Academic literature on the topic 'Textualize'

Apres avoir constate, dans l'introduction, que le motif de l'inquisition avait exerce une fascination jamais dementie aupres des ecrivains de toute epoque et de toute nationalite, ce travail s'efforce d'offrir un reperage, sous forme de repertoire, des principales expressions litteraires qui se sont inspirees de ce theme. Romans picaresques, recits utopiques, romans gothiques et historiques, etc. Sont ordonnes selon un classement alphabetique d'auteurs, avec citations, sans autre limitation que celle imposee par le sujet<br>The inquisition or holy office with its cruelties in repressing cryptojudaism, witchcraft, muslim religious observances, protestant or heretical opinions, in italy, spain, portugal and their dependencies, in every age has provided many ingredients for fictions and novels. The purpose of this work is to collect some of these dispersed elements so as to draw up an available catalogue in alphabetical order

In this dissertation, I create an interpretive framework based on deictic constructions to analyze Dene/Athabaskan poetics in four print collections of dual-language textualized orature— Denesułine/Chipewyan (Alberta), Dena’ina/Tanaina (Alaska), Dene Dháh/South Slavey (Alberta), and Diné Bizaad/Navajo (Southwest). Using this framework, I focus on the epistemological power of animals via the critical metaphor of animal tissue (muscle, bone, blood, and breath)—thus “histology.” My Introduction describes my framework. Chapter two, “‘Grandson, / This is meat’: Wolf and Caribou on How to Live in This Is What They Say,” focuses on ɂɛtθén, the word for both “meat” and “caribou,” and the homophonic relationship between meat and caribou. Chapter three, “‘I will be popular with the Campfire People, so ha, ha, ha’: Porcupine and Lynx on How to Love in K’tl’egh’i Sukdu/A Dena’ina Legacy,” on k’etch eltani, the prophetic practice of true belief. Chapter four, “‘What will you do now?’: Wolverine and Wolf on How to Die in ‘The Man Who Sought a Song,’” told by Elisse Ahnassay, on the (a)historical function of wodih, “news,” an oral genre that shapes the future. Chapter five, “‘If it floats, we will all live forever’: Coyote and Badger on How to Live Again in Diné Bahane’: The Navajo Creation Story,” on the reincarnational exchange figured by niłch’i bii’ sizinii, the inner wind. My Conclusion, “Histologies,” considers how the above concepts correspond to: flesh (ɂɛtθén), mind (k’etch eltani), breath (niłch’i bii’ sizinii), and bone (wodih): an animal that is a dream, a dream that is an animal. One of the primary ideas in my dissertation is the concept of narrative revitalization, which I define as cognate to and coeval with community practices of language revitalization, by comparing our conditions for who we are, how much space we believe ourselves to share, and how much time we have to share it in.<br>Arts, Faculty of<br>English, Department of<br>Graduate

Textualism is the doctrine of statutory interpretation propounded by a small group of US federal court judges, including the late Justice Antonin Scalia. Whilst the doctrine has attracted a great deal of scholarly attention, few have considered its historical development. In this dissertation, textualism is analysed in order to uncover the core principles and sets of rules from which it is comprised. Then, the development of these principles and sets of rules is traced back through the treatises on statutory interpretation published in England and America in the Victorian era, which were well-known to and frequently cited by Justice Scalia. Textualism is revealed to be an Anglo-American doctrine that emerged over the course of the nineteenth century; and it was made explicit in the treatises on statutory interpretation, which developed via a transatlantic scholarly dialogue. The doctrine fell out of favour in the US as the nineteenth century drew to a close; and around the same time, the rule prohibiting recourse to legislative history, a core feature of textualism, became subject to significant judicial challenge in England. The matter was resolved by a landmark decision in 1906, after which time the doctrine became firmly entrenched in England until approximately the 1980s. Textualism's long tenure in England demonstrates how a doctrinal common law theory typical of the late Victorian era persisted for more than a century despite variations in judicial application of the rules from which the doctrine is comprised, criticism from within the legal community, and significant social change over time. The modern US revival of this doctrine is further testament to textualism's tenacity. Whilst many scholars have found the doctrine to be problematic, it has remained attractive to common law judges from the time of its emergence in the middle of the nineteenth century through to the present. This is so because textualism was developed and refined through doctrinal legal scholarship, and as a result, it is consistent with traditional common law modes of reasoning, and it is tailor-made to meet the needs of judges deciding cases.

This research looks at the textuality of hiplife – the Ghanaian version of hip hop – by investigating the hiplife discursive and non discursive practices. The thesis is that hiplife is a major platform for Ghanaian youth cultural expression. I choose the qualitative methodology because it meets the subtle demand of an enquiry on expressive culture like hiplife. Using focus group discussion, interviews and participant observation to collect data from the whole country with emphasis on the four main cities, the research analyses transcribed data and comes up with various findings. These include the fact that hiplife started with the quest of Ghanaian youth for a syncretic culture, the combination of local and foreign cultures, mediated by DJs, artistes and sites. It also reveals that it is the rhythm of the Akan drum language that provides the rhythmic complexion of hiplife. Again, as a platform for youth expression, hiplife expresses new values – new social truths, a common destiny and protest against hegemony. Furthermore, hiplife appropriates the “looking glass” concept to circulate its cultural expression and ideologies in and out of Ghana. Such a visibility is also taken advantage of by the Ghanaian women to address their gender concerns.

Ce mémoire se divise en deux grandes parties; la première expose le produit d'une démarche créative, alors que la seconde se veut une étude sémiologique de cette démarche. Ainsi, la partie essai cherche à éclairer les aspects formels, thématiques et symboliques des dessins de la partie créative. Deux perspectives sont employées pour étudier ces aspects à savoir le "narratif" et le "descriptif". La première perspective tient surtout compte des transformations de l'image tandis que la seconde aborde l'image en l'isolant de son contexte pour mieux étudier sa forme. Il est à noter que ces deux façons d'aborder l'image ne sont pas exclusives, en ce sens que l'une peut naturellement se joindre à l'autre. Il s'agit donc d'une étude qui se répartit en sections divisées selon la tendance dominante. Ainsi, les parties II et III, de la partie essai, sont les résultats d'une séparation entre les perspectives en fonction de leur ordre d'influence dans l'étude (du narratif au descriptif, et l'inverse: du descriptif au narratif). L'usage de notions telles que "planche" et "tableau" signale deux genres différents d'images. Celles constituant les unités de séquences se trouvent ainsi intégrées à des pages qui porteront le nom de "planches", tandis que les pages qui contiennent une image porteront le nom de "tableaux". L'usage du qualificatif "métaphorique" fait référence à deux définitions. Lorsqu'il sera question d'"espace métaphorique", c'est la définition de Michel Rio qui s'appliquera soit tout ce qui constitue le "dedans du cadre" de l'image. Lorsque le qualificatif sera employé pour définir la nature des associations entre les unités de l'image (et les images entre elles), c'est la définition de Gabriel Lusser Rico qui s’appliquera, soit les rapports qui cherchent à intensifier l'expression d'une impression ou d'une sensation. Par ailleurs, cette notion fera écho à la dimension intuitive du processus de création en vue de définir l'implication de deux modes de traitement de l'information iconique (l'analytique et le synthétique). La faveur accordée aux rapports analogiques dans le processus de création, vise à faciliter le déploiement d'une impression centrale. […]

<p> This dissertation problematizes the notion of textuality. Textuality is a virtual object, which each text production actualizes. </p><p> The problem can be formulated as follows: How can one read textuality through one or several text(s)? How can one perceive more than a simple fixed object and appreciate problems that a writer encounters during the process of writing, when the text was still being elaborated, in a battle with virtualities? </p><p> Starting from recent statements of Todorov on how non-fictional texts can be considered as literature, I examine the development of the concept of literarity from the 1960&rsquo;s in France. I examine three conceptions of the text: as a structure that highlights its own materiality (with Ricardou); as a production undermining the structuralist dichotomy between signifier and signified (with Barthes); as an artwork (with Ricoeur, and Genette). </p><p> Henceforth, I articulate four theoretical problems, giving access to the following conclusions: - Texture is readable in a different way than the search for a meaning. - The world as a text and the world of the text entail two distinct conceptions; texts built as mirrors of themselves change and improve our understanding of textuality. - Reading should not be conceived as totally predetermined by writing and by the author&rsquo;s mastership. - Reading can be conceived as a virtualization (and not just an actualization) of the text. Virtualization is a &ldquo;rise&rdquo; from an actuality (such text) towards the problematic field where it emerged. </p><p> Those conclusions are supported by comparative studies and analyses of specific works: Mallarm&eacute;&rsquo;s poems and especially <i>Un coup de d&eacute;s</i>&hellip;, the relationship between some of his works and Edgar Allan Poe&rsquo;s, Godard&rsquo;s filmography as opposed to Bresson&rsquo;s, Ponge&rsquo;s poems in comparison with an poetical essay by Le Cl&eacute;zio, a play by Sarraute in the light of a text co-authored by Derrida and Leiris. </p>

La cohésion constitue une notion essentielle parmi les notions qui se rattachent aux linguistiques textuelles, car elle est au centre des recherches et études qui portent sur l’analyse des textes, étant donné qu’elle se donne pour perspective la focalisation sur le texte dans son ensemble, comme étant un système complet et chevauché. Ainsi cette étude vise à mettre en lumière la cohésion textuelle et son impact dans la coordination entre les phrases et les paragraphes dans le système textuel. L’étude traite également les facteurs et les mécanismes reliant entre les parties du texte au niveau grammatical, lexical etpragmatique, lesquels permettent d’exprimer parfaitement le sens et par conséquent forment un texte qui jouit de toutes les caractéristiques textuelles.L’étude démontre qu’en dépit de l’autonomie qui caractérise la linguistique du texte, considérée comme une science à part par les scientifiques occidentaux, toutefois, ses racines existent dans l’héritage linguistique arabe, sous forme de parties disparates que l’on retrouve dans plusieurs domaines tels que la grammaire et la rhétorique.La présente étude a choisi comme matière la poésie de ʿAbd Al-Wahhāb AlBayyātī, ce poète pionnier qui a contribué avec ses confrères à la renaissance de la poésie arabe moderne à la fin de la première moitié du vingtième siècle, car il avait présenté une production poétique abondante avec un style innovant adapté à l’actualité de son époque. L’étude met l’accent sur la présence des notions textuelles dans les poèmes d’Al-Bayyātī, et son habileté quant à l’emploi et à l’exploitation desdites notions, d’une part pour réaliser la textualité dans son poèmes, et d’autre part afin d’exprimer son expérience poétique, laquelle est enrichissante, profonde et variée, fusionnant entre le patrimoine et la modernité<br>Cohesion is an essential notion within textual linguistics as cohesion has alwaysbeen at the heart of the research studies that focus on textual analysis, because cohesion places a great impact not just on the different components of a text but on the entire text as a complete and overlapping system. Thus, this study aims to highlight the textual cohesion and its impact on the organisation of sentences and paragraphs within the textual system. The study also deals with the factors and mechanisms that are linked to the parts of the text at the grammatical, lexical and pragmatic levels which together allow the writer to express a thorough and explicit meaning and to consequently form a text that enjoys and contains all the textual characteristics.The study shows that despite the uniqueness that characterizes the linguistics of the text that Western linguists consider as a separate branch, the roots of this have been present within the Arabic linguistic heritage, but have been dealt with as distinct parts, especially within areas such as grammar and rhetoric.The present work has chosen the poetry of ʿAbd Al-Wahhāb Al-Bayyātī as the subject of this study. Together with his contemporaries, this pioneer poet has contributed to the revival of modern Arabic poetry towards the end of the first half of the twentieth century he presented bountiful poetic productions with an innovative style that suit the ongoing developments of his time. The study focuses on the presence of textual concepts in Al-Bayyātī’s poems, and his ability to use and exploit these notions on the one hand and to achieve the element of textuality in his poems on the other hand. This reveals his deep, rich, profound and diverse poetic experience that merged heritage and modernity