Bakalauro darbo tyrimo objektas – André Gide’o romanas Pinigų padirbinėtojai (1925), Antano Škėmos Balta drobulė (1958), Julio Cortázaro romanas Žaidžiame klases (1963) ir Sigito Parulskio Doriforė (2004). Visi jie darbe analizuojami metaliteratūriškumo aspektu. Šio tyrimo tikslas – ištirti André Gide’o Pinigų padirbinėtojus, Antano Škėmos Baltą drobulę, Julio Cortázaro Žaidžiame klases ir Sigito Parulskio Doriforę metaliteratūriškumo aspektu, juos palyginti. Uždaviniai: 1) pateikti metaliteratūriškumo ir „atviro kūrinio“ teorines apibrėžtis; 2) atskleisti Pinigų padirbinėtojų ir Baltos drobulės kaip „romano romane“ kūrimo specifiką; 3) išanalizuoti Žaidžiame klases ir Doriforę kaip „atvirus kūrinius“; 4) išskirti kai kuriuos Gide’o, Škėmos, Cortázaro ir Parulskio romanų panašumus ir skirtumus, susijusius su metaliteratūriškumu. Metaliteratūriškumas – tai metaliteratūrinių kūrinių ypatybė, kuri reiškia savirefleksišką grožinės literatūros teorijos apmąstymą per grožinės literatūros rašymo praktiką. Metaliteratūriškumas apima ir metaliteratūrinį rašymą apie rašymą, istorijas apie istorijas, pasakojimus apie pasakojimus, romanus apie romanus etc. Ne mažiau svarbus yra ir skaitymo proceso komentavimas, komunikacija su skaitytoju, autoriniai komentarai. Metaliteratūriškumas gali būti atsekamas įvairaus laikotarpio ir skirtingų žanrinių romano tipų kūriniuose, bet labiausiai jis sietinas su modernistiniu ir postmodernistiniu XX ir XXI a. romanu. André Gide’o, Antano Škėmos, Julio... [toliau žr. visą tekstą] / This Bachelor’s Thesis deals with metafictionality in the following novels: André Gide‘s The Counterfeiters (1925), Antanas Škėma’s White Sheet (1958), Julio Cortázar's Rayuela (1963) and Doriforė (2004) by Sigitas Parulskis. All they are analysed from the aspect of metafictionality. The main aim of this thesis is to carry out analysis of metafictionality in André Gide‘s The Counterfeiters, Antanas Škėma’s White Sheet, Julio Cortázar's Rayuela (1963) and Sigitas Parulskis’ Doriforė from the aspect of metafictionality and to compare them. The following objectives have been set: 1) to present the theoretical definitions of metafictionality and the “open work”; 2) to discuss the specifics of writing the “novel in a novel”, as found in The Counterfeiters and White Sheet; 3) to analyse Rayuela and Doriforė as “open works”; 4) to highlight the differences and similarities related with metafictionality in Gide‘s, Škėma’s, Cortázar’s and Parulskis’ novels. Metafictionality is a feature of metafictional writing. It means self-reflective contemplation of theory on fiction through fiction writing practice. Metafictionality also encompasses metafictional writing about writing, stories about other stories, narratives about other narratives, novels about other novels etc. Comments on the reading process, communication with a reader and author’s comments are amongst the important features of metafictionality. It can be traced in the pieces of various types of novel’s genres and time... [to full text]

Composition is a process of applied research. In a portfolio of eight original pieces, the technical and aesthetic components of this process are investigated from the perspective of several theoretical precepts which both inform and underpin its creative strategy. Drawing on theories of intertextuality, composition is collocated within a broad current of thought in which ideas and material from pre-existing ‘texts’ across a variety of disciplines are utilised and explored to create new compositional ‘texts’. This procedure is tested from several, key perspectives, characterised variously as: (i) problem-seeking, (ii) serendipitous, (iii) transgressive, and (iv) transcriptive. The first of these draws on John Dewey’s notions of art as a form of creative problematisation. In the second, techniques are developed in which performance flexibility is balanced against structural exactitude, aided by a series of parametric tables that outline a range of variables across the different elements of musical sound. As a transgressive process, compositional procedure is informed by Viktor Shklovsky’s theory of aesthetic defamiliarisation. Finally, as a form of transcription, the research draws on Ferruccio Busoni’s observations about notation and its key transmutational role in manipulating and recasting musical ideas. By adopting an eclectic attitude towards materials and techniques, a compositional strategy is formulated which offers an alternative to the assumption that advancement in the field is inevitably shaped by an ineluctable, dialectical process. A polyvalent approach and direct interaction with materials, it is argued, are the important creative ingredients which present valuable and meaningful developments in compositional language, form and technique.

Linha de pesquisa: Estudos da Linguagem e Cultura. / Na Capa e Folha de Rosto da obra, consta o t?tulo: "Um lance de dados jamais abolir? o acaso: o poema de St?phane Mallarm? como uma proposta de constru??o de sentidos". / Submitted by Jos? Henrique Henrique (jose.neves@ufvjm.edu.br) on 2018-07-26T19:35:14Z No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) junia_jesus_santos.pdf: 960806 bytes, checksum: cba6e0e40c51344bbcf16758a6d7ffcb (MD5) / Approved for entry into archive by Rodrigo Martins Cruz (rodrigo.cruz@ufvjm.edu.br) on 2018-10-05T19:03:27Z (GMT) No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) junia_jesus_santos.pdf: 960806 bytes, checksum: cba6e0e40c51344bbcf16758a6d7ffcb (MD5) / Made available in DSpace on 2018-10-05T19:03:27Z (GMT). No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) junia_jesus_santos.pdf: 960806 bytes, checksum: cba6e0e40c51344bbcf16758a6d7ffcb (MD5) Previous issue date: 2018 / O presente trabalho consiste em uma discuss?o de tra?os composicionais do texto Um lance de dados jamais abolir? o acaso (Un coup de d?s jamais n?abolira le hasard), de St?phane Marlarme (1897), a partir da transcria??o de Haroldo de Campos (2015). Identificando sobretudo tra?os de indetermina??o, de estruturas v?rsicas n?o convencionais e de constru??es aleat?rias de imagens po?ticas, este trabalho visa ? caracteriza??o do poema mallarmeano como uma composi??o deliberadamente engenhada para possibilitar diversos caminhos de leitura e, por conseguinte, mult?vocas propostas de sentido. Dada a complexidade imposta pelo objeto de pesquisa, a discuss?o empreendida nesta disserta??o mobiliza um arcabou?o de pressupostos te?ricos que buscam circunscrever a inter-rela??o entre as inst?ncias da autoria, da leitura e do texto, nomeadamente a no??o da chamada ?obra aberta? preconizada por Eco (2013) em seu livro hom?nimo publicado na d?cada de 1960. A investiga??o mostra como o poema de Mallarm? contribui ? por meio de seus planos transpon?veis, sua disposi??o de palavras em constela??o e sua constru??o de universos ficcionais fragment?rios ? para a produ??o de sentidos n?o un?vocos e para a multiplica??o de possibilidades de leitura e de frui??o poem?tica. / Disserta??o (Mestrado Profissional) ? Programa de P?s-Gradua??o em Ci?ncias Humanas, Universidade Federal dos Vales do Jequitinhonha e Mucuri, 2018. / This thesis aims at attempting to analyze the indeterminate traits, nonconventional verse structures, and random constructions of poetic imagery detectable in the text Un coup de d?s jamais n?abolira le hasard (1897) by French symbolist poet St?phane Mallarm?, based on a 2015 ?transcreation? by Brazilian poet Haroldo de Campos. Given the complexities imposed by the research carried out here, the analysis mobilizes a set of theoretical frameworks which attempt to comprehend the inter-relationships among authorship, readership and the text itself, namely the notion of ?Open Work? put forward by Eco (2013) in his homonymous book published during the 1960s. The investigation shows how Mallarm??s poem contributes ? by means of its interchangeable strata, its constellation layout and its construction of a fragmentary mise-en-sc?ne ? to an equivocal meaning production and to the multiplication of possibilities of reading and poetic jouissance.

Este trabalho propõe uma leitura em mosaico das Odes, em três níveis: (a) a ordem das palavras, (b) organização do poema e (c) disposição do(s) livro(s). Em seguida, diante dos efeitos produzidos por esses níveis, a tese pretende justifica e apresentar uma tradução poética que tenha a função crítica que elucidar pela prática poética os problemas críticos apontados na parte teórica / This work proposes a reading in mosaics of the Odes, in three levels: (a) word-order, (b) organization of the poem and (c) disposition of the book(s). After that, in face of the effects produced by those levels, this thesis aims at justifying and presenting a poetic translation that also bears a critical function through clarifying by the poetical praxis the critical problems pointed in the theoretical section

L’écriture de Francis Ponge est celle de la reprise : le corpus textuel est essentiellement formé par les dossiers des manuscrits et des pages dactylographiées réunissant les phases successives de la production du même fragment dites variations ou variantes. Les réécritures pongiennes s’articulent autour du même principe matriciel de construction appelé thème ou programme : à l’origine de chaque texte il y a des mots reliés par un certain type de rapport, le plus souvent des couples de mots répertoriés par leur nombre de phonèmes, dont la symétrie structurelle reflète idéalement la symétrie de l’ensemble. Dans ce contexte nous nous proposons d’étudier le concept fonctionnel d’objet trouvé tel qu’il apparaît dans la pensée esthétique d’André Boucourechliev qui nous permet de définir l’intertexte pongien à travers un vaste réseau de fusions trans-sémiotiques entre le langage verbal et le langage musical : l’interaction entre des notions telles que la partition graphique, la spatialisation sonore dans l’environnement boulézien, l’œuvre ouverte, l’écoute réduite et la série des interprétants empruntée à la sémiotique peircienne met en place des stratégies esthésiques qui rendent possible une interprétation complètement réformée de la signification. / Francis Ponge’s writing style is essentially based on repetition: the publication of his manuscripts revealed a vast network of contrapuntal variations which generate the consequent textual developments departing from a single matricial idea: called theme or programme symmetrical pairs of words ideally reflect the overall structural symmetry. Using the functional concept of the found object as it appears in André Boucourechliev’s aesthetic thought, this study attempts to define the pongian intertext through a multilayered range of trans-semiotic fusions between music and verbal language: thus emerge a rich dialectical approach built around the graphic partition, the spatialization in boulezian sound environment, the peircean series of interpretants, the open work and the phenomenological reduction, as interactive notions in the creative process of pongian rewritings. The dialogue established reforms the meaning of signification and rethinks the fundamental strategies of interpretation.

Este trabalho propõe uma leitura em mosaico das Odes, em três níveis: (a) a ordem das palavras, (b) organização do poema e (c) disposição do(s) livro(s). Em seguida, diante dos efeitos produzidos por esses níveis, a tese pretende justifica e apresentar uma tradução poética que tenha a função crítica que elucidar pela prática poética os problemas críticos apontados na parte teórica / This work proposes a reading in mosaics of the Odes, in three levels: (a) word-order, (b) organization of the poem and (c) disposition of the book(s). After that, in face of the effects produced by those levels, this thesis aims at justifying and presenting a poetic translation that also bears a critical function through clarifying by the poetical praxis the critical problems pointed in the theoretical section

Submitted by Renata Lopes (renatasil82@gmail.com) on 2016-01-27T10:25:54Z No. of bitstreams: 1 charlesdiasgoncalves.pdf: 1933861 bytes, checksum: 6296e5e268651ffadded988997684018 (MD5) / Approved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2016-01-27T11:08:26Z (GMT) No. of bitstreams: 1 charlesdiasgoncalves.pdf: 1933861 bytes, checksum: 6296e5e268651ffadded988997684018 (MD5) / Made available in DSpace on 2016-01-27T11:08:26Z (GMT). No. of bitstreams: 1 charlesdiasgoncalves.pdf: 1933861 bytes, checksum: 6296e5e268651ffadded988997684018 (MD5) Previous issue date: 2014-12-02 / CAPES - Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / Neste trabalho de dissertação, tenciona-se analisar aspectos da obra de Fernando Pessoa na prosa-poética do Livro do Desassossego, de Bernardo Soares. A partir da reflexão sobre o conceito de “livro”, pode-se pensar na teoria da “obra aberta” e nas noções de abertura e infinitude do texto literário. Esse percurso possibilita uma incisiva indagação à própria obra, e ao “livro por vir”, cuja essência está no inconcluso, em fragmentos de um livro nunca concluso ou fechado. Através da análise de algumas de suas edições, tentar-se-á pensar o Livro também através do conceito de work in progress e obra rizomática. A primeira parte deste trabalho tem por objetivo refletir sobre o aporte teórico para confecção da dissertação, através de pensadores, filósofos e críticos como Walter Benjamin (1984), José Guilherme Merquior (1991), Malcolm Bradbury e Frederick r. Karl (1989); Stéphane Mallarmé (1991) e Umberto Eco (1968), Homi Bhabha (2005), Gilles Deleuze e Félix Guattari (2004), Émile Durkheim (1987) e Eduardo Lourenço (1986). A segunda parte é dedicada à metodologia do trabalho, a fim de justificar a escolha do corpus analítico utilizado: edições do Livro do Desassossego realizadas por Leyla Perrone-Moisés (1986), Richard Zenith (2011) e Jerónimo Pizarro (2013). A terceira e a quarta partes são compostas pelo trabalho analítico. Pela análise das edições cotejadas e por meio de uma leitura mais profunda pretende-se a articulação da análise com o aporte teórico e a metodologia. A parte conclusiva do trabalho pretende retomar possíveis achados da análise e sustentar a provocação crítica já iniciada por nomes da literatura, como Eduardo Lourenço e Leyla Perrone-Moisés, segundo os quais o Livro do Desassossego pode ser lido como o símbolo material da certeza de não-fechamento de todos os textos e o possível suicídio da mitologia heteronímica de Fernando Pessoa. / In this dissertation paper, it is an intention to analyze aspects of Fernando Pessoa´s work in the prose-poetic of Livro do Desassossego (Unrest Book) from Bernardo Soares. Starting from the reflection on the concept of “book”, it is possible to think about the theory of the “open work”, and about the literary text´s notions of opening and infinitude. This path enables an incisive quest at the work itself, and at the “book to come”, whose essence is in the inconclusive, in fragments of a book never concluded or closed. Through the analysis of some of its editions, there will be an attempt to think about the book also through the concept of ‘work in progress’ and rhizomatic work. The first part of this work aims at the reflection on the theoretical support for the dissertation confection, through thinkers, philosophers and critics such as Walter Benjamin (1984), José Guilherme Merquior (1991), Malcolm Bradbury e Frederick r. Karl (1989); Stéphane Mallarmé (1991) e Umberto Eco (1968), Homi Bhabha (2005), Gilles Deleuze e Félix Guattari (2004), Émile Durkheim (1987) e Eduardo Lourenço (1986). The second part is dedicated to the paper´s methodology, in order to justify the choice for the utilized analytical corpus: editions of Livro do Desassossego (Unrest Book) accomplished by Leyla Perrone-Moisés (1986), Richard Zenith (2011) e Jerónimo Pizarro (2013). The third and fourth parts are composed by analytical work. Through the collated editions and through a deeper reading, the analysis´ articulation is intended with the theoretical support and the methodology. The paper´s conclusive part intends to recapture possible analysis´ findings and support the critical provocation already initiated by literary names such as Eduardo Lourenço e Leyla Perrone-Moisés, according to whom Livro do Desassossego (Unrest Book) might be read as a material symbol for the certainty of all the texts’ non-closing and the possible suicide of Fernando de Pessoa´s heteronymic mithology.

Diploma thesis Intertextual use of myth in the film Lana Del Rey Tropico pays attention to the radical layering of myths in this film. Follows the relationship between intertextuality and the postmodern myth situation following the structuralist analysis of myth by Claude Lévi-Strauss and Roland Barthes. Powered by TCPDF (www.tcpdf.org)

Thesis Propaganda in soviet and nazi biographical film of thirthies of 20th century: Specifics of film medium as an instrument of propaganda researches group of three soviet and three german Motion pictures. It focuses on nuances of using ideological meanings, creation of myths and sees examples of both cinematographies through Umberto Eco's Open work theory. It uses the methods of discurse and comparative analysis and compares few important aspects of main characters of analysed pictures. On this basis it creates generally valid conclusions.

1958 veröffentlichte Luciano Berio seine erste Sequenza, die Sequenza per flauto solo, welche 1992 durch eine revidierte Fassung bei Universal Edition als Sequenza I ersetzt wurde. Aufgrund von zu freien Interpretationen hat er dabei die offene Rhythmik eliminiert, wodurch insbesondere die Bewertung Umberto Ecos als Kunstwerk in Bewegung infrage gestellt wird. Dieser Beitrag möchte zunächst die Notation der beiden Fassungen der Sequenza sowie ihre Interpretationen miteinander vergleichen, um anschließend Ecos Einstufung als Kunstwerk in Bewegung zu überprüfen. Dabei stellt sich heraus, dass einerseits auch die Version von 1992 Ambivalenzen beinhaltet, andererseits Interpretierende die erste Fassung von 1958 aufgrund der offenen Notation in der Praxis bevorzugen. Die neue Fassung gestattet somit tatsächlich weniger Spielräume in der Ausführung, dennoch ist Ecos Deutung der Urfassung als offenes Kunstwerk letztendlich nicht als Missverständnis zu werten, zumal Berio die Veröffentlichung dieser Hypothese direkt mitverfolgte. / In 1958 Luciano Berio published his first Sequenza, the Sequenza per flauto solo, which was replaced in 1992 by a revised version at Universal Edition as Sequenza I. Due to overly free interpretations, Berio eliminated the open rhythms calling into question Umberto Eco’s estimation of the piece as an example of a ‘work in motion’. This article will first compare the notation of the Sequenza’s two versions in order to then review Eco’s classification as a ‘work in motion’. It turns out that, on the one hand, the 1992 version also contains ambivalences, and on the other hand, performers prefer to use the 1958 version because of its open notation. Thus, the new edition indeed allows less leeway in execution, yet Eco’s characterisation of the original version as an open work of art cannot be considered as a misunderstanding, since Luciano Berio directly followed the publication of this hypothesis.