A pesquisa ocupa-se da investigação sobre a construção do ponto de vista por Dyonélio Machado em seu segundo romance, O louco do Cati, publicado em 1942. Entende-se por ponto de vista o conjunto formado por narrador, foco narrativo e ângulo de acompanhamento em que se coloca o leitor. No romance em estudo a configuração do ponto de vista é peculiar, vez que apresenta a matéria narrada de modo tensionado entre narrador e ângulo de visão, como um objeto situado entre dois pontos de fuga, culminando em desfecho convergente ao final. Ainda assim, é pela exploração do ponto de vista que se obtém a unidade do romance, já que há dificuldade na identificação dos contornos e relações entre os elementos fundamentais da narrativa, a saber, enredo, personagem, tempo e espaço. Na aventura narrada, o desenrolar dos fatos não parece seguir nenhuma lógica, posto que tem ponto de partida desconhecido, ida para destino incerto, entraves diversos no meio do caminho e volta para ponto que não coincide com o de saída. Durante a narração, o personagem principal parece ausente, com limitações para perceber a realidade e interagir com ela e, ao mesmo tempo, está o tempo todo ali, quase ao fundo da ação. Esse indivíduo é visto e comentado pelo narrador e pelos demais personagens responsáveis pelo andamento da narrativa, porém ao mesmo tempo está sofrendo um processo que altera sua consciência e subjetividade. Descrever e analisar a construção do ponto de vista na obra, verificar as implicações que esse modo de composição traz para os elementos fundamentais da narrativa e apontar para possíveis efeitos de sentido decorrentes desta configuração formal é o que pretende o trabalho. / This research investigates the construction of the point of view by Dyonélio Machado in his second novel, O louco do Cati, published in 1942. It is understood by point of view the set formed by narrator, narrative focus and angle of accompaniment in which the reader is placed. In the novel under study the configuration of the point of view is peculiar, since it presents the matter narrated in a tensioned way between narrator and viewing angle, as an object located between two vanishing points, culminating in a convergent point of closure at the end. Nevertheless, it is due to the exploration of the point of view that the unity of the novel is obtained, since there is some difficulty in identifying the contours and relations between the fundamental elements of the narrative, namely, plot, character, time and space. In the narrated adventure, the sequence of the facts does not seem to follow any logic, since it begins at an unknown starting point, goes to an uncertain destination, deals with several obstacles in the middle of the path and goes back to a point that does not coincide with its first start. During the narration, the main character seems absent, with limitations to perceive reality and interact with it, and, at the same time, he is all the time there, almost at the background of the main action. This individual man is seen and commented by the narrator and by the other characters responsible for the progress of the narrative, but at the same time he is suffering a process that changes his consciousness and subjectivity. This research intends to describe and analyze the construction of the point of view in the mentioned novel, as well as to verify the implications that this mode of composition brings to the fundamental elements of the narrative and, yet, to point out possible effects of meaning resulting from this formal configuration.

The genre of the "picaresque" (romances of roguery), which were popular in sixteenth-century Spain, contain the literary type of the "picaro" or rogue, which can appear at times as a "student." The current work presents the historical context of the Spanish university and of the student's life as well as the representation of the "student" in several picaresque novels, namely, Mateo Aleman's El Guzman de Alfarache, Vicente Espinel's Marcos de Obregâon, Jerâonimo de Alcalâa y Yâanez's El donoso hablador, and Francisco de Quevedo's El Buscâon, in order to contrast the social reality of the student and its literary representation. The literary character of the "student" does not depart only from its reality. Its characteristics are based on the student stories from the oral medieval tradition, a residual cultural elements, as described by Maxime Chevalier, as well as the emerging picaresque narratives. / by Javier Fernândez del Pâramo. / Abstract in Engllsh. / Thesis (M.A.)--Florida Atlantic University, 2008. / Includes bibliography. / Electronic reproduction. Boca Raton, Fla., 2008. Mode of access: World Wide Web.

A pesquisa ocupa-se da investigação sobre a construção do ponto de vista por Dyonélio Machado em seu segundo romance, O louco do Cati, publicado em 1942. Entende-se por ponto de vista o conjunto formado por narrador, foco narrativo e ângulo de acompanhamento em que se coloca o leitor. No romance em estudo a configuração do ponto de vista é peculiar, vez que apresenta a matéria narrada de modo tensionado entre narrador e ângulo de visão, como um objeto situado entre dois pontos de fuga, culminando em desfecho convergente ao final. Ainda assim, é pela exploração do ponto de vista que se obtém a unidade do romance, já que há dificuldade na identificação dos contornos e relações entre os elementos fundamentais da narrativa, a saber, enredo, personagem, tempo e espaço. Na aventura narrada, o desenrolar dos fatos não parece seguir nenhuma lógica, posto que tem ponto de partida desconhecido, ida para destino incerto, entraves diversos no meio do caminho e volta para ponto que não coincide com o de saída. Durante a narração, o personagem principal parece ausente, com limitações para perceber a realidade e interagir com ela e, ao mesmo tempo, está o tempo todo ali, quase ao fundo da ação. Esse indivíduo é visto e comentado pelo narrador e pelos demais personagens responsáveis pelo andamento da narrativa, porém ao mesmo tempo está sofrendo um processo que altera sua consciência e subjetividade. Descrever e analisar a construção do ponto de vista na obra, verificar as implicações que esse modo de composição traz para os elementos fundamentais da narrativa e apontar para possíveis efeitos de sentido decorrentes desta configuração formal é o que pretende o trabalho. / This research investigates the construction of the point of view by Dyonélio Machado in his second novel, O louco do Cati, published in 1942. It is understood by point of view the set formed by narrator, narrative focus and angle of accompaniment in which the reader is placed. In the novel under study the configuration of the point of view is peculiar, since it presents the matter narrated in a tensioned way between narrator and viewing angle, as an object located between two vanishing points, culminating in a convergent point of closure at the end. Nevertheless, it is due to the exploration of the point of view that the unity of the novel is obtained, since there is some difficulty in identifying the contours and relations between the fundamental elements of the narrative, namely, plot, character, time and space. In the narrated adventure, the sequence of the facts does not seem to follow any logic, since it begins at an unknown starting point, goes to an uncertain destination, deals with several obstacles in the middle of the path and goes back to a point that does not coincide with its first start. During the narration, the main character seems absent, with limitations to perceive reality and interact with it, and, at the same time, he is all the time there, almost at the background of the main action. This individual man is seen and commented by the narrator and by the other characters responsible for the progress of the narrative, but at the same time he is suffering a process that changes his consciousness and subjectivity. This research intends to describe and analyze the construction of the point of view in the mentioned novel, as well as to verify the implications that this mode of composition brings to the fundamental elements of the narrative and, yet, to point out possible effects of meaning resulting from this formal configuration.

A obra literária de F. Scott Fitzgerald pode ser entendida como um enfrentamento do paradoxo da narração apontado por Theodor Adorno, decorrente da desintegração do sentido da experiência e da consequente impossibilidade de sua articulação objetiva por parte de quem a experiencia. A figuração que Fitzgerald faz da sociedade norte-americana da década de 1920 é formalizada em O Grande Gatsby (1925) e Suave É a Noite (1934) por meio da incorporação da tradição literária que antecede sua obra, bem como de técnicas do cinema mudo e sonoro e do modernismo europeu. Com isso, Fitzgerald visa evidenciar, em ambos os romances, a falsidade da ideologia do sonho americano. Uma vez que O Grande Gatsby e Suave É a Noite foram publicados antes e depois da crise econômica de 1929, respectivamente, o autor figura sob dois pontos de vista distintos a década de 1920, a fim de mostrar que tal crise revela que o empreendimento individual não é o meio para alcançar o sonho americano, mas apenas uma engrenagem no funcionamento contraditório do capitalismo. / F. Scott Fitzgeralds novels may be read as a confrontation of the paradox that defines the position of the narrator, as theorized by Theodor Adorno, resulted from the disintegration of the sense of experience and the consequent impossibility of its objective articulation on the part of those who experience it. Fitzgeralds figuration of the American society of the 1920s is formalized in The Great Gatsby (1925) and in Tender Is the Night (1934) via the incorporation of the literary tradition that precedes his work, as well as silent and sound film and modernist techniques. Thereby, Fitzgerald aims to expose in both of these novels the falseness of the ideology of the American dream. Since The Great Gatsby and Tender Is the Night were published before and after the economic crisis of 1929 respectively, Fitzgerald represents the 1920s from two distinct points of view in order to highlight the fact that such crisis reveals that the individual enterprise is not the means to achieve the American dream but only a part in the contradictory operation of the machinery of capitalism

Made available in DSpace on 2016-03-15T19:45:21Z (GMT). No. of bitstreams: 1 Paula Silveira de Aquino.pdf: 649184 bytes, checksum: ea91ece85f2f7b8435a364d34eb034f5 (MD5) Previous issue date: 2011-02-09 / This Mastership Dissertation presents analysis of the narrative point of view in the short-stories "The fall of the House of Usher", "The Tell-Tale Heart", and "Berenice", by Edgar Allan Poe, with basis on theories by Norman Friedman, which is approached by Ligia Chiappini Moraes Leite (2002), and Wayne C. Booth, about the unreliable narrator Some theoretical considerations approached by Poe, in the "Philosophy of the composition" (1846) and in other essays translated by Baudelaire (2003), are also utilized. Considerations by Todorov (2004), Freud (1919), Jung (1961) apud Philippov (1999), and Castex (1951) apud Philippov (1999), about fantastic theories are also approached. It is verified that all the analyzed works are narrated in first person. It means that the narrator is always a participating character of the story. It was possible to evidence that there is, in all of them, a contradiction between what the narrator proposes himself to do and that which is permitted by the situation he is inserted in. The trials in helping a friend, who lives in a full of melancholy house, to alleviate a nervous agitation are all vain, since it is the mansion‟s owner who ushers the narrator to execute his habitual activities. In the second short-story, the character who does not accept to be called mad and wants to show all the calm, precaution and perfection he had when he killed the old man he used to look after, suffers from an acuteness of the sense of hearing, which makes him hear the beats of the murdered man‟s heart. This sound shows the limits between the narrator's calm and fury, until the moment in which he, believing that the policemen could hear the same thing he could, and would be making a mockery of him, confesses the crime. Finally, the narrator Egaeus is conscious that he always had a bad health and recognizes that his reality of life is different from the one of other characters around him. In spite of saying that he does not seek to convince, Egaeus makes long explanations about the features of his illness and tries to avoid technical language, so that the common reader is able to comprehend him. He hopes that the revelation of his consciousness of the crime, and of the consequent family dishonor could assuage his guilt. / Esta Dissertação de Mestrado apresenta análises do ponto de vista narrativo nos contos "A queda da Casa de Usher", "O coração denunciador" e "Berenice", de Edgar Allan Poe, com base nas teorias de Norman Friedman, abordada por Ligia Chiappini Moraes Leite (2002), e de Wayne C. Booth (1980), a respeito do narrador pouco digno de confiança. Também são utilizadas algumas considerações teóricas abordadas por Poe na "Filosofia da composição" (1846) e em outros ensaios traduzidos por Baudelaire (2003). Em se tratando de teoria fantástica, abordam-se considerações de Todorov (2004), Freud (1919), Jung, (1951) apud Philippov (1999) e Castex (1961) apud Philippov (1999). Verifica-se que todas as obras analisadas são narradas em primeira pessoa. Isso significa que o narrador é sempre uma personagem participante da história. Foi possível constatar que há, em todas elas, uma contradição entre o que o narrador se propõe a fazer e aquilo lhe é permitido pela situação em que ele se insere. As tentativas de ajudar um amigo, que vive em uma mansão cheia de melancolia, a aliviar sua agitação nervosa, são todas vãs, já que é o dono da mansão conduz o narrador a realizar suas atividades habituais. No segundo conto, a personagem que não aceita ser chamada de louca e quer demonstrar toda a calma, precaução e perfeição que teve ao matar o velho de quem cuidava, sofre de uma acuidade do sentido da audição, que faz com que ela ouça o bater do coração do homem assassinado. Este som mostra os limites entre a calma e a fúria do narrador, até o momento em que ele, acreditando que os policiais podiam ouvir o mesmo e estavam zombando dele, confessa o crime. Por fim, o narrador Egaeus é consciente de sempre teve uma má saúde e reconhece que a sua realidade de vida é diferente da de outras personagens ao seu redor. Apesar de dizer que não pretende convencer, Egaeus faz longas explicações sobre as características de sua doença e tenta evitar linguagem técnica para que o leitor comum possa compreendê-lo. Ele espera que a revelação de sua consciência do crime, e da consequente desonra familiar, possa amenizar sua culpa.

<p>This work investigates into the semantic domain of evidentiality and its grammatical expression in Spanish. A model for describing the evidentiality domain is outlined, which emphasises the scalar nature of the proposed parameters: information source (subject-internal ↔ external), access to information (exclusive ↔ universal) and mode of access (sensory ↔ cognitive), all of which are construed as bipolar continua. Support is also provided for the relevance of using the notions of deixis and perspective in describing evidentiality.</p><p>The prevailing view in current research is that of evidentiality being a grammatical category to be analysed separately from other evidential strategies. The present study challenges this view as it attempts to broaden the perspective on how evidential meanings, expressed by various grammatical means, fit into an overall picture of human cognition and communication patterns. The theoretical framework adopted is that of Cognitive Grammar, which, it is argued, is particularly suited for investigating evidentiality, in particular due to the central role given to perspective, metaphor and category fuzziness in describing grammar and grammatical structures.</p><p>Four articles constitute the body of this work, in which four different prototypical aspects of the encoding of evidentiality into grammatical devices in Spanish are addressed. In the first, the marking of common knowledge in consecutive connectives is argued to depend on a perspective shift; the second proposes the evidential values of tense morphemes to be their core meaning, time deixis being an inference; in the third and the forth it is claimed that the evidential and modal effects of both subject-raising and clitic climbing are determined through the attribution of varying degrees of prominence to the relational participants.</p>

<p>Personer med funktionshinder har haft betydande svårigheter att etablera sig på arbetsmarknaden, trots detta har det funnits en strävan att integrera personer med funktionshinder i samhället och normalisera deras tillvaro. En diskussion som förs kring funktionshindrades villkor i dagens arbetsliv handlar om att öka möjligheterna till betalt arbete på den öppna arbetsmarknaden.</p><p>Syftet med studien är att beskriva och analysera en arbetsförberedande insats fungerar som stöd för de unga mellan 20-29 år på deras väg ut i arbetslivet, sett ur ett deltagarperspektiv såväl som ett personalperspektiv.</p><p>Vi har använt oss av en kvalitativ ansats och har valt intervju och deltagande observation som metod. Informanterna ör 7st varav två ät personal och fem st är deltagare. I vår resultatdel redovisar vi personalperspektivet som en verksamhetsbeskrivning och stödet delas upp i tre teman; kognitivt-, emotionellt- och praktiskt stöd. Deltagarnas perspektiv på stöd redovisas utifrån samma teman. Resultatet kan bidra till att utveckla stödet som en arbetsförberedande insats ger.</p><p>Några av våra slutsatser är att deltagarnas syn på stöd inte alltid stämmer överens med personalens samt att kommunikationen har betydelse för vad som uppfattas som stöd och hjälp.</p><p> </p>

This work investigates into the semantic domain of evidentiality and its grammatical expression in Spanish. A model for describing the evidentiality domain is outlined, which emphasises the scalar nature of the proposed parameters: information source (subject-internal ↔ external), access to information (exclusive ↔ universal) and mode of access (sensory ↔ cognitive), all of which are construed as bipolar continua. Support is also provided for the relevance of using the notions of deixis and perspective in describing evidentiality. The prevailing view in current research is that of evidentiality being a grammatical category to be analysed separately from other evidential strategies. The present study challenges this view as it attempts to broaden the perspective on how evidential meanings, expressed by various grammatical means, fit into an overall picture of human cognition and communication patterns. The theoretical framework adopted is that of Cognitive Grammar, which, it is argued, is particularly suited for investigating evidentiality, in particular due to the central role given to perspective, metaphor and category fuzziness in describing grammar and grammatical structures. Four articles constitute the body of this work, in which four different prototypical aspects of the encoding of evidentiality into grammatical devices in Spanish are addressed. In the first, the marking of common knowledge in consecutive connectives is argued to depend on a perspective shift; the second proposes the evidential values of tense morphemes to be their core meaning, time deixis being an inference; in the third and the forth it is claimed that the evidential and modal effects of both subject-raising and clitic climbing are determined through the attribution of varying degrees of prominence to the relational participants.

This thesis deals with the polyphonic and argumentative functions of the French negation marker, ne, in editorial texts from the daily press. The concept ‘polyphony’ relates to the presence of multiple voices within one and the same utterance. According to this view, negation triggers a subdivision of an utterance in two points of view. Thus the sentence Sweden will not be a part of the monetary union can be divided in two points of view, the underlying ‘Sweden will be a part of the monetary union’, and the explicit ‘Sweden will not be a part of the monetary union’. First, I study the polyphonic structure of negative utterances, notably their division in two points of view, by taking into account their specific linguistic features. This is done so as to identify the relevant linguistic criteria that determine the polyphonic interpretation of the negation. The study demonstrates that contextual elements, including pragmatic connectors, presuppositions contrastive elements, and several other devices constitute the primary source of polyphonic markers. Negation is furthermore approached from a textual perspective. I explore how the two opposite points of view that are associated with negation form polyphonic sequences with other points of view carrying the same semantic content, and how these dynamic points of view are associated to the different discourse beings that are found in the newspaper article. I found that these sequences often embrace the central polemic theme of the article and, also, that the polyphonic function is not restricted to the negative utterance but constitutes an element that ensures textual and argumentative coherence. These two analyses are carried out within Jean-Claude Anscombre’s and Oswald Ducrot’s Theory of Structural Argumentation, which has recently been formalised by Kjersti Fløttum, Coco Norén and Henning Nølke. Finally in this thesis, I analyse the relation between the discourse beings associated with the negative utterance and real beings that exist outside the text, and then consider what rhetorical implications that correspondence or no correspondence has on the polyphonic interpretation of the negation. I also examine whether polyphonic negation can be considered to be a feature of newspaper editorials that identifies these texts as a genre. This study shows that the locuteur, the discourse being responsible for the enunciation of the negative utterance on a textual level, links to the real being, the editorial writer, who then refutes points of view associated to other discourse beings, often by use of nominalizations that refer to community voices. The locuteur also intrudes into an argument or claim, and refutes it in the name of a community or an authority. By defining genre, as does the media researcher Patrick Charaudeau, as a correspondence between the constraints imposed by the discursive situation and the constraints imposed by the discursive features, and by considering that one of the editorial’s constraints is to persuade its readers, this study shows that the phrasal negation ne in its polyphonic function, constitutes a distinguishing feature in the genre of editorials. The refutations that are made by an editor constitute a distinctive argumentative strategy since it permits the editorial writer to present external points of view in order to refute them and thereby impose his or her own, subjective point of view.

Personer med funktionshinder har haft betydande svårigheter att etablera sig på arbetsmarknaden, trots detta har det funnits en strävan att integrera personer med funktionshinder i samhället och normalisera deras tillvaro. En diskussion som förs kring funktionshindrades villkor i dagens arbetsliv handlar om att öka möjligheterna till betalt arbete på den öppna arbetsmarknaden. Syftet med studien är att beskriva och analysera en arbetsförberedande insats fungerar som stöd för de unga mellan 20-29 år på deras väg ut i arbetslivet, sett ur ett deltagarperspektiv såväl som ett personalperspektiv. Vi har använt oss av en kvalitativ ansats och har valt intervju och deltagande observation som metod. Informanterna ör 7st varav två ät personal och fem st är deltagare. I vår resultatdel redovisar vi personalperspektivet som en verksamhetsbeskrivning och stödet delas upp i tre teman; kognitivt-, emotionellt- och praktiskt stöd. Deltagarnas perspektiv på stöd redovisas utifrån samma teman. Resultatet kan bidra till att utveckla stödet som en arbetsförberedande insats ger. Några av våra slutsatser är att deltagarnas syn på stöd inte alltid stämmer överens med personalens samt att kommunikationen har betydelse för vad som uppfattas som stöd och hjälp.