In part three 'Women·Song and Dance-Vernacular' (chapter 5), I deploy film textual analysis, focused on one female image--the sing-song girl, and in this part, I try to identify the differences and similarities of soft film and Li's soft songs and dances. From the perspective of women and on the basis of comparison, I try to study the hybridity of Chinese vernacular in left-wing films. / In the first part 'Poems·Music·Vernacular' (chapters 1&2), I draw upon intermediary and interdisciplinary research methods, to analyse the interrelationship between Hu Shi's vernacular poems and Li Jinhui's popular songs. Focusing on Li Jinhui's musical practices from the May Fourth to the 1920s and the 1930s, I try to analyse and summarize the two key features of Chinese vernacular modernism: intertextuality and hybridity, characterised by the mixture of different cultures and discourses (including urban popular culture, intellectual high culture, official culture, traditional folk culture and so on), and the dialectical relations between body and sense and enlightenment and education ('Entertainment with Enlightenment', Yu Jiao Yu Le). / In the second part 'Vernacular·Songs·Sound films' consisting of two chapters (3&4) , I will analyse film magazines, such as Film Magazine (Yingxi zazhi), Movie Magazine (Dianying zazhi) and Modern Cinema (Xiandai dianying), film texts, such as Street Angel (Malu tianshi, Yuan Muzhi, 1937) The Big Road (Dalu, Sun Yu, 1934), Children of Trouble Time (fengyun er nuˇ, Xu Xingzhi, 1935), The New Year's Coin (Yasui qian, Xia Yan, 1937), etc., and I draw a picture of Chinese early cinema's vernacular scene, before and after the arrival of sound. Specifically, from the perspective of the musical tune and lyrics of film songs, I attempt to analyse the hybridity of Chinese vernacular embodied especially in left-wing films. / The dissertation has three main sections. / This dissertation is focused on analysing the film culture of Chinese early cinema from the perspective of sound, from 1930 to 1937. The theoretical development of this dissertation is based around the concept of vernacular modernism, proposed by Miriam Bratu Hansen and developed by Zhang Zhen. I will not simply borrow this theory but use it within a critical framework. I attempt to rethink its meanings in the Chinese context, and on this basis, I will propose a new account of early Chinese sound film's vernacular modern history. / 魏萍. / Source: Dissertation Abstracts International, Volume: 73-04, Section: A, page: . / Thesis (Ph.D.)--Chinese University of Hong Kong, 2011. / Includes bibliographical references (p. 262-267). / Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web. / Electronic reproduction. [Ann Arbor, MI] : ProQuest Information and Learning, [201-] System requirements: Adobe Acrobat Reader. Available via World Wide Web. / Abstracts in Chinese and English. / Wei Ping.

This thesis presents a study of the interlanguage of the speech act of apology by Taiwanese learners of English. It compares the way Taiwanese learners apoologize in English and how they apologize in Mandarin Chinese, as well as how native speakers of American English apologize.

The current vast sociocultural shift from Modernism to PostModernism forms the backdrop to this study. Whenever paradigm shifts occur, the metaphors which depict human experience and identity also change. The mechanistic metaphors of Modernism are giving way to metaphors derived from art and literature, in particular narrative theory. Self, as one of the most pivotal notions in philosophy, literature, and psychology, should not be excluded from this process of reconceptualisation. As the point of intersection between the personal and the cultural, the notion of Self now needs to bereformulated to become more coherent with Post-Modernist ideas. Within this framework the Modernist notion of a Self which is unified, substantial, and stable across all contexts, is deconstructed in this study to reveal the linguistic and ideological codes and conventions which are used in its construction. It is proposed that the Self can be viewed as embedded in relationship with others and as inscribed by the prevailing cultural ideologies regarding personhood. As such the Self can be regarded as held together reflexively by narrative codes and conventions. These ideas are demonstrated in an analysis of two written self-narratives and applied to the conventions and practices in psychotherapy. / Psychology / D.Litt. et Phil. (Psychology)

Traditional healers are one among professionals that are viewed as the most significant people in African Society. They are accorded the highest esteem because of the role they play in saving people’s lives and promoting cultural aspects such as ukuhlonipha amasiko in isiZulu. It should be remembered that this word ukuhlonipha which means to respect, is used across cultures to maintain peace within family and society. It all depends on which culture promotes it more than others. It is sociolinguistic truism that ukuhlonipha is essentially linked to the ubuntu philosophy of African people. However, traditional healers more than other people follow ukuhlonipha culture in numerous ways, especially when they meet, being consulted and during traditional ceremonies. They serve and promote what in IsiZulu is known as ukuhlonipha, which to the uninitiated and sometimes even to the scholars of this philosophy is a mystery. It is for this reason and others that people view them as the soul of society. This study looks at relevant sociolinguistic theories especially the politeness theory to analyze most of the hlonipha features shown by traditional healers, apprentice and people during consultation. / African Languages / M.A. (African Languages)

This study is on standard isiXhosa in a multilingual classroom and includes an interpretation of both urban and rurual learners’ literary texts. An attempt is made to examine a selection of isiXhosa texts in order to interprete the state of affairs of the isiXhosa language in the 21st century. Organization of the study This dissertation was organized in the following manner: Chapter one includes an introduction to the study, its aims and objectives as well as the research methodology. Since the isiXhosa language is the focal point of the study, it is discussed in some depth. In chapter two, the researcher concentrates on the Pan South African Language Board (PanSALB) "Imibono yethu". Imibono yethu is an anthology of learners' writings. The learners were invited to enter a competition by using various genres, e.g. short stories, poems, one-act dramas, rap songs, kwaito, essays, and melodic poems. The researcher wanted the learners to use whatever genre inspires them, to put it colloquially, "what turns them on!" Any aspect of the urban lifestyle could be explored within the theme of each entry and fell under the following headings: • Standard language. • Standard isiXhosa. Chapter three investigates non-standard language varieties with special reference to isiXhosa and the language policy of South Africa. In this chapter, a comparison was drawn between non-standard language and standard language. vi In chapter four, the researcher discusses the overall findings of the competition, comparing the results emanating from the Eastern Cape and Gauteng. Chapter five deals with achievement of the objectives and highlights of the research. / African Languages / M.A. (African Languages)

Thesis (MA)--University of Stellenbosch, 2002. / 214 Leaves printed on single pages, preliminary pages i- xvi and numbered pages 1-191. Includes bibliography and illustrations. / Digitized at 600 dpi grayscale to pdf format (OCR), using a Bizhub 250 Konica Minolta Scanner. Digitized by Ivan Jacobs on request of Niel Hendrickz, 15 April 2011. / ENGLISH ABSTRACT: This investigation is informed by the assumption that language, as representation and as image, is positioned in a metaphorical relationship to reality. Language, as a structure of representation, is the way in which we represent reality to ourselves and to others and recreate the past, as well as the way in which we invest our lives with meaning, significance and experience. Language includes visual and verbal representation, and this investigation shows how image and text create a variety of multiple meanings through playful and interactive reciprocation. Following from the assumption that language comprises temporal and spatial qualities, it is also the terrain that enables us to know and understand reality, ourselves, and others. This emphasizes the material nature of language, which is also connected with social and cultural practices and, as such, involves reciprocation and interaction between divergences. Language is therefore a mode of action that makes the bridging of divisions possible. Language is proposed as a medium through which the monolithic hegemony of the apartheid past may be confronted within a multicultural South Africa. The aim of representing this past in my work is not to recall it as it was or to discover etemal, inheritable qualities, but rather to bring about re-demption (healing) through re-presentation. Re-demption and re-presentation is a textual practice that involves a re-script of the past. With the understanding that history and culture are regarded as text, re-writing the past does not involve representation as mimesis, but as production. This investigation recognizes the role of the subconscious as the other or the alterity in all language constructs that makes it possible to circumvent the logic of binary oppositions; entertain alternatives simultaneously; erase boundaries; share spaces, and discover the other in the self. This unconscious language of the other, as a strange doubling and interplay between near and far, gives rise to poies/s. The creation of multi-dimensional spaces that draw the poetical and the everyday into an imaginative and directed conceptual interplay as well as provoke dialogue between differences and diversities, engenders a desire for the complexity of the other. The interplay and recurrent movement across divisions and between paradoxes create a new and changed interspace, characterized by difference, plurality, and contradiction. Intertextual spaces allow relationships between differences and exist precisely as a result of dialogicity between diversities. In this way it is possible to establish, by virtue of difference, a mutual, interdependent relationship with the other. Metaphorical language requires an allegorical reading that places divergences in relation to one another, thereby causing a mythic animation of signification that moves from one level to another. Mytho-poeisis, as an allegorical structure, is proposed as a model by means of which symbolic transformation and redemption of the personal and collective psyche may occur. Poetic re-imagining as re-presentation impels change and transformation and points to other possible forms of social and ethical experiences. This impulse, to reconcile the social and the aesthetic, or the cultural with symbolic form, is based on the principle of reconciliation between art and life. / AFRIKAANSE OPSOMMING: Hierdie ondersoek handhaaf die veronderstelling dat taal in 'n metaforiese verhouding tot die werklikheid staan as voorstelling en as beeld. Taal, as 'n struktuur van voorstelling, is die wyse waarop ons die werklikheid aan onsself en ander voorstel en die verlede herskep, asook die wyse waarop ons sin, betekenis en ervaring aan ons lewens verskaf. Taal sluit visuele en verbale voorstellings in en hierdie ondersoek toon op watter wyse beeld en teks in speelse en interaktiewe wisselwerking 'n verskeidenheid meersinnige betekenisse skep. Uitgaande van die veronderstelling dat taal temporele en ruimtelike kwaliteite betrek, is dit ook die terrein wat ons in staat stel om die werklikheid, onsself en ander te ken en verstaan. Dit beklemtoon die materiele aard van taal, wat ook met sosiale en kulturele praktyke verbind is en sodanig wisselwerking en interaksie tussen uiteenlopendhede betrek. Taal is dus 'n modus van doen, wat oorbrugging van skeidings moontlik maak. Taal word as 'n medium voorgestel waardeur die monolitiese hegemonie van die apartheidsverlede binne 'n multikulturele Suid-Afrika gekonfronteer word. Voorstelling van hierdie verlede in my werk is nie met die doel om dit te herroep soos dit was, of ewige, erfbare eienskappe te ontdek nie, maar eerder om herstel deur her-voorstelling te bewerkstellig. Her-stel en her-voorstelling is 'n tekstuele praktyk wat 'n re-skripsie van die verlede behels. Met begrip dat geskiedenis en kultuur as teks beskou word, behels die her-skryf van die verlede nie voorstelling as mimesis nie, maar as produksie. Hierdie ondersoek erken die rol van die onderbewussyn as die ander of die alteriteit (alterity) in alle taalvoorstellings wat dit moontlik maak om die logika van binere oposisies te omseil; alternatiewe gelyktydig in ag te neem; grense uit te wis, ruimtes te deel en die ander in die self te ontdek. Hierdie onbewuste taal van die ander, as 'n vreemde verdubbeling en spel tussen naby en ver, gee aanleiding tot poesis (poiesis). Die skep van multidimensionele ruimtes wat die poetiese en die alledaagse in 'n verbeeldingryke en gerigte konseptuele wisselspel betrek, asook dialoog tussen verskille en diversiteite bewerkstellig, skep 'n aandrang vir die kompleksiteit van die ander. Die interspel en ewigdurende beweging oor skeidings en tussen paradokse skep 'n nuwe en veranderde interruimte, wat gekenmerk word deur verskil, pluraliteit en kontradiksie. Intertekstuele ruimtes laat verskilsverhoudings toe en bestaan juis as gevolg van dialogisiteit tussen diversiteite. Op hierdie wyse is dit moontlik om op grond van verskil 'n wedersydse en interafhanklike verhouding met die ander aan te knoop. Metaforiese taalgebruik verg 'n allegoriese lees wat uiteenlopendhede in verhouding tot mekaar plaas sodat dit 'n mitiese animasie van betekening bewerkstellig wat vanaf een vlak na 'n ander vlak beweeg. Mito-poesis, as 'n allegoriese struktuur, word voorgestel as model waarvolgens simboliese transformasie en herstel van die persoonlike en kollektiewe psige kan geskied. Poetiese her-verbeelding as her-voorstelling motiveer verandering en transformasie en dui op ander moontlike vorms van sosiale en etiese ervarings. Hierdie impuls, om die sosiale en die estetiese, of om die kulturele met simboliese vorm te vereenselwig, berus op die beginsel van versoening tussen kuns en lewe.

Thesis (PhD)--Stellenbosch University, 2002. / Tot op hede is die studie van die semantiek tot 'n groot mate bëinvloed deur die taalkundige perspektiefvan die navorser. Dit het dikwels gelei tot resultate wat skeefgetrek is deur die voorveronderstellings van die navorser. Sommige aspekte van betekenis wat van primêre belang is vir die semantiese beskrywing van bepaalde taalkundige konstruksies is in die proses nie genoegsaam, of glad nie, aan die orde gestel nie. Semantiek as 'n interdissiplinêre wetenskap het 'n komplekse karakter aangesien taalkunde, antropologie, kognitiewe sielkunde en, afhangend van die doel van 'n bepaalde semantiese analise, ander verwante dissiplines daarin 'n rol kan speel. Om die rede is daar 'n behoefte aan 'n omvattende benadering in terme waarvan die verskillende faktore verreken kan word. In die semantiese analise van Bybel-Hebreeuse konstruksiesvorm die kulturele agtergrond van leksikale items 'n integrale deel van die semantiese inhoud van hierdie items. In die lig van die beduidende historiese en kulturele verskille tussen die konteks(te) van die Ou Testament en die konteks(te) van hedendaagse lesers is dit dus belangrik om die kulturele dimensie van 'n semantiese analise van Bybels-Hebreeuse leksikale items sistematies aan die orde te stel. So 'n benadering is van groot belang vir Bybelvertaling wat by uitstek 'n proses van interkulturele kommunikasie is. Bybelvertalers het 'n behoefte aan analitiese instrumente wat al die fasette van die semantiese inhoud van Bybels-Hebreeuse lekseme verdiskonteer. Die doel van hierdie studie is om 'n semantiese model te ontwerp wat vir die doel gebruik kan word. Die vertrekpunt van die studie is die teorie van komponensiële analise. Die geskiedenis en ontwikkeling van die model word krities bespreek. Die moontlikhede wat hierdie teorie bied vir 'n meer omvattende model word ondersoek. Besondere aandag word gegee aan die nut wat hierdie benadering het as heuristiese instrument vir die semantiese analises. Die komponensiële analise van betekenis word op hierdie manier geïdentifiseer as 'n benadering wat nie te gou afgeskiet moet word as synde te eng strukturalisties nie. Inteendeel, dit kan ook as 'n buigsame instrument ontwikkel word wat nie net betekenisrelasies in terme van dichotomieë kan beskryf nie. Dit kan ook gebruik word om 'n wye verskeidenheid semantiese verhoudings te analiseer wat insigte van die kognitiewe taalkunde insluit. Daar is verder bevind dat die konsep "semantiese universalium" wat 'n belangrike komponent is van sommige benaderings tot leksikale semantiek weinig waarde het vir 'n semantiese analise wat 'n bydrae wil maak tot vertaling as interkulturele kommunikasie. Die universele kategorieë is meestal so generies dat hulle weinig bydrae tot die beskrywing van die fyner nuanses van lekseme wat tot dieselfde semantiese veld behoort. Daar moet eerder gepoog word om in soverre dit moontlik is 'n instument te ontwikkel wat taal en kultuur spesifiek is. Die kategorieë en kriteria vir die semantiese analise moet verder aan die hand van die brontaal en - kultuur self ontwikkel word. Die navorser moet baie versigtig wees dat sy ofhaar eie teoretiese voorveronderstellings nie op die ondersoek-instrument afgedruk word nie. In die ondersoek is gevind dat die kulturele dimensie van die leksikale items nie genoegsaam verreken kan word, sonder om die wêreldbeeld te analiseer wat ten grondslag lê van die tekste waarin die leksikale items voorkom nie. Vir die doel is 'n analitiese modelontwikkel. Hierdie buigsame model gebruik 'n stel veranderlikes om die tipiese wêreldbeeld te identifiseer wat ten grondslag lê van 'n bepaalde korpus van tekste. Nadat die onderliggende wêreldbeeld van die boek van Jesaja beskryf is, word die leksikale items in hierdie boek, wat behoort tot die semantiese veld "negatiewe morele gedrag" geanaliseer. Op grond van die resultate word 'n aantal aanbevelings gemaak oor die wyse waarop hierdie items in 'n Hebreeuse leksikon beskryf kan word. / AFRIKAANSE OPSOMMING: Tot op hede is die studie van die semantiek tot 'n groot mate bëinvloed deur die taalkundige perspektief van die navorser. Dit het dikwels gelei tot resultate wat skeefgetrek is deur die voorveronderstellings van die navorser. Sommige aspekte van betekenis wat van primêre belang is vir die semantiese beskrywing van bepaalde taalkundige konstruksies is in die proses nie genoegsaam, of glad nie, aan die orde gestel nie. Semantiek as 'n interdissiplinêre wetenskap het 'n komplekse karakter aangesien taalkunde, antropologie, kognitiewe sielkunde en, afhangend van die doel van 'n bepaalde semantiese analise, ander verwante dissiplines daarin 'n rol kan speel. Om die rede is daar 'n behoefte aan 'n omvattende benadering in terme waarvan die verskillende faktore verreken kan word. In die semantiese analise van Bybel-Hebreeuse konstruksies vorm die kulturele agtergrond van leksikale items 'n integrale deel van die semantiese inhoud van hierdie items. In die lig van die beduidende historiese en kulturele verskille tussen die konteks(te) van die Ou Testament en die konteks(te) van hedendaagse lesers is dit dus belangrik om die kulturele dimensie van 'n semantiese analise van Bybels-Hebreeuse leksikale items sistematies aan die orde te stel. So 'n benadering is van groot belang vir Bybelvertaling wat by uitstek 'n proses van interkulturele kommunikasie is. Bybelvertalers het 'n behoefte aan analitiese instrumente wat al die fasette van die semantiese inhoud van Bybels-Hebreeuse lekseme verdiskonteer. Die doel van hierdie studie is om 'n semantiese model te ontwerp wat vir die doel gebruik kan word. Die vertrekpunt van die studie is die teorie van komponensiële analise. Die geskiedenis en ontwikkeling van die model word krities bespreek. Die moontlikhede wat hierdie teorie bied vir 'n meer omvattende model word ondersoek. Besondere aandag word gegee aan die nut wat hierdie benadering het as heuristiese instrument vir die semantiese analises. Die komponensiële analise van betekenis word op hierdie manier geïdentifiseer as 'n benadering wat nie te gou afgeskiet moet word as synde te eng strukturalisties nie. Inteendeel, dit kan ook as 'n buigsame instrument ontwikkel word wat nie net betekenisrelasies in terme van dichotomieë kan beskryf nie. Dit kan ook gebruik word om 'n wye verskeidenheid semantiese verhoudings te analiseer wat insigte van die kognitiewe taalkunde insluit. Daar is verder bevind dat die konsep "semantiese universalium" wat 'n belangrike komponent is van sommige benaderings tot leksikale semantiek weinig waarde het vir 'n semantiese analise wat 'n bydrae wil maak tot vertaling as interkulturele kommunikasie. Die universele kategorieë is meestal so generies dat hulle weinig bydrae tot die beskrywing van die fyner nuanses van lekseme wat tot dieselfde semantiese veld behoort. Daar moet eerder gepoog word om in soverre dit moontlik is 'n instument te ontwikkel wat taal en kultuur spesifiek is. Die kategorieë en kriteria vir die semantiese analise moet verder aan die hand van die brontaal en - kultuur self ontwikkel word. Die navorser moet baie versigtig wees dat sy of haar eie teoretiese voorveronderstellings nie op die ondersoek-instrument afgedruk word nie. In die ondersoek is gevind dat die kulturele dimensie van die leksikale items nie genoegsaam verreken kan word, sonder om die wêreldbeeld te analiseer wat ten grondslag lê van die tekste waarin die leksikale items voorkom nie. Vir die doel is 'n analitiese model ontwikkel. Hierdie buigsame model gebruik 'n stel veranderlikes om die tipiese wêreldbeeld te identifiseer wat ten grondslag lê van 'n bepaalde korpus van tekste. Nadat die onderliggende wêreldbeeld van die boek van Jesaja beskryf is, word die leksikale items in hierdie boek, wat behoort tot die semantiese veld "negatiewe morele gedrag" geanaliseer. Op grond van die resultate word 'n aantal aanbevelings gemaak oor die wyse waarop hierdie items in 'n Hebreeuse leksikon beskryf kan word.

Thesis (DLitt (Ancient Studies))--University of Stellenbosch, 2006. / This study accounts for the forms and functions of the similes in the Book of Hosea. It proposes new tools for textual criticism, biblical interpretation, and understanding Biblical Hebrew (BH) worldview. Chapter One presents the task we have chosen for ourselves, its nature, some obstacles from other areas of scholarship, and the foundational notions of embodiment and Prototype Theory. Chapter Two presents principles drawn from Cognitive Semantics and Cognitive Syntax. A weakened version of the Lakoff-Johnson conceptual metaphor theory is adopted, and the key notions of embodiment and judgments of prototypicality are presented. Elements of Conceptual Blending are presented and adapted for simile analysis. Finally, text-based differences between metaphors and similes are discussed. Chapter Three presents cognitive cultural constructs of Strauss and Quinn: cultural schemas, cultural exemplars, cultural models, and cultural themes. Strauss and Quinn’s conclusions about metaphors’ use in everyday speech are shown to agree with our postulation of speaker assessment of the hearer’s ability to process utterances before they are produced. This postulation allows us to erect one part of a theory of simile. Chapter Three then integrates metaphor with the Strauss-Quinn cultural meaning model, and then with Boroditsky’s Weak Structuring view of metaphor. The effect is to provide a reasonable basis, amenable to empirical investigation, for the investigation of both metaphor and simile. Finally, the notions of embodiment and prototypicality are applied to the Strauss-Quinn model. Chapter Four presents various assumptions and conclusions that are later used to analyze Hosea’s similes. These include: (1) elements of Floor’s (2004a) model of Information Structure for BH narrative, with modifications and additions for poetry; (2) three cognitive types of similes in Hosea, posited for working purposes; (3) an adaptation of the conceptual blending apparatus to similes; (4) hypotheses to account for the distribution of similes versus that of metaphors in BH poetry, and to account for patterned differences in how various kinds of concepts are combined and manipulated; (5) an integration of these patterns with the three simile types; and (6) correlation of the cultural constructs of cultural schema, cultural theme, and cultural model with Hosea’s similes and metaphors. Chapter Five presents a number of scholarly views of the Book of Hosea, and characterizes the principal authorities cited in the next chapter. Chapter Six deductively applies all the foregoing theory to an examination of Hosea’s similes. Other observations are made inductively: (1) kinaesthetic image schemas’ role in Hosea’s poetry; (2) systematic difference in the use of similes versus metaphors in image elaboration; and (3) Information Structure’s role in simile analysis. Chapter Seven summarizes this study’s research and conclusions concerning, e.g., (1) the criteria for accounting for the embodiment and judgments of prototypicality characterizing Hosea’s similes; (2) the dependence of Hosea and his audience upon knowledge of themselves and their environment for their view of YHWH; and (3) the aid brought by a cognitive theory of similes in the task of textual criticism. Chapter Eight discusses prospects for further research and possible implications for translating Hosea’s similes and metaphors.

No description available.

Submitted by Filipe dos Santos (fsantos@pucsp.br) on 2018-07-03T13:30:17Z No. of bitstreams: 1 Caroline Sartorello Spinola.pdf: 1049203 bytes, checksum: d58ce86b2c478131730b22233e3ba807 (MD5) / Made available in DSpace on 2018-07-03T13:30:18Z (GMT). No. of bitstreams: 1 Caroline Sartorello Spinola.pdf: 1049203 bytes, checksum: d58ce86b2c478131730b22233e3ba807 (MD5) Previous issue date: 2018-04-19 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / This study intends to understand the India translated and presented by Octavio Paz in In light of India. Also seeks to detect the image of México and of Latin America that emerges from the book in contrast with the Indian culture. In the book is possible to identify two different journeys: an internal journey that the mexican poet does inside himself and Mexico is his destine and starting point; and the actual journey that Paz makes to India. Thus, this study means to organize and deepen some key concepts of Paz’s works (as otredad, temporalities, poetic language, love) found not only in In light of India as in different essays of Octavio Paz / Este projeto de pesquisa pretende apreender a Índia traduzida e apresentada por Octavio Paz em seu livro Vislumbres da Índia: um diálogo com a condição humana. Pretende também detectar a visão do México e da América Latina que emerge do livro, contrastada com a cultura indiana. No livro, é possível identificar duas viagens: uma viagem externa, aquela que Paz realiza à Índia; e uma viagem interna, em que o México é o seu destino e ponto de partida. A partir desses olhares cruzados – e por meio de um recorte temático – a pesquisa buscará sistematizar e aprofundar alguns conceitos chaves da obra paziana (otredad, temporalidade, linguagem poética, amor, corpo) encontrados não apenas em Vislumbres da Índia como em outros livros de sua produção ensaística