD-ROM (BTL-4) we have listed the instances of quando in Plaute’s Comedies, Cicero’s Discourses, Lucretius’ De rerum natura, Livy’s History of Rome and Seneca’s Moral Essays. Quando can be used as an interrogative, indefinite and relative adverb or as a temporal or causal conjunction. But the classification of these different uses is not possible without a macro-syntactic approach that combines morpho-syntactic, semantic and enunciative points of view. First, the study of this multifunctional term raises the question of its integration in the sentence structure. Thus the functional interference of its use as a relative adverb and as a temporal conjunction shows that the frontiers between syntactical functions are malleable. Furthermore, the semantic ambiguity invites us to extend the analyses to the contextual inferences to distinguish for instance its temporal and causal use. Moreover we cannot analyse the use of quando without considering its illocutionary force: for instance the questions introduced by quando perform a great variety of speech acts which reveal certain characteristics of the literary genre. Finally, the methods of Functional Grammar are necessary to study the level quando affects in the sentence structure, as the causal subordinate clause provides information on the interpersonal level and can be considered as a disjunct satellite. In the light of these considerations, it is evident that an eclectic approach is necessary to study the use of quando: only different linguistic approaches, combining the morpho-syntactic, semantic and enunciative point of view in an empirical description of its occurrences, can define the value of the different uses of quando. Thus the significance of this study resides in the multifunctionality of quando which allows us to consider a large variety of linguistic and extra-linguistic problems occurring not only at multiple levels of the sentence structure, but extended even to the larger context of the speech interaction and intimately linked to the authors writing techniques and the speakers discursive intentions
32
Lindsay, Karen Martin. "Types, metaphors and symbols for baptism in the catechetical, artistic and liturgical genres of the early Church : a literary-aesthetic approach to the study of typology in early Christian hermeneutics." Thesis, University of Birmingham, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.368225.
Full textAbstract:
In the historico-critical paradigm typology was defined in terms of prefiguration and identified with corresponding events in `salvation history. ' In contrast, Frances Young identifies typology as a hermeneutic which has its roots in the literary structure of texts. The object of this thesis is to explore the phenomenon of typology within the hermeneutics of the early Church and to assess typology's contribution to the formation of Christian identity and culture. The thesis proposes an integrated approach to the study of type, metaphor and symbol across literary and aesthetic genres, and within a limited context, i. e., Christian initiation. The introduction to the thesis surveys typology within the historical and literary paradigms. Section one considers varied uses of typology in the catechetical homilies of the Fathers. Section two looks at typology in the artistic programmes of some early Christian baptisteries. Section three surveys uses of typology in some prayers of early baptismal liturgies. By redefining typology in terms of mimesis, multi-valence and multi-culturalism we are able to demonstrate the way in which early Christians forged imaginative links between their own worshipping community and the world of Scripture, through typology.
33
Reibaud, Laetitia. "L’élégie en Europe au XXe siècle : persistance et métamorphoses d’un genre littéraire antique dans les poésies européennes de langue française, allemande, anglaise, italienne, espagnole et grecque." Thesis, Paris 4, 2014. http://www.theses.fr/2014PA040239.
Full textAbstract:
On croyait l’élégie disparue après l’apogée qu’avait connue le genre pendant le Romantisme et après les attaques dont il avait été la cible, les poètes « modernes » ayant choisi de s’affirmer contre les « excès » du lyrisme romantique dont l’élégie était devenue la caricature. Le lyrisme et la poésie de la première personne sont eux-mêmes restés au centre des attaques et des moqueries durant tout le XXe siècle. C’est pourtant à une renaissance du genre que l’on assiste, timide et progressive dans la première moitié du XXe siècle, puis à une véritable recrudescence dans la seconde moitié du siècle. Les noms des plus grands poètes s’associent aux titres de recueils d’élégies : outre les très célèbres Élégies de Duino de Rilke (1923), ce sont par exemple les Élégies de Juan Ramón Jiménez (1908), les Élégies et satires de Karyotákis (1927), les Hollywoodelegien (1942) et les Buckower Elegien (1953) de Brecht, les Élégies de Pierre Emmanuel (1940), de Jean Grosjean (1967), les Élégies d’Oxópetra d’Elýtis (1991), ou encore les trois grands recueils posthumes de Nelly Sachs, Schwedische Elegien (1940), Die Elegien von den Spuren im Sande (1943) et Elegien auf den Tod meiner Mutter (1950). L’élégie, née au VIIe siècle avant J.-C., est bien vivante au XXe siècle. Face à une telle longévité, trois questions se posent, qui structurent notre travail : sous quelles formes et selon quelle(s) définition(s) l’élégie existe-t-elle au XXe siècle ? Comment joue-t-elle des rapports entre modernités et traditions ? Comment se repositionne-t-elle face aux attaques virulentes des détracteurs du lyrisme et par quoi se caractérisent les nouveaux lyrismes qu’elle met en jeu au XXe siècle ?Elegy is generally believed to have disappeared from European poetry in the XXth century, after a period of apogee during the Romanticism and after the hard criticism that the “modern” poets, who rejected the “excessive” romantic lyricism, leveled at the elegiac poets. Elegy was considered by the former as the emblem of a romantic out-of-date lyricism. Lyricism and the poetry expressed in the first person remained also the target of the attacks and mockery from a part of the XXth century poets and literary critic. Yet a real revival of the genre happens since the very beginning of the XXth century, hesitant and gradual during the first half of the century, then more abundant and obvious in the second part of the period. The names of major European poets of this century are linked with the genre of elegy, and the titles of their works show it: Juan Ramon Jiménez’s Elegías (1908), Rilke’s Duineser Elegien (1923), Karyotákis’ Elegies and satires (1927), Brecht’s Hollywoodelegien (1942) and Buckower Elegien (1953), Pierre Emmanuel’s and Jean Grosjean’s Élégies (respectively 1940 and 1967), Elýtis’s Oxopetra Elegies (1991), or the three posthumous works of Nelly Sachs, Schwedische Elegien (1940), Die Elegien von den Spuren im Sande (1943) et Elegien auf den Tod meiner Mutter (1950). Born in the VIIth century B.C., the genre of elegy is well alive in the XXth. Such a longevity brings us to three questions which organize our research: which are the shapes of the elegy of the XXth century and on which definition(s) of the genre is it based? Which are the connections and balance between traditions and modernity? How does the genre of elegy outlive the attacks against lyricism and what are the characteristics of the new lyricisms which it gives birth to?
34
Vuozzo, Alessandro. "Genesi e generi della poesia politica alfieriana. Edizione e studio critico dell’«Etruria vendicata» e dell’«America Libera»." Electronic Thesis or Diss., Paris 3, 2024. http://www.theses.fr/2024PA030030.
Full textAbstract:
La thèse examine l’"Etruria vendicata" et l’"America Libera", deux œuvres alfieriennes en vers sur des sujets politiques. L'objectif principal du travail est de fournir de nouvelles éditions critiques pour les deux textes et d'offrir des éléments originaux pour leur interprétation. Le premier chapitre, qui sert à la fois d'introduction et de résumé des résultats critiques de l'étude, rassemble l'enquête historico-littéraire des deux œuvres et un examen approfondi de leur relation avec le contexte culturel et politique de l'époque, à partir de la proposition particulière de réforme des genres littéraires dans une clé civile avancée par Alfieri dans son traité "Del Principe e delle lettere". Les chapitres suivants illustrent de manière analytique l'ensemble du dossier génétique de l'"Etruria vendicata" et de l'"America libera", en retraçant leur itinéraire de composition à travers l'examen des témoins manuscrits et imprimés qui attestent les différentes phases de leur élaboration. Après un exposé des critères d'édition, les textes critiques des deux œuvres sont ensuite fournis, accompagnés des appareils et des appendices correspondantsThe research examines "Etruria vendicata" and "America Libera", two alfierian works in verse on political subjects. The main aim of the study is to provide new critical editions for the two texts and offer original elements for their interpretation. The first chapter, which serves as both introduction and synthesis of the critical results of the research, brings together the literary-historical investigation of the two works and an in-depth examination of their relationship to the cultural and political context of the time, read from the peculiar proposal for the reform of literary genres in a civil key advanced by Alfieri in his "Del Principe e delle lettere". The following chapters analytically illustrate the entire genetic dossier of "Etruria vendicata" and "America Libera", retracing their compositional iter through an examination of the manuscript and printed copy that attest to the different phases of their elaboration. After an exposition of the edition criteria, the critical texts of the two works are then provided, accompanied by the related apparatuses and appendices
35
Schmidt, Pedro Baroni. "Aetas Ovidiana: Ovídio como modelo e o problema de gênero na poesia latina medieval." Universidade de São Paulo, 2017. http://www.teses.usp.br/teses/disponiveis/8/8143/tde-28052018-152919/.
Full textAbstract:
A obra do poeta romano Públio Ovídio Nasão constou entre as mais lidas, copiadas, estudadas e reelaboradas durante o período denominado Idade Média. Para que se possa ter uma compreensão de quanto a poesia ovidiana determinou a poesia medieval, e de que maneira, e o que isso significa em termos práticos, teóricos e literários, é preciso investigar: primeiro, a presença de Ovídio na Idade Média, através dos manuscritos e catálogos, dos comentários e críticas sobre sua poesia, das vitae e das alusões presentes nos autores críticos medievais; em seguida, a relação entre Ovídio e os poetas medievais e seus desdobramentos; e, por fim, a discussão sobre os gêneros poéticos medievais que emerge do confronto entre a poética ovidiana, a prática da poesia na Idade Média e a preceituação poética elaborada nesse período. Como resultado de tais investigações, é possível supor uma hipótese de que as definições técnicas de gênero poético, tão difundidas no mundo clássico, já não são tão relevantes para a composição literária medieval, que elege como princípio basilar e fundador a imitação dos auctores em detrimento da imitação dos gêneros.The poems of the Roman poet Ovid have stood between those most read, copied, studied and reworked during the so-called Middle Ages. In order to obtain an understanding of how much the Ovidian poetry has influenced the medieval poetry, and in which manner, and what does it mean in practical, theoretical and literary terms, it is necessary to investigate three steps. First, the presence of Ovid in the Middle Ages, through the manuscripts and catalogues of his texts, the commentaries and criticism over his poetry, the vitae and mentions by medieval critics. Second, the relation between Ovid and medieval poets and its consequences. And finally, the discussion on poetic genres which emerges from the comparison between Ovidian poetics, the practice of poetry in Middle Ages and the medieval precepts on poetry. As result, it is possible to propose a hypothesis that the technical definitions of poetic genre, so widespread in the Classical world, are no longer important to medieval literary composition, which on its turn elects as underlying principle the imitation of auctores in detriment of the imitation by genres.
36
Checchia, Cristiane. "Percepção, recordação e linguagem - ensaio e ficção em El río sin orillas, de Juan José Saer." Universidade de São Paulo, 2012. http://www.teses.usp.br/teses/disponiveis/8/8145/tde-05032013-101500/.
Full textAbstract:
Este trabalho objetiva percorrer a partir de El río sin orillas os núcleos irradiadores fundamentais da poética do escritor argentino Juan José Saer (1937-2005), procurando analisar a matéria comum e as especificidades entre a escrita do ensaio e a prosa ficcional do autor. Publicado originalmente em 1991, El río sin orillas indaga sobre a história, a literatura e o imaginário cultural da sociedade argentina a partir de sua relação com o Rio da Prata. Ao longo da leitura de El río sin orillas, propõe-se ainda promover um diálogo do texto com a tradição do ensaísmo hispano-americano e, mais precisamente, com uma tradição de textos que o próprio Saer põe em evidência ao valorizar o caráter inclassificável de algumas obras. A partir destes objetivos principais, foram selecionados temas e questões que permitem analisar em El río sín orillas o deslocamento em dupla mão entre a escrita ensaística e a ficcional, bem como a tênue linha de fronteira que persiste entre os dois campos discursivos: o problema dos gêneros literários e a tradição das obras inclassificáveis; o entre-lugar estrangeiro; a literatura pensada pelo autor como uma antropologia especulativa; a invenção do passado; a violência e a política; a criação da geografia singular da zona saeriana.This thesis explores the fundamental irradiating nuclei of the poetics of the Argentine writer Juan José Saer (1937-2005) in the essay El río sin orillas, aiming to analyze the the common aspects and specificities between the essay writing and fictional prose of the author. Originally published in 1991, El río sin orillas probes the history, literature and cultural imagination of Argentinian society through their relation with the River Plate. Along our reading of El río sin orillas, we also propose to promote a dialogue with the Hispanic- American tradition of essay writing and, more precisely, with the tradition of writing that Saer himself reveals through his valorization of the unclassifiable character of certain texts. In addition to these main goals, some themes and issues that allow us to analyze the two-way traffic between the authors essays and fictional prose as well as the blurry boundary between these two discursive fields have been selected: the problem of literary genres and the tradition of unclassifiable works; the in between space of the foreigner; the notion of literature in Saer as speculative anthropology; the invention of the past; violence and politics; and the creation of a singular geography of Saerian zone.
37
Pezard, Emilie. "Le romantisme « frénétique » : histoire d’une appellation générique et d’un genre dans la critique de 1821 à 2010." Thesis, Paris 4, 2012. http://www.theses.fr/2012PA040069.
Full textAbstract:
L’appellation « genre frénétique », créée par Charles Nodier en 1821, fait aujourd’hui partie intégrante du vocabulaire des études sur le romantisme. Le genre qu’elle désigne donne cependant lieu à des définitions divergentes, tant au niveau des auteurs qui l’exemplifient qu’au niveau des caractéristiques qui le décrivent. Cette thèse retrace l’histoire du genre frénétique tel qu’il a été défini par la critique, de 1821 à 2010, à partir d’une étude des emplois de l’appellation générique dans un corpus de près de 630 textes critiques. Dans les années 1820 et 1830, la notion du frénétique revêt une visée polémique dans le cadre du débat sur le romantisme. Alors que Nodier inventait le genre frénétique pour le distinguer du romantisme, de nombreux critiques assimilent au contraire, totalement ou partiellement, les deux notions, l’appellation permettant de décrire le romantisme dans ses dimensions violente et excessive. Après plusieurs décennies où le genre disparaît des lectures du romantisme, le genre « frénétique » est à nouveau convoqué au début du XXe siècle et connaît un succès croissant, qui a pour corollaire une complexification des définitions. Manifestation d’une révolte métaphysique ou transposition littéraire d’un èthos, le « frénétique », qu’il soit jugé favorablement ou non, permet aussi généralement de rendre compte de la vogue, à l’époque romantique, d’un genre horrifique et outrancier, héritier du roman gothique anglais. Ce dernier genre, formé par les romans de Radcliffe, Lewis et Maturin, constitue cependant un corpus hétérogène déterminant deux lignées génériques qui méritent d’être distinguées, le roman noir et le frénétiqueThe name of the “Frénétique” genre was created by Charles Nodier in 1821 and is now an integral part of the vocabulary of Romanticism studies. The genre it designates, however, has experienced diverging definitions, both with regards to the authors associated with this genre and the characteristics that describe it. The present thesis traces the history of the genre known as “Frénétique” as defined by critiques from 1821 to 2010, based on a study of the uses of the genre name in a corpus of close to 630 critiques. In the 1820s and 1830s, the notion of “Frénétique” was used in debates on Romanticism with a polemical purpose. While Nodier invented the “Frénétique” genre so as to distinguish it from Romanticism, numerous critics instead assimilated the two notions in part or in whole —using the “Frénétique” appellation to describe the most violent and excessive dimensions of Romanticism. After disappearing from Romanticism readings for several decades, the “Frénétique” genre emerged again in the early 20th century, when its rising success lead to an increasing complexity of its definitions. The “Frénétique” genre can be the manifestation of a metaphysical revolt, the literary transposition of an èthos, or is generally used to describe the Romantic-era craze for a horrific and excessive genre that inherited its key characteristics from the Gothic Novel. The latter, constituted by the novels of Radcliffe, Lewis and Maturin, spurred two genres that should be distinguished: the French Gothic Novel and the “Frénétique” genre
38
Freitas, Idjane Mendes de. "A leitura de memes em tecnologias digitais." Universidade Católica de Pernambuco, 2018. http://tede2.unicap.br:8080/handle/tede/1029.
Full textAbstract:
Submitted by Biblioteca Central (biblioteca@unicap.br) on 2018-08-23T18:27:53Z
No. of bitstreams: 2
idjane_mendes_freitas_macedo.pdf: 1518861 bytes, checksum: 71a8469cb87af32c95965c964ce15a27 (MD5)
license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5)Made available in DSpace on 2018-08-23T18:27:53Z (GMT). No. of bitstreams: 2 idjane_mendes_freitas_macedo.pdf: 1518861 bytes, checksum: 71a8469cb87af32c95965c964ce15a27 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Previous issue date: 2018-03-08
Digital technologies have broadened the concept of reading in relation to the strategies and effects produced by online reading and have given rise to new textual genres. The present work sought to analyze reading strategies and their effects for the understanding of the genre Meme, in Digital Information and Communication Technology (TDIC) and in print. We are interested in investigating the reading strategies used by students in the first year of high school and their effects when they read the genre Meme, because some institutions insist on working genres of the digital environment outside their real context. As a theoretical contribution, we turn to the theory of genders, from the perspective of Bakhtin and Marcuschi; aspects related to Digital Literacy - proposed by Ribeiro; to the multimodal aspects of the genre in the perspective of Dionísio, Vasconcelos, Fonte and Caiado and the reading strategies proposed by Solé and Coscarelli. The research was qualitative, with application of two didactic sequences (SD). We elaborated and applied an SD for the work with the online reading, in a digital device - smartphone - and an SD for the reading in the printed, with the purpose of analyzing the strategies of reading Memes used by the students and, consequently, the effects produced by them. We recorded, in an observation diary, the strategies students used to read Memes. Subsequently, we conducted a semi-structured interview with the subjects, aiming to analyze the comprehensive reading of the genre Meme. We understand that reading in a digital environment raises many questions regarding the language, emerging genres and reading strategies related to them, as well as the articulation between language, social action and digital technology. Therefore, analyzing the comprehension of the Meme genre in Digital Technologies is a way of understanding the influence that the digital environment has on students in reading emerging genres. We conclude that reading, in the digital environment, requires new reading strategies, which add to the reading strategies in the print and which require the practice of new reading skills of different genres, in different devices.
As tecnologias digitais ampliaram o conceito de leitura, no tocante às estratégias e efeitos produzidos pela leitura online e fizeram emergir novos gêneros textuais. O presente trabalho buscou analisar as estratégias de leitura e seus efeitos para a compreensão do gênero Meme, em Tecnologia Digital da Informação e Comunicação (TDIC) e no impresso. Interessa-nos investigar as estratégias de leitura utilizadas por estudantes do 1º ano do ensino médio e os efeitos delas quando leem o gênero Meme, isso porque algumas instituições de ensino insistem em trabalhar gêneros do meio digital fora do seu contexto real. Como aporte teórico, recorremos à teoria dos gêneros, na perspectiva de Bakhtin e Marcuschi; aos aspectos relacionados ao Letramento Digital - propostos por Ribeiro; aos aspectos multimodais do gênero na perspectiva de Dionísio, Vasconcelos, Fonte e Caiado e às estratégias de leitura propostas por Solé e Coscarelli. A pesquisa foi de cunho qualitativo, com aplicação de duas sequências didáticas (SD). Elaboramos e aplicamos uma SD para o trabalho com a leitura online, em dispositivo digital - smartphone - e uma SD para a leitura no impresso, objetivando analisar as estratégias de leitura de Memes utilizadas pelos discentes e, consequentemente, os efeitos produzidos por elas. Registramos, em um diário de observação, as estratégias utilizadas pelos estudantes para ler Memes. Posteriormente, realizamos uma entrevista semiestruturada com os sujeitos, objetivando analisar a leitura compreensiva do gênero Meme. Entendemos que a leitura em ambiente digital levanta muitos questionamentos em relação à língua, aos gêneros emergentes e às estratégias de leitura relacionadas a eles, bem como a articulação entre linguagem, ação social e tecnologia digital. Logo, analisar como se dá a leitura compreensiva do gênero Meme em Tecnologias Digitais é uma forma de compreender a influência que o ambiente digital exerce sobre os estudantes na leitura de gêneros emergentes. Concluímos que ler, no ambiente digital, requer novas estratégias de leitura, que se somam às estratégias de leitura no impresso e que exigem a prática de novas habilidades de leitura de diferentes gêneros, em diferentes dispositivos.
39
Silva, Flavia Aparecida da. "A produção escrita de conto e causo em Cadernos de Apoio e Aprendizagem: Língua Portuguesa." Universidade de São Paulo, 2012. http://www.teses.usp.br/teses/disponiveis/8/8142/tde-15032013-112535/.
Full textAbstract:
O ensino de produção escrita de textos literários está presente em livros didáticos de língua portuguesa desde as primeiras coletâneas com os exercícios de composição, quando se propunha o texto literário como modelo para ensinar a escrever de forma elaborada. Avaliações municipais da cidade de São Paulo apontam que muitos alunos do segundo ciclo do Ensino Fundamental apresentam dificuldades na elaboração de um texto escrito. Nesse sentido, o objetivo desta dissertação é descrever e analisar as atividades didáticas de produção escrita de conto e de causo de alunos do 6º ano do ensino fundamental, procurando identificar os procedimentos linguístico-discursivos que orientam essas propostas. O corpus selecionado é o material didático da rede municipal da cidade de São Paulo - Cadernos de Apoio e Aprendizagem: Língua Portuguesa, dirigido a alunos e professores do Ensino Fundamental II, publicado em 2010 e editado pela Fundação Padre Anchieta. Três questões nortearam a análise dos dados coletados: 1) Como as propostas de produção escrita contextualizam socialmente o conto e o causo? 2) Que atividades apresentam e discutem as características discursivas e textuais do conto e do causo? 3) Como são desenvolvidas as estratégias linguísticas e discursivas da produção escrita? A fundamentação teórico-metodológica centra-se na teoria bakhtiniana, particularmente nos conceitos de enunciado, gênero do discurso e texto. O foco central da análise foi a unidade 1 do 6º ano Um pouquinho de prosa: a arte de contar histórias em contos e causos, percorrendo a constitutiva relação entre as atividades de leitura, compreensão e escrita. A partir da proposta de leitura de dez contos de diferentes culturas, escritos em várias épocas históricas, as atividades de compreensão permitem que o aluno identifique as estruturas fundamentais da narrativa e como o gênero discursivo se modifica conforme a interação dos vários interlocutores sociais, contribuindo para um entendimento da historicidade do gênero conto. Os principais recursos linguístico-discursivos destacados na construção narrativa são o uso de tempos verbais (no eixo do pretérito imperfeito e mais-queperfeito e do futuro do pretérito), dos verbos de dizer e o emprego dos pronomes. Quanto à orientação do causo, o foco aparece na apresentação de três vídeos que exploram os recursos narrativos da oralidade. Com base nesses filmes o aluno é orientado a escrever um causo observando os recursos da fala. A partir da produção escrita do causo é proposta a dramatização, momento significante de entonação expressiva, gestos, sons e expressão corporal. São recursos da oralidade que aparecem na construção do causo. A escrita é entendida como o resultado do processo do ensino. As várias atividades didáticas contribuem para o desenvolvimento da fluência escrita na medida em que os recursos narrativos são ensinados com base na materialidade linguístico-discursiva dos textos analisados.The teaching of written production of literary texts has been part of Brazilian Portuguese school books since their very first collections, when it was proposed the literary texts as a model to teach how to write well. Municipal evaluations from São Paulo city show that many students from the second cycle of basic education have difficulties in writing a text. In this context, the aim of this research is to describe and analyse the activities of written productions of conto (Brazilian short stories) and causo (Brazilian popular tales) by students from the 6th basic education year, aiming to identifying the linguistic-discursive procedures that guide those proposals. The corpus of this research is the school material from the municipal education network of São Paulo city - Cadernos de Apoio e Aprendizagem: Língua Portuguesa, directed to students and teachers from the second cycle of basic education, published in 2010 and edited by Fundação Padre Anchieta. Three questions were the basis of the data analysis: 1) How do the written production proposals socially contextualize conto and causo? 2) Which activities present and analyse the discursive and textual features of conto and causo? 3) How are the linguistic and discursive strategies of written production developed? The theoretical-methodological literature revision is based on Bakhtin´s theory, especially in the concepts of utterances, speech genres and text. The main focus of the analysis was the first unit of the 6th basic education year: Um pouquinho de prosa: a arte de contar histórias em contos e causos, through the relationship between reading, comprehension and writing processes. Through the reading of ten different contos from different cultures, written in many historical moments, the comprehension activities allow students to identify the main structures of narrative, as well as the way this speech genre can modify itself according to the interaction of various social interlocutors. In this way, it contributes to understand the historicism of conto. The main linguistic-discursive resources in the narrative are the verbal tenses (Brazilian Portuguese kinds of past pretérito perfeito, mais-queperfeito and futuro do pretérito), the use of verbs de dizer (to say) and pronouns. Concerning the guidance for causo, the focus was three movies exploring the oral narrative resources. The student, based on the movie watched with his/her teacher, is required to write a causo regarding the speech resources. From the written production of causo, it is proposed the dramatization, a very important moment of expressive intonation, movements, sounds and body expression. These are all speech resources that appear when writing a causo. The writing process is understood as the result of the teaching process. The various school activities contribute for developing the writing skill, for the narrative resources are taught based on the linguistic-discursive materiality of analysed texts.
40
Neelsen, Sarah. "Les essais d'Elfriede Jelinek. Genre. Relation. Singularité." Thesis, Paris 3, 2013. http://www.theses.fr/2013PA030130.
Full textAbstract:
L’œuvre de l’Autrichienne Elfriede Jelinek (Prix Nobel de Littérature en 2004) est ici approchée par la bande, c’est-à-dire par les « petits textes » rédigés tout au long de sa carrière en marge de ses pièces et romans. Textes de circonstance, ces essais reposent sur un paradigme esthétique spécifique que le présent travail se propose d’exposer en revenant à leurs conditions de publication initiales. On s’aperçoit ainsi qu’il s’agit de textes de commande véhiculés par des supports médiatiques différents du livre (revue, tract, programme, internet) et qui impliquent une réception particulière, induite par leur dispersion et leur fugacité. La présentation du corpus se fait sur fond des grandes césures de l’œuvre jelinekienne mais aussi de la littérature autrichienne d’après 1945, recomposant le réseau personnel et professionnel de l’auteur et la réintégrant dans sa génération. Trois chapitres sont consacrés à une analyse détaillée des textes. Celle-ci montre d’abord la genèse progressive de leur thématique centrale, à savoir la possibilité d’une œuvre féminine. Elle s’attache ensuite aux trois principes fondamentaux de leur style que sont l’évidement, le paradoxe et la fluidification. Elle étudie enfin le rapport au lecteur conçu sur le mode du brouillage et de l’interférence, qui permet, pour un temps, de prolonger la vie de textes dont le sens tend à s’obscurcir rapidement. Les notions de relation et de singularité sont placées au cœur de cette thèse, identifiées comme l’enjeu esthétique et politique majeur du corpus mais aussi d’une partie de la tradition du genre dont quelques définitions emblématiques (Lukács, Adorno, Barthes, Marielle Macé, Georg Stanitzek) sont discutéesThis thesis discusses the work of the Austrian writer Elfriede Jelinek (Nobel Prize for Literature 2004) from its margins, from a corpus of “short texts” written from the beginning of her career beside her novels and plays. As occasional prose, these essays are grounded in a specific aesthetic paradigm, which this dissertation seeks to define by examining their original conditions of publication. This method brings to light that these are commissioned works, released on very different media formats than a book (journals, flyers, programs and the internet), which have their own mode of reception due to their volatility in space and time. The corpus is presented against the backdrop of Jelinek’s main work and its major turning-points. It is also set in the context of Austria’s post-1945 literature according to the author’s personal and professional network in order to reintegrate Jelinek in her generation. Three chapters are then dedicated to a detailed analysis of the texts. This thesis highlights the slow genesis of their main theme, the possibility of a feminine work of art. Then it studies three characteristics of their style - hollowing, paradox and liquidity. Lastly, it deals with the relation to the reader, conceived as jamming and interference, both allowing, at least for a time, to prolong the text’s meaning, as it otherwise tends to become more and more obscure. Relation and singularity are key notions of this thesis, considered as the main aesthetic and political issues of its corpus, being also part of the essayistic tradition, discussed through some canonical definitions (Lukács, Adorno, Barthes, Marielle Macé, Georg Stanitzek)
41
Kawai, Karen Mie. "Conceituação do gênero zuihitsu: análise comparativa de textos de Makura no sôshi e Tsurezuregusa." Universidade de São Paulo, 2015. http://www.teses.usp.br/teses/disponiveis/8/8157/tde-02032016-160203/.
Full textAbstract:
O estudo de obras clássicas literárias japonesas do gênero zuihitsu é um desafio para pesquisadores no Brasil, pois, além das dificuldades trazidas pelas diferenças entre as línguas, incorre em novas conceituações de modalidade de escritos. Apesar de ser considerado em geral como equivalente ao ensaio ocidental, é possível observar divergências que indicam uma necessidade de adequar o olhar crítico ao gênero oriental. Para isso, foram abordadas questões concernentes às definições de gênero literário no ocidente através de um apanhado histórico da crítica, levando em conta a etimologia do termo; e algumas considerações a respeito do caráter linguístico dos conceitos conforme a teoria de Wittgenstein. Em seguida, pretendeu-se esquematizar as abordagens do ensaio enquanto gênero, remontando sua história, através de passagens dos Ensaios de Montaigne, de alguns textos de Bacon, Hume e Adorno, entre outros ensaístas e críticos que versam sobre o assunto, de maneira a delinear características próprias dessa categoria ocidental. Além disso, examinamos, a partir de suas formulações e de sua recepção, a possibilidade de se encontrar uma tradição também no Brasil. Posteriormente, buscamos mapear as origens do zuihitsu em paralelo com as do ensaio. E, então, analisamos alguns textos de Makura no Sôshi em comparação a outros de Tsurezuregusa , duas das três obras consideradas basilares e essenciais à compreensão do gênero japonês. Essa análise comparativa foi feita tendo por base principalmente a presença de certos temas em comum, como a motivação da escrita, certas considerações sobre as quatro estações, sobre os momentos de ócio ou, ainda, sobre os monges. Nosso intuito foi trazer à tona semelhanças e diferenças entre as obras de modo a elucidar características do gênero que o aproximam ou o distanciam dos ensaios e de outros gêneros ocidentais, na esperança de que isso nos levasse à adequação do olhar supramencionada. E, por fim, foi realizado um fechamento a partir de considerações a respeito dos gêneros ocidentais e do ensaio, do zuihitsu e do cotejo das obras clássicas japonesas, que nos leve à conceituação desse gênero japonês.The study of classic Japanese literatures genre zuihitsu is a challenge for scholars in Brazil, because besides the difficulties about languages differences, it incurs in a new conceptualizations of written genres. Although some scholars consider it as equivalent to Western essays, it is possible to observe some disparitys that indicate a need to adjust our critical view to the Eastern genre. In order to achieve that goal, we had approached some questions about Western genres definitions through a historical and literary overviews, as well as we had taken into consideration the terms etymology, and referred some ponderations about the linguistic character following some of the Wittgenstein theory concepts. After that, we intended to outline a scheme of essays as a literary genre, retracing its history, through passages of Montaigne\'s Essays, of some texts from Bacon, Hume and Adorno, among others essayists and critics that deal with the subject, in order to delineate its characteristics. More than that, we have examined, from its formulations and its reception, the possibility of finding also such a tradition in Brazil. Subsequently, we have seek mapping zuihitsu origins in confrontation to the essays ones. In addition, thereafters, we have analysed some texts from Makura no sôshi and compared them to others from Tsurezuregusa, two of the three masterpieces which are considered basic and essential to understanding the Japanese genre. This comparative analysis was done by means of their common themes, such as the written motivations, some considerations of four seasons, moments in idleness or even monks. Our aim was to bring out similarities and differences between them to elucidate genre characteristics that bring them nearer or make them apart of essays, hoping that this would lead us doing some adjustments of our critical view. Finally we have finalized this dissertation by referring some considerations on the Western genre, the essays, the zuihitsu, and the comparison of Japanese classical pieces, which lead us to conceptualyze the Japanese genre.
42
Muniz, Liebert de Abreu. "Estudo de gÃnero em As GeÃrgicas, de VirgÃlio." Universidade Federal do CearÃ, 2012. http://www.teses.ufc.br/tde_busca/arquivo.php?codArquivo=8206.
Full textAbstract:
FundaÃÃo Cearense de Apoio ao Desenvolvimento Cientifico e TecnolÃgicoPara a cultura clÃssica antiga, o gÃnero Ãpico parecia apresentar diferentes formas e possibilidades. à provÃvel que, para os antigos, o metro tenha sido o principal recurso para classificar os gÃneros literÃrios. Assim, um poema vertido em versos hexamÃtricos poderia ser de imediato identificado como um Ãpico. HÃ, contudo, diferenÃas entre os Ãpicos homÃricos e os hesiÃdicos, o que parece reforÃar a hipÃtese de o gÃnero Ãpico poder apresentar manifestaÃÃes distintas. Enquanto os Ãpicos homÃricos sÃo longos quanto à extensÃo e cantam feitos bÃlicos, os hesÃodicos sÃo breves e tÃm a preocupaÃÃo de transmitir um conhecimento. As GeÃrgicas, de VirgÃlio, filiam-se à composiÃÃo de tipo hesÃodico. Ainda que uma influÃncia helenÃstica seja percebida, o poema virgiliano segue caracterÃsticas de estrutura, forma e conteÃdo do Ãpico hesÃodico (que tambÃm pode ser chamado de Ãpos didÃtico); no entanto, em diversos passos parece exceder essas caracterÃsticas, deixando a impressÃo de que tambÃm manteria vÃnculos com a Ãpica homÃrica (ou com o chamado Ãpos heroico). Essa discussÃo sugere que a leitura do poema como didÃtico nÃo parece ser suficiente para sua classificaÃÃo de gÃnero, sugere tambÃm que o poema se insere numa espÃcie de progressÃo poÃtica que perfaz duas formas de Ãpos, o didÃtico e o heroico.
For the ancient classical culture, the epic genre seemed to have different shapes and possibilities. It is likely that, for the ancients, the meter has been the main resource for classifying literary genres. Thus, a poem composed into hexameter lines could be readily identified as an epic. However, there are differences between the Homeric and the Hesiodic epics which seem to reinforce the assumption that the epic genre could have different manifestations. While the Homeric epics are long as for the extent and sing the martial feats,the Hesiodic epics are brief and have the intent of transferring knowledge. The Virgilâs Georgics affiliated to the composition of Hesiodic type. Although a Hellenistic influence is perceived, the Virgilian poem follows characteristics of structure, shape and contents of the Hesiodic epic (which can also be called didactic epos). However, in several passages, the poem seems to exceed these characteristics, leaving the impression that also could maintain bonds to the Homeric epic (or the so-called heroic epos). This discussion suggests that the reading of the poem as didactic does not seem to be sufficient for the classification of genre, it also suggests that the poem is part of a kind of poetic progression that to goes through two forms of epos, heroic and didactic.
43
Santos, Marcos Lemos Ferreira dos. "Orfeu emparedado: Hilda Hilst e a perversão dos gêneros." Universidade de São Paulo, 2011. http://www.teses.usp.br/teses/disponiveis/8/8151/tde-17112011-112606/.
Full textAbstract:
A partir de uma perspectiva que valoriza a teoria dos gêneros literários, o presente trabalho busca verificar como se processam, na obra da escritora brasileira Hilda Hilst, as relações entre lírica, teatro e prosa narrativa. Seu principal parâmetro teórico é o trabalho de Peter Szondi: Teoria do drama moderno, livro em que o crítico alemão aborda a mistura de gêneros literários como tentativas de superar, na criação estética, problemas objetivos relacionados à situação histórica de determinada forma literária. No caso de Hilda Hilst, serão analisadas como as incursões da autora no teatro e na prosa narrativa funcionam como resposta problemática à recepção de uma lírica inicialmente balizada pelos ideais poéticos da Geração de 45. Demonstro, assim, como as tentativas da autora em outras modalidades discursivas produzirão alterações formais significativas em sua obra, a partir da contaminação estrutural de um gênero para o outro.Taking into consideration a perspective that privileges the Theory of literary forms, this study aims at verifying the way it works, in the production of the Brazilian writer Hilda Hilst, the relations among lyrics, theater and narrative prose. The theoretical parameter is the works Theory of Modern Drama, by Peter Szondi, in which the German critic deals with the question of mixture of literary forms as an alternative to overcome objective questions related to the historical situation of a certain literary form. Concerning Hilda Hilst, we intend to analyse how the incursions of the author in theater and narrative prose appear as a problematic response to the reception of a lyrics initially guided by the poetic ideals of the Generation of 45. As we intend to demonstrate, the attempts on the part of the author in other discursive types will produce significant formal modifications in her work, by means of the contamination of structures of one gender to another.
44
Toren, Orly. "Histoire alternative des origines du roman : promenades interculturelles dans un monde sans épopée." Thesis, Paris 3, 2010. http://www.theses.fr/2010PA030165.
Full textAbstract:
Que signifie repenser l’Histoire littéraire et l’Histoire du roman comme Histoire culturelle ? Le point de départ de notre questionnement sur les formes de représentation adoptées par l’Histoire littéraire porte sur la doxa critique selon laquelle il existe une relation génétique entre l’épopée et le roman, dont la source se trouve dans ce qu’il est convenu de voir comme le texte fondateur de la littérature, l’épopée d’Homère et celui de la théorie littéraire, la Poétique d’Aristote. Si l’épopée homérique est une œuvre de la tradition orale, quelle est sa relation avec le roman, issu, lui, de la scripturalité et de l’émergence de la prose ? Si les récits en prose narrative de fiction apparaissent dans des civilisations sans épopée, quelle est la condition nécessaire pour leur émergence ? Si, de plus, l’apparition d’une prose narrative de fiction est précédée de plusieurs siècles de celle d’une historiographie et que ce phénomène se répète aussi bien dans la Grèce classique qu’au Moyen Âge européen, ou encore en Chine, quelle est la condition nécessaire pour l’essor du roman ? Nous présentons ici l’ébauche d’une Histoire alternative des origines du roman dans la Weltliteratur, en relation avec l’émergence de la scripturalité et la prose et l’essor de l’historiographie À la croisée de plusieurs disciplines académiques, notamment entre les sciences humaines et sociales, notre recherche fait appel d’une part à la théorie et à l’Histoire de la littérature, d’autre part à l’Histoire de l’historiographie, ainsi qu’à la théorie et la philosophie de l’HistoireIs it possible to rethink Literary History and in particular the History of the Novel as Cultural History which seeks to differentiate between an historical object and it’s representation? Considering the critical doxa, according to which, there exists a genetic link between epics and the novel, leads to one of Western thinking’s most stubborn myths. If epics, and particularly Homer’s, is seen as the novel’s ascendant , although it belongs to oral tradition, how does it explain the fact that as Ancient civilizations as Egypt or China or Israel developed sophisticated prose narratives without having epics? Moreover, if Western literary history refers to Aristotle’s Poetics as it’s foundational text, although by the time it was written, fictional prose didn’t exist yet, and was only to develop a few centuries later, shouldn’t we seek for the missing link between the oral tradition and the rise of the novel? As against this hegemonic and unhistorical representation that considers the novel genre as a Western invention, and as opposed to the historical circumstances that gave birth to the novel, we consider that the key to understanding this phenomenon lies in the emergence of literacy and prose. Indeed, in all civilizations that developed fictional prose writing, it was systematically preceded, not by epics, but by historiography. Our PHD dissertation presents an alternative History of the novel, whose angle is intercultural and interdisciplinary, aiming at recreating a new chronology of the emergence of the novel as a an inevitable historical genre in world’s literature
45
Rodrigues, Bruno César Martins. "Dama da Noite & Kid: experiência do corpo em personagens de Caio Fernando Abreu e de Al Berto." Universidade de São Paulo, 2014. http://www.teses.usp.br/teses/disponiveis/8/8156/tde-06112014-164603/.
Full textAbstract:
A presente dissertação propõe-se a analisar comparativamente os personagens Dama da Noite e Kid, presentes respectivamente nos livros Os dragões não conhecem o paraíso, do escritor brasileiro Caio Fernando Abreu, e Lunário, do poeta português Al Berto, ambos publicados originalmente no ano de 1988. Neste estudo comparativo, pretende-se observar como a oscilação entre os gêneros sexuais dos personagens redundam na oscilação de gêneros textuais das obrasThe current dissertation aims to comparatively analyze the characters Dama da Noite and Kid, from Brazilian writer Caio Fernando Abreus book Os dragões não conhecem o paraíso and Portuguese poet Al Bertos book Lunário, respectively, both originaly published in 1988. In this comparative study, we intend to observe how the characters oscillation regarding sexual gender results in the books oscillation regarding textual genre
46
Rubio, Eduardo Fava. "O crime e as trangressões da letra: o gênero policial em Juan José Saer e Ricardo Piglia." Universidade de São Paulo, 2014. http://www.teses.usp.br/teses/disponiveis/8/8145/tde-21052015-111849/.
Full textAbstract:
Este trabalho tem por objetivo analisar as relações entre o gênero policial e os romances La pesquisa (1994), de Juan José Saer, e Plata quemada (1997), de Ricardo Piglia. Inseridos nas poéticas singulares e originais de seus autores, ambos os textos refletem, por um lado, as práxis narrativas que tanto Saer quanto Piglia já vinham desenvolvendo havia vários anos quando da publicação dos livros, nos anos noventa. Por outro lado, a leitura dos romances sob a perspectiva das narrativas policiais, frequentemente associadas a uma literatura popular ou de massas, leva à indagação de se e como é possível o desenvolvimento de uma escrita mais complexa e ambiciosa esteticamente em diálogo com as convenções que, em princípio, caracterizam o gênero literário. A partir desta questão, a hipótese de leitura se concentrará no conceito de transgressão dentro da literatura, partindo da ideia de Michel Foucault desenvolvida no ensaio Prefacio a la transgresión. A transgressão pensada na escrita de La pesquisa e Plata quemada, então, pode consistir em um gesto que, ao franquear os limites genéricos, não só reconfigura as poéticas de Saer e Piglia, como também repensa o conceito de gênero policial, bem como a relação dos dois escritores com o contexto cultural em que desenvolvem suas obras.This study aims to analyze the relations between crime fiction as a literary genre and the novels La pesquisa [The investigation] (1994), by Juan José Saer, and Plata quemada [Burnt money] (1997), by Ricardo Piglia. Inserted into their author´s unique and original poetics, both texts reflect, on the one hand, the narrative praxis that both Saer and Piglia had already been developing for several years when the books were published in the nineties. On the other hand, the reading of the novels from the perspective of crime fiction, a genre often associated with popular or mass literature, leads to the question of how is it possible to develop a more complex and ambitious writing, aesthetically speaking, in dialog with the conventions that, in principle, distinguish the literary genre. From this point on, the hypothesis of reading will focus on the concept of transgression in literature, as it is developed by Michel Foucault in his essay Prefacio a la transgresión [A Preface to Transgression]. Back to the way La pesquisa and Plata quemada are conceived, the transgression can be figured out as a gesture that, by crossing the genre limits, not only reconfigure the way the narrative of Saer and Piglia could be read, but also rethink the crime fiction as a genre and the relations of both authors with the cultural context in which they develop their works.
47
Jacobs, Mary Elizabeth. "Gender, genre and politics in the literary work of Sylvia Townsend Warner." Thesis, University of Plymouth, 2011. http://hdl.handle.net/10026.1/980.
Full textAbstract:
This thesis brings together a collection of works, all of which explore ways in which the prolific twentieth-century writer, Sylvia Townsend Warner, engaged with politics. A committed communist from the 1930s onwards, Warner was also a feminist writer and the works discussed here examine the interface between the politics of gender and the politics of the left. The sexual politics of Warner's private life with her long-term partner, Valentine Ackland, also inform her writings, often providing a homosexual undercurrent that offers multiple possible readings. Warner worked in a range of genres over a writing career that spanned five decades. The essays collected here, examine her poetry, short-stories, novels, journalism and life writing to determine the extent to which political activism lay at the core of Warner's life. While scholars have long identified the political engagement of Warner's writings from the 1930s onwards, 'Sylvia Townsend Warner and the Politics of the English Pastoral 1925-1934' argues that Warner was an established political commentator in the 1920s, using the genre of the Pastoral as a means to critique rural politics. 'The Politics of Disclosure and the fable' explores Warner's communist and feminist activism of the 1930s by tracing her use of fable and allegory in her novels of this period, and her involvement in the Spanish Civil War. And 'Nefarious Activities', uses recently revealed MI5 documents that detail the surveillance of Warner and Ackland from 1935-1955; evidence indicating the seriousness of Warner's political works and the perceived threat that she may have posed to the establishment. While this threat was imaginary, it is tesimony to the subversive nature of Warner's writing throughout her career. Together, these essays present a valuable overview of the importance of politics and gender in all aspects of Warner's literary work.
48
Santos, Jefferson Odair da Silva. "Como água para chocolate : da linguagem verbo-audiovisual ao ensino de língua estrangeira." Universidade de Taubaté, 2014. http://www.bdtd.unitau.br/tedesimplificado/tde_busca/arquivo.php?codArquivo=738.
Full textAbstract:
Esta pesquisa tem por objetivo a comparação entre três sequências de uma obra cinematográfica adaptada de um romance e o texto original em língua espanhola, como estratégia para o ensino de língua estrangeira. Visando a esse objetivo foi selecionado como objeto de estudo comparativo o romance mexicano Como água para chocolate, de autoria de Laura Esquivel (1989), e sua adaptação para o cinema, de autoria de Alfonso Arau (1993). A proposta é a de apresentar um estudo comparativo entre os gêneros literário e cinematográfico e suas respectivas linguagens. Finalmente, em face da obra original e da adaptação do romance para o cinema, procedemos a um cotejamento do romance e dos diálogos do filme, em que foram observadas as aproximações e afastamentos entre a obra original e sua adaptação para o cinema. Para cumprir esta proposta, toma-se como referencial teórico a teoria dialógica da linguagem de Bakhtin e do Círculo. Primeiramente, nas reflexões de Bakhtin e do Círculo, além de nas de leitores críticos dessa teoria para tratar dos conceitos de enunciado, de gêneros discursivos, de axiologia, de signos ideológicos, de exotopia e de cronotopia, observando-se as relações dialógicas que se estabelecem entre o filme e a obra escrita. Em segundo, para tratar da linguagem verbo-audiovisual, recorre-se à leitura de Dondis (2000); para tratar da linguagem das cores, recorre-se à leitura de Guimarães (1998), entre outros. Este trabalho se justifica pela contribuição que pode dar a professores de línguas e a estudantes universitários e também pelo interesse e pela familiaridade dos jovens com a linguagem verbo-audiovisual na atualidade. Assim, o filme adaptado da obra possibilitaria despertar a leitura do original mexicano, aproximando os alunos da cultura e da língua espanhola, promovendo uma análise mais crítica acerca dos textos literários e suas adaptações para os textos cinematográficos e sobre a linguagem verbo-audiovisual. A metodologia empregada foi a da pesquisa bibliográfica e foi feita a análise da linguagem verbo-audiovisual.This research aims the comparison among three sequences of cinematographic adapted novel and the original text in Spanish language, as a strategy to teach a foreign language. Aiming at this objective it was selected as the object of comparative study the Mexican novel called Como água para chocolate, by Laura Esquível (1989) and its adaptation to the cinema, written by Alfonso Arau (1993). The proposal is to present a comparative study between literary and cinematographic genres and their respective languages. Likewise, in face of the original work and the adaptation to the cinema, we have a mutual comparison of novel and the dialogues of the film in that the approximation and the distance were observed between the original work and film adaptation.To carry out this proposal, take reflections of language Bakthin and the Circle, in addition to the critical readers of this theory to treat the concepts of utterance discursive genres, axiology of the ideological signs, exotopy and chrnotherapy, observing the dialogical relationships which are established between film and written work. Second, to treat audiovisual-verb language refers to reading Dondis (2000): to treat the language of colors, turn to the reading of Guimarães (1998), among others. This work is justified by the contribution that it can give to language teachers and college students and also for the interest and the familiarity of young people with language audiovisual-verb these days. Thus, the film adapted work would awake the reading of the original Mexican, approaching the students of Spanish language and culture, put the analysis back in circulation, more critical about literary texts and their adaptations to the film texts.
49
Barioz, Alain-Cyril. "Un arbre en ce monde. Théodore de Bèze, moraliste du contemptu mundi." Electronic Thesis or Diss., Sorbonne université, 2024. http://www.theses.fr/2024SORUL028.
Full textAbstract:
Inspirés par les idées de détachement et de renoncement, les thèmes cléricaux et monastiques du contemptus mundi dénoncent la richesse, la chair et la gloire comme autant d'obstacles dans la quête de Dieu. Ils devaient, cependant, être renouvelés à la faveur de sa réception humaniste tandis que la Réforme, de son côté, avait besoin d'une doctrine du mépris du monde qui lui soit propre. La façon dont ce topos est transformé par Théodore Bèze au XVIe siècle pour devenir un thème majeur pour les réformateurs n'a pas encore reçu l'attention qu'elle mérite. C'est pourtant une manière importante de comprendre leur « imaginaire » à partir des mentalités, de l'anthropologie culturelle et de la théorie de la réception. Via les genres littéraires à sa disposition, Théodore Bèze favorise une reconfiguration du contemptus mundi à partir des traditions médiévales et classiques. Son itinéraire commence à Orléans dans le contexte de la poésie latine humaniste et de l'évangélisme, ainsi que dans les bouleversements provoqués par les persécutions. Sa conversion au calvinisme le conduit à l'exil. La reformulation du mépris du monde à travers ses thèmes de prédilection comme la conversion, les normes et la discipline des églises, les confessions de foi, la sanctification, l'eschatologie, la méditation sur la mort et la vanité de ce monde… s'est traduite par une diffusion plus large du motif à travers de nouveaux genres et médias. Bèze a joué un grand rôle dans l'adoption d'une conception éthique personnelle d'une attitude chrétienne droite à adopter face au théâtre d'un monde en mutation. Cette reconfiguration du mépris du monde est devenue constitutive du rayonnement calviniste en EuropeMy PhD proposes to examine how the Ancient idea of « contempt for the world » was perceived, and then transformed by the French Calvinist Reformer in the second part of the sixteenth century.To contextualize the « disdaining », or « despising » of the world, is a translation of « contemptus mundi ». Based on the ideas of renunciation and detachment, main topics of this thema accuse wealthy, it evoked those dangers or obstacles - the pursuit of wealth, the way of the flesh, the quest for glory - in the pursuit of God. This points to both a monastic ideal of piety and an ecclesial doctrine. It was a topos in moral literature, especially in the piety of the Devotio Moderna movement of the emerging Renaissance. « Contempt for the world » seemed, in this context, to afford a position from which to critique its defects, harnessing the humanist reception of Ancient philosophy and new Biblical exegesis. How this topos evolved to become a major theme for Protestant Reformers, however, has not yet received the attention it deserves. It is, however, an important way of understanding their « imaginary » (« l'imaginaire »), and an essential element in their « cultural anthropology ».The PhD focuses on the French and French-Swiss Calvinist experience in the sixteenth century. It has three aspects to it :a) The role of « disdaining the world » in the works of John Calvin and of his elaboration of his human anthropology.b) Its role in the mental and spiritual evolution of his principal followers, Theodore Beza (1519-1605), who favored a via media recomposition from the medieval and classical traditions.c) How their reformulation of the « disdaining of the world » played out in its broader diffusion through new genres and media (icones and emblemata, for exemple) in the course of the sixteenth century. My research is therefore situated within the historical methodologies of mentality, historical cultural anthropology and reception theory.The subject is very broad and interdisciplinary. To provide specificity, its second aspect (the case of Theodore Beza) provides the central focus for research and reflection. His itinerary began in Orleans and Paris in the context of humanistic latin poetry and evangelism, as well in the upheavals caused by the persecutions. His conversion to Calvinism in 1548 encouraged him to flee and settle first in Lausanne, then in Geneva. There, after his mentor John Calvin's died in 1564, he became the leader of the continental European Reformation until he died in 1605. Each of these periods, considered as « moments » of the history of the Reformation history, enable us to buid our thesis on the study of the main topics of his works: conversion, the institution of new norms in building churches through disciplinary, confessions of faith and polemics, sanctification, eschatology, meditation on death and vanity of this world “below”.Beza played a far-reaching role in the adoption of upright Christian attitudes to adopt in face of the theatre of changing world. Beza's work provide a specific way of documenting how he reformulated « disdain for the world » became his very particular and personal ethical conception. By the beginning of the seventeenth century, this refashioned « disdaining of the world » became more broadly constitutive of Calvinist image of itself in Europe, and these images constitute the final element of the research program of this PhD
50
Capdevila-Argüelles, Nuria. "Challenging gender and genre in the literary text : the works of Nuria Amat." Thesis, University of Edinburgh, 2001. http://hdl.handle.net/1842/22798.
Full textAbstract:
Nuria Amat was born in Barcelona in 1950, the city in which she lives at the present time after extended periods of residence abroad. She obtained a degree in Hispanic Studies and a doctorate in Information Technology, becoming the first female "documentalista" in Spain. Having worked as a lecturer in the Escuela de Biblioteconomia y Documentación, she left the post just before the publication of La initimidad (1997). Like other novelists belonging to the so-called Catalan's Women Renaissance, she started to publish at the end of the 70s, after Franco's death. This circumstance situates her chronologically within the Spanish "Nueva Narrativa". Her bibliography comprises not only fiction but also books on research technology and librarianship. This doctoral thesis, the first comprehensive analysis of Amat's work to date, deals with her five novels, one of them unpublished, and her pseudofictional books which she has described as "libros inclasificables" or "libros sin voz". The significance given by the author to the narrative genre can be justified through the critical analysis of a crucial component of her prose: metaliterature. The notion of authorship, the Barthesian death of the author, also ascribed to Foucauldian thought, and Amat's opinion that writing is a suicidal act are notions that permeate her literary production. Amat's evolution as a novelist reveals crucial aspects of female literary-subjectivity and authorship. Through the analysis of Amat's fiction, the imprecise relationship between gender and genre, central to contemporary feminist criticism, will be explored and clarified. Both concepts, the two equivalents of the Spanish word "género", support politics of representation. I intend to ground my treatment of these concepts in their power of representation within literature. My approach blends feminism, psychoanalysis and narratology so that the generic and gender expectations, challenged and transcended by Amat, can be elucidated. My ultimate aim is to delineate the formulation of Amat's literary/narrative poetics as the bildungsroman of the authorial voice using a perspective that transcends expectations of gender and genre.