A proposta desta dissertação é analisar comparativamente a maneira como António Lobo Antunes e Mia Couto retratam a guerra em suas crônicas. Para isso, foram selecionadas narrativas publicadas nos livros: Livro de Crônicas, Segundo Livro de Crônicas e Terceiro Livro de Crônicas, do escritor português, e Cronicando, do escritor moçambicano. Ao abordarem episódios relacionados à guerra propõem também uma releitura do processo histórico de seus países e incitam seus leitores à criticidade em relação aos fatos retratados. A partir da articulação entre História e Ficção, os autores explicitam os mecanismos de sustentação da guerra e particularizam os efeitos do conflito nas relações humanas, dando-lhes perspectivas divergentes, notadamente, utópica e melancólica. / This work aims at analyzing comparatively the way how António Lobo Antunes and Mia Couto represent the war in their chronicles. The selected narratives were published in First Chronicles Book, Second Chronicles Book and Third Chronicles Book by the Portuguese writer, and Chronicling by the Mozambican author. Approaching facts associated with the war, the propose a new interpretation of the historic process, by inciting the readers to have a critical point of view of the depicted conflicts. Starting from de articulation between History and fiction, the two authors make explicit the supporting mechanisms of war and particularize the effects of the conflicts in human relations, by giving them divergent perspectives, more notably utopian and melancholic ones.

A partir de uma comparação entre \"O Homem Nu\" (1960) e A Nudez da Verdade (1993), ambos de Fernando Sabino, este trabalho analisa e discute, em especial, três aspectos da obra do escritor mineiro: sua trajetória como artista, o trabalho com os mecanismos formais da literatura em cada texto e a relação deles com os gêneros literários a que se filiam. O primeiro aspecto é examinado por meio de um paralelo, na carreira de Sabino, entre os momentos da primeira publicação dos textos. O segundo examina as semelhanças e diferenças entre as obras, baseando-se numa leitura atenta. O terceiro, por fim, busca articular as características detectadas com a bibliografia teórica de gêneros como a crônica, o conto e a novela, além de referências mais gerais. Como síntese, três imagens conceituais são desenvolvidas: o fluido, o fixo e o entre. O fluido, no âmbito desta dissertação, condensa forças presentes na obra que tendem à instabilidade e à renovação, seja na forma literária, seja no trabalho com os gêneros. O fixo, por sua vez, se refere às forças contrárias, que tendem à estabilidade e à institucionalização. O entre, posição intermediária entre as forças, reuniria os recursos empregados por Sabino, em ambas as histórias, para manter-se equidistante d\'o fluido e d\'o fixo, e, assim, aproveitar o potencial de ambos. / This study is, at its core, a comparative reading of \"O Homem Nu\" (1960) and A Nudez da Verdade (1993), both penned by Fernando Sabino. It develops an analysis and a discussion of three main aspects of those texts: their dialogue with his career, the literary elements with which he made them and their connections to literary genres, such as the Brazilian \"crônica\", the short story and the novella. In the first chapter of this dissertation, Sabino\'s career is summarized in a parallel between the first publication date of both texts. Then, we proceed to a comparative analysis of the literary similarities and differences between them. In the third chapter, we mobilize essays discussing genre conventions, as well as broader theoretical works, to comprehend both texts. Finally, we develop three conceptual images: the fluidity, the fixedness and between. The fluidity is a set of forces that produce instability and renewal, whether in literary aspects or in genre conventions. The fixedeness represents other forces, in the opposite direction, which produce stability and institutionalisation. Between is an image that references how Sabino manages to keep distance from fluidity and fixedness at the same time, to better take advantage of both of them.

Orientador: João Batista Ernesto de Moraes / Banca: José augusto Chaves Guimarães / Banca: Leila Felinto Pinto de Almeida / Resumo: Partindo do questionamento acerca do tipo de informação inerente ao texto narrativo ficcional, a investigação buscou subsídios para análise documental. Foi necessário fomentar um questionamento sobre o aboutness e sua relação com a mímese e a idéia de informação como coisa de Michael Buckland. Chegando assim a evidência temática. Em seguida, conceituou-se o gênero crônica e sua forma como universo documental para a Ciência da Informação. Analisando as crônicas de Plínio Marcos, produzidas entre 1964 e 1980, observou-se a mobilidade da estrutura canônica da narrativa, a saber, manipulação, competência, performance e sanção. A complexidade da estrutura revelou a dificuldade no desenvolvimento de uma metodologia de análise. Como conjetura, aplicou-se o percurso gerativo de sentido, depois de dividir a crônica em episódios. O resultado foi a possibilidade de analisar as crônicas a partir da fragmentação de sua superestrutura e realizar um percurso de temas para encontrar a tematicidade intrínseca do documento narrativo ficcional. / Abstract: Starting from the question about the kind of intrinsical information in the fictional narrative, this research looked for data for documental analysis. It was necessary to develop a question regarding to aboutness and its relation to the mimese and the ideia of information-as-thing by Michael Buckland. Reaching by this way an evidence to a aboutness. After that, chronicle genere was classified and its form as a documental universe for the Information Science. Analysing Plínio Marcos' chronicle, that were produced from 1964 to 1980, it was noticed the mobility of the structure canonisa of the narrative, such as manipulation, competence, performance and sanction. The complexity of the structure showed the difficulty in the development of an analysis'methodology. As a conjecture, it was applied the sense developing way, after dividing a chronicle in episodes. The result was the possibility to analyse the chronicle from the fragmetation of its superstructure and create a way of themes to find the aboutness in the fictional narrative document. / Mestre

nÃo hà / O objetivo geral desta pesquisa foi o de descrever e caracterizar a carta-crÃnica como um gÃnero discursivo, numa perspectiva sincrÃnica, e como uma tradiÃÃo discursiva (TD), numa perspectiva diacrÃnica. O referencial teÃrico no qual nos apoiamos para descrever esse gÃnero foi a teoria enunciativa de Bakhtin (2010, 2003, 1988, 1976), especialmente os conceitos de transmutaÃÃo e hibridismo; a teoria dos gÃneros com base em Bhatia (2009, 2004, 2001, 1990; Swales (2009, 2004, 1990); Bazerman (2005, 1994) e Maingueneau (2011, 2006). Para caracterizar a carta como uma TD tomamos como referÃncia Coseriu (1979, 1980, 2007); Schlieben-Lange(1983); Kabatek (2004a,b ) e Koch (2008). A metodologia utilizada baseou-se no modelo proposto por Zavam (2009) para a anÃlise diacrÃnica de gÃneros. A aplicaÃÃo dessa metodologia permitiu que constituÃssemos um corpus de 75 cartas-crÃnica, coletadas nos jornais do Rio Grande do Norte, A RepÃblica, Diario de Natal (Propriedade do âCentro da igreja Catholica) e Tribuna do Norte , no perÃodo de 1914 a 2010. Para conhecer a trajetÃria da carta-crÃnica e identificar as transformaÃÃes pelas quais elas foram afetadas ao longo do tempo, dividimos os corpus em trÃs fases, com uma amostra de 25 cartas em cada fase. A anÃlise dos dados nos autoriza a afirmar que a carta-crÃnica à uma tradiÃÃo discursiva no jornalismo potiguar. Os resultados mostram que a tradiÃÃo discursiva carta-crÃnica se caracteriza pela evocaÃÃo ao passado. Portanto, a narrativa de histÃrias passadas evocadas pela memÃria à o traÃo definidor dessa TD. / As main objective of this research we describe and characterize the chronicle-letter as a discursive genre, in a synchronic perspective, and as a discursive tradition (DT), from a diachronic perspective. The theoretical reference which we based on to describe this genre was the discursive theory by Bakhtin (2010, 2003, 1988, 1976), specially the concepts of transmutation and hybridism; genre theory, based on Bhatia (2009, 2004, 2001, 1990); Swales (2009, 2004, 1990); Bazerman (2005, 1994) and Maingueneau (2011, 2006). To characterize the letter as a Discourse Tradition we have taken into account Coseriu (1979, 1980, 2007); Schilieben-Lange (1983); Kabatek (2004a,b) and Koch (2008). The methodology was based on the model proposed by Zavan (2009) to analyze genre diachronically. Through this methodology we constituted a corpus composed of 75 chronicle lett ers, collected in the following newspapers from Rio Grande do Norte, Brazil: A RepÃblica, DiÃrio de Natal , (a Catholic Church Center Newspaper), and Tribuna do Norte, from Rio Grande do Norte, in the period from 1914 to 2010. In order to analize the route of the chronicle letter and to identify the transformations that affected them along time, we approached them in three phases, with a sample of 25 letters in each one. The data analysis allows us to affirm that the chronicle letter is a Discursive Tradition in Rio Grande do Norte journalism. The results show that a chronicle letter Discursive Tradition is characterized by past evocation. Thus, the narrative of evoked past histories through memories is a defining feature in this Discursive Tradition.

A partir de uma comparação entre \"O Homem Nu\" (1960) e A Nudez da Verdade (1993), ambos de Fernando Sabino, este trabalho analisa e discute, em especial, três aspectos da obra do escritor mineiro: sua trajetória como artista, o trabalho com os mecanismos formais da literatura em cada texto e a relação deles com os gêneros literários a que se filiam. O primeiro aspecto é examinado por meio de um paralelo, na carreira de Sabino, entre os momentos da primeira publicação dos textos. O segundo examina as semelhanças e diferenças entre as obras, baseando-se numa leitura atenta. O terceiro, por fim, busca articular as características detectadas com a bibliografia teórica de gêneros como a crônica, o conto e a novela, além de referências mais gerais. Como síntese, três imagens conceituais são desenvolvidas: o fluido, o fixo e o entre. O fluido, no âmbito desta dissertação, condensa forças presentes na obra que tendem à instabilidade e à renovação, seja na forma literária, seja no trabalho com os gêneros. O fixo, por sua vez, se refere às forças contrárias, que tendem à estabilidade e à institucionalização. O entre, posição intermediária entre as forças, reuniria os recursos empregados por Sabino, em ambas as histórias, para manter-se equidistante d\'o fluido e d\'o fixo, e, assim, aproveitar o potencial de ambos. / This study is, at its core, a comparative reading of \"O Homem Nu\" (1960) and A Nudez da Verdade (1993), both penned by Fernando Sabino. It develops an analysis and a discussion of three main aspects of those texts: their dialogue with his career, the literary elements with which he made them and their connections to literary genres, such as the Brazilian \"crônica\", the short story and the novella. In the first chapter of this dissertation, Sabino\'s career is summarized in a parallel between the first publication date of both texts. Then, we proceed to a comparative analysis of the literary similarities and differences between them. In the third chapter, we mobilize essays discussing genre conventions, as well as broader theoretical works, to comprehend both texts. Finally, we develop three conceptual images: the fluidity, the fixedness and between. The fluidity is a set of forces that produce instability and renewal, whether in literary aspects or in genre conventions. The fixedeness represents other forces, in the opposite direction, which produce stability and institutionalisation. Between is an image that references how Sabino manages to keep distance from fluidity and fixedness at the same time, to better take advantage of both of them.

An exploration of the mythologized narratives that the work and lives of Conceptual artists Bas Jan Ader, Ana Mendieta, and Francis Alÿs have created and inspired. By virtue of their biographies, the fetishization of their personalities, and the ways in which this anecdotal information can be read in their work, mythologized narratives have been constructed, allowing for a prolonged interest existing within and without the confines of the art world. These mythologies come together as part of the oral tradition of the art world, a chronicling of narratives that incites continued interest for future generations.

This dissertation examines the intersection between theories of body and of genre through the lens of cognitive science. It focuses, in particular, on representations of bodies in exemplars of fabliaux in Old French and Middle English, chivalric romance that feature the figure of Sir Gawain, and the Latin Chronicle of Bury St Edmunds. This dissertation establishes genre theory on cognitive-scientific ground by considering how embodied cognition influences both theories of genre and the representations of bodies. It argues that, rather than a container into which works fit, genre is a network of associations created in the minds of authors and audiences. This network finds expression in the bodies of characters, which differ across genres. It argues, moreover, that genre and bodies influence, in fundamental ways, interpretations of literary works. Finally, this work discusses the possibilities for future research using methods for quantitative textual analysis and data visualization common in the digital humanities. / text

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Die vorliegende Arbeit versteht sich als ein Beitrag zur wissenschaftlichen Bearbeitung der Geschichte der Veterinärmedizinischen Fakultät der Universität Leipzig und behandelt das erste Jahrzehnt ihres Bestehens, also den Zeitraum von 1923 bis 1933. Als Grundlage der Dokumentation dienten hauptsächlich Archivalien. Des Weiteren wurden zeitgenössische Fachzeitschriften verwendet. Zur Darstellung des zeitgeschichtlichen Hintergrundes wurden hauptsächlich Sekundärliteratur sowie einige wenige Internetseiten verwendet. Die Ergebnisse sind in zwei Abschnitte untergliedert, dabei befasst sich der erste Abschnitt mit der Gesamtfakultät, während der zweite Abschnitt näher auf die einzelnen Institute und Kliniken eingeht. Die Gesamtsituation war stark geprägt vom Umzug der Tierärztlichen Hochschule Dresden nach Leipzig und der damit verbundenen Eingliederung in die Leipziger Alma mater. Desweiteren verursachte die wirtschaftliche Notlage erhebliche Probleme für Forschung und Lehre. Dies ist auch im zweiten Abschnitt bei der Besprechung der einzelnen Einrichtungen an der Fakultät ein allgegenwärtiges Thema. Des Weiteren wird auf die Dozenten der Institute und Kliniken eingegangen, soweit diese nicht bereits Gegenstand anderer Dissertationen waren. Die wichtigsten Forschungsarbeiten und – soweit anhand von Archivalien belegbar – die Geldgeber dafür werden ebenfalls für die meisten Einrichtungen der Fakultät aufgezeigt. In der anschließenden Diskussion werden zunächst die Vor- und Nachteile des Umzuges von Dresden nach Leipzig gegenübergestellt. Obwohl die Nachteile hierbei zu überwiegen scheinen, kommt die Autorin zu dem Schluss, dass es nicht der Umzug an sich war, der sich als nachteilig erwies, sondern die wirtschaftlichen Bedingungen nach dem 1. Weltkrieg, welche den Umzug zu einer regelrechten Bewährungsprobe machten. Weiterhin wird diskutiert, ob es unter den gegebenen Umständen möglich war, freie Forschung zu betreiben. Hier wird deutlich, dass diese Möglichkeit zwar theoretisch gegeben war, praktisch jedoch waren diejenigen Forscher, welche sich mit Themen beschäftigten, die das Interesse des Staates und/oder der Industrie weckten, weitaus besser gestellt und konnten ihre Forschungen entsprechend schnell vorantreiben. Als Beispiel sei hier Arthur SCHEUNERT genannt, der sich hauptsächlich mit Vitaminforschungen beschäftigte. Forschungen, für die der Staat bzw. die Industrie keine bzw. nur wenige Gelder aufbringen konnten oder wollten, waren dagegen nur möglich, weil sich Leiter und Mitarbeiter der Institute unter Erbringung persönlicher finanzieller und zeitlicher Opfer dafür einsetzten, wie beispielsweise Herman BAUM und sein Präparator Paul KURZWEG. / This paper should be understood as one article regarding the scientific processing of the history of the Faculty for Veterinary Medicine at the University of Leipzig. The paper presents the first decade of its existence, meaning the time period from 1923 to 1933. The archives have served primarily as the foundation of the documentation. Furthermore, contemporary technical journals have been used. Secondary literature and a few Internet pages have also been primarily used for the presentation of the historical background. The results have been sub-divided into two sections, whereby the first section deals with the overall faculty, while the second section addresses the details of the individual institutes and clinics. The overall situation was strongly characterized by the relocation of the College of Veterinary Medicine, Dresden, and its incorporation into the University of Leipzig. Furthermore, the economic necessity caused significant problems for research work and teaching. This is also a ubiquitous topic in the second section as part of the discussion of the individual establishments of the faculty. Furthermore, insofar as such has not been the topic of other dissertations, the lecturers at the institutes and clinics will be discussed. The most important research projects and, to the extent such can be proven on the basis of the archives, the sponsors for such projects will also be presented for most of the establishments of the faculty. The advantages and disadvantages of the relocation from Dresden to Leipzig will first be contrasted in the subsequent discussion. Although the disadvantages of this would seem to prevail, the author has concluded that the relocation itself was not the true disadvantages, but rather the economic conditions after the First World War, which made the relocation into a real test. Furthermore, if it would have been possible to conduct research freely under the circumstances will also be discussed. The fact that this possibility was entirely possible in theory, however those researchers who investigated these issues and wakened the interests of the state and/or the industry were much more capable of expediting their own research more quickly will be made clear. Arthur SCHEUNERT, who primarily performed vitamin research, would be one example. Research projects that either the state or industry could not, or did not, want to support financially were only possible, because the leaders and employees of the institutes invested their own money and time, as exemplified by Herman BAUM and his preparatory, Paul KURZWEG.

This thesis intends to examine four chronicles from fifth, sixth, and early seventh century Spain and discuss the different approaches to the history of that period that the chronicles of Hydatius of Lemica, John of Biclaro, Isidore of Seville, and the Chronicle of Zaragoza display. Firstly, each of the writers will be discussed in turn, along with the implications of their choice to use the format of a chronicle to record the past. Then, their sources of information will be examined, because all four chronicles do not have access to the same quantity of information from parts of the world other than Spain. After these matters are dealt with, we will analyse the way in which changing political and social realities affect the presentation of historical events in our chronicles, including the use of appropriate technical terms. Finally, the treatment of religious issues will be examined, and once again we will see how the changes of their times altered the style of these chronicles. In all of this, it is apparent that attitudes in Spain to the recent past changed during this period, because of the political, religious, economic, and social upheavals caused by the disappearance of the Roman Empire in Spain and the rise of the kingdom of the Visigoths.