<p>The purpose of this study is to investigate the distribution of medieval ballads as semiotics of intertextuality in modern Swedish literature, here represented by August Strindberg, Erik Axel Karlfeldt, Kerstin Ekman and Katarina Frostenson. They are famous authors from different epochs, ranging from the period called “the modern breakthrough” in the 1880s until the postmodernism of the present time. My aim is to expose their attraction to medieval balladry, and their different ways of using form, language and style from this old poetry in poems, prose and plays, explicit as well as implicit.</p>

This thesis challenges the position that the serek texts are primarily prescriptive and legal, as they have been customarily defined. It argues that the term serek should be reconceptualized according to descriptive analysis, with the purpose of creating what C. Newsom terms a ‘Gestalt structure.’ In order to achieve this, four serek texts (M, S, Sa, and D) will be analyzed at three literary levels—semantic, textual and hypertextual—explaining how the elements at these levels interact as cohesive wholes, thus serving to create a more complete picture of this group of texts as a literary unity. Thus, while the separate, constituent semantic, textual and hypertextual parts must be analysed as separate elements, the fundamental questions posed regarding these elements will be different in a Gestalt paradigm as compared to a traditional, definitional analysis. Going from the micro to the macro, the first chapter will look at the serek texts through the ‘microscope’ of close philological analysis, examining how the term serek functions atomistically within the Dead Sea Scrolls. Building upon these results, the second chapter will more broadly analyse the structure, themes and narrative apparent in the serek texts, thus creating a fuller understanding of how the serek texts relate to one another and respond to circumstances in community life. Finally, the last chapter seeks yet more broadly to understand the serek texts in the wider literary milieu of the Second Temple Period. Here, a scribal technique present in the serek texts will be compared to a similar technique used in the Book of Isaiah—arguably the most important prophetic work for the Qumran sectarians.

This thesis challenges the position that the serek texts are primarily prescriptive and legal, as they have been customarily defined. It argues that the term serek should be reconceptualized according to descriptive analysis, with the purpose of creating what C. Newsom terms a ‘Gestalt structure.’ In order to achieve this, four serek texts (M, S, Sa, and D) will be analyzed at three literary levels—semantic, textual and hypertextual—explaining how the elements at these levels interact as cohesive wholes, thus serving to create a more complete picture of this group of texts as a literary unity. Thus, while the separate, constituent semantic, textual and hypertextual parts must be analysed as separate elements, the fundamental questions posed regarding these elements will be different in a Gestalt paradigm as compared to a traditional, definitional analysis. Going from the micro to the macro, the first chapter will look at the serek texts through the ‘microscope’ of close philological analysis, examining how the term serek functions atomistically within the Dead Sea Scrolls. Building upon these results, the second chapter will more broadly analyse the structure, themes and narrative apparent in the serek texts, thus creating a fuller understanding of how the serek texts relate to one another and respond to circumstances in community life. Finally, the last chapter seeks yet more broadly to understand the serek texts in the wider literary milieu of the Second Temple Period. Here, a scribal technique present in the serek texts will be compared to a similar technique used in the Book of Isaiah—arguably the most important prophetic work for the Qumran sectarians.

De nombreux travaux ont décrit et analysé le phénomène néologique, ses domaines d’adoption et ses occurrences dans le discours. La néologie satirique, est, elle, relativement peu explorée. À travers un corpus constitué d’écrits de presse humoristiques portant sur la vie politique française et allemande et provenant des journaux satiriques Le Canard enchaîné et Eulenspiegel, l’étude dégage dans un premier temps les procédés morphologiques de l’innovation lexicale : la dérivation, la composition, les mots-valises, l’abréviation, la conversion, l’emprunt. Le travail explore ensuite les stratégies qui caractérisent cette pratique de la néologie satirique, ainsi que ses divers effets sémantiques et pragmatiques recherchés dans les créations lexicales. Cela nous a permis de faire une analyse contrastive entre textes satiriques français et allemands par les diverses manifestations dicursives des néologismes. / Many studies have been made of the neologistic phenomenon, both in terms of the contexts in which it is used and of how it integrates into discourse. The satirical neology is less well documented. By using a corpus made up of press cartoons in the political French and German satirical magazines Le Canard enchaîné et Eulenspiegel, the study first posits the morphological devices of the lexical innovation : derivation, composition, portmanteau-words, abbreviation, conversion, loan. This work then explores the strategies which characterise the use of the satirical neology as well as the semantic and pragmatic effects aimed in the lexical creations. This allowed us to make a contrastive analysis between satirical French and German texts by the various discursive uses of neologisms.

CoordenaÃÃo de AperfeiÃoamento de Pessoal de NÃvel Superior / Em nosso trabalho, investigamos as representaÃÃes sociais construÃdas por cinco alunas da educaÃÃo de jovens e adultos do Projeto SESC Ler de Fortaleza acerca de seu processo de aprendizagem formal e inicial da leitura e da escrita, bem como de aspectos que tal processo envolve, como, por exemplo, a vida sem saber ler e escrever. Com o intuito de aproximar campos teÃricos diferentes - a teoria das representaÃÃes sociais de Serge Moscovici (2007), a AnÃlise do Discurso de linha francesa e os pressupostos da intertextualidade de Genette (1982), revistos por PiÃgay-Gros (1996) - tomamos as representaÃÃes sociais como prÃticas discursivas, na medida em que ambas orientam as aÃÃes dos sujeitos, ancorando-se na memÃria discursiva e na memÃria coletiva para se constituÃrem atravÃs de um constante dialogismo entre os diversos textos e discursos jà existentes. Para analisÃ-las, delimitamos os espaÃos discursivos que nos foram relevantes por meio da seleÃÃo de trechos dos relatos das alunas e verificamos as posiÃÃes discursivas assumidas em suas enunciaÃÃes. A partir daÃ, recorremos Ãs relaÃÃes de copresenÃa de alusÃo e de citaÃÃo, para, atravÃs delas, em uma anÃlise qualitativa intertextual e interdiscursiva, identificarmos as representaÃÃes sociais formadas. Ao todo, foram encontrados onze aspectos que caracterizam as representaÃÃes sociais, sendo trÃs representaÃÃes como nÃcleo central e oito caracterÃsticas embasadoras, organizadas conforme as noÃÃes de sistema central e perifÃrico (ABRIC, 1994). As alunas discorrem sobre o que as levaram a voltar para a escola, sobre as motivaÃÃes para aprender a ler e a escrever, sobre o que a aquisiÃÃo da leitura e da escrita promove, sobre como à a vida sem saber ler e escrever, dentre outras representaÃÃes construÃdas. / In our research we investigate the social representations built by five students of a project called SESC Ler, in Fortaleza, about their initial and formal process of learning how to read and write, as well as about some aspects that this process involves, as living without knowing how to read and write. Aiming the approximation of different theoretical fields - Serge Moscoviciâs (2007) theory of Social Representations, the Discourse Analysis of French orientation, and Genetteâs (1982) intertextuality purposes, reviewed by PiÃgay-Gros (1996) - we consider the social representations as discursive practices, because both orientate the action of the persons and both lean on the discursive and collective memories to be built through a constant dialogism among the several texts and discourses which already exist. To analyze them, we delimited the relevant discursive spaces of the studentsâ narratives and we verified the discursive positions they assumed in their enunciations. Then, through a qualitative intertextual and interdiscursive analysis using the copresence relations of allusion and quotation, we identified eleven different aspects which characterize the social representations; from them we identified three social representations and eight characteristics that support them, which were organized according to the notions of central and peripheral systems (ABRIC, 1994), and which verse about the initial and formal process of learning how to read and write as a whole. The students relate about what made them come back to the school, about the motivations of learning how to read and write, about what the acquisition that reading and writing promote, as well as about life without knowing how to read and write and other social representations which were built.

The purpose of this study is to investigate the distribution of medieval ballads as semiotics of intertextuality in modern Swedish literature, here represented by August Strindberg, Erik Axel Karlfeldt, Kerstin Ekman and Katarina Frostenson. They are famous authors from different epochs, ranging from the period called “the modern breakthrough” in the 1880s until the postmodernism of the present time. My aim is to expose their attraction to medieval balladry, and their different ways of using form, language and style from this old poetry in poems, prose and plays, explicit as well as implicit.

AFRIKAANS : Die doel van die navorsing was om vas te stel watter metodes Marlene van Niekerk in haar roman Agaat gebruik om die karakters en hulle omstandighede deur middel van verwysings na musiek te teken. Die verhandeling begin met ’n oorsig oor die interdissiplinêre studiegebied van verwysing na musiek in die letterkunde. Op hierdie terrein het onder andere Fuller, Losseff, Scher en Weliver belangrike rolle gespeel. Die wyse waarop uitsprake van onder andere Bakhtin, Barthes, Blanchot, Eco, Kristeva en Van Wyk Louw op die gebied van verwysing, en dus op Van Niekerk se Agaat, van toepassing gemaak kan word, is ondersoek. Deur ’n onderhoud met Van Niekerk is daar meer oor haar houding oor musiek en verwysings daarna in Agaat uitgevind. Sy voel sterk dat die gebeure en musiekverwysings in Agaat nie op haar as persoon van toepassing gemaak moet word nie. Tog is daar baie van die musiek waarna verwys word wat vir haar ook baie betekenisvol is. Sy luister baie na musiek en gebruik dit as ’n stimuleringsmiddel, maar ook om haar in toom te hou sodat sy nie te “maklik” skryf nie. Van Niekerk beskik oor ’n goeie kennis van musiek en van die repertorium en kan dus ’n wye verskeidenheid verwysings maak na musiekterminologie, musiekinstrumente, musiekmaak, Suid-Afrikaanse kultuur waarin musiek ’n deurslaggewende rol speel, FAK- en Afrikaanse volksliedere, psalms, gesange en hallelujaliedere, ander ligte liedere, en komposisies uit die repertorium van klassieke musiek. Daar word in Agaat ook verskuilde, vertaalde aanhalings van versreëls uit getoonsette gedigte uit die Duitse kunsliedrepertorium ingesluit. In laasgenoemde geval (gedigte getoonset deur Brahms, Mahler, Schubert en Schumann) word die woordteks op ’n komplekse manier geïntegreer. Van Niekerk sluit die woordteks van godsdienstige en volksliedere byna uitsluitlik in om ironiese kommentaar op gebeure te lewer. Dit is selde dat hierdie tekste in hulle gebruiklike omgewing aangewend word. Die intertekstuele integrasie van musiekverwysings in Agaat kan as ’n baie groot prestasie beskou word. ENGLISH : The aim of the research was to establish the methods used by Marlene van Niekerk in her novel Agaat (the Afrikaans version) to paint the characters and their circumstances by means of references to music. The dissertation starts with an overview of the interdisciplinary field of music references in literature. In this area Fuller, Losseff, Scher and Weliver (amongst others) have played a major role. The ways in which pronouncements by (amongst others) Bakhtin, Barthes, Blanchot, Eco, Kristeva and Van Wyk Louw can be applied to the field of references, and therefore to Van Niekerk’s Agaat, were investigated. In an interview with Van Niekerk, her views on music and references to music were clarified. She feels strongly that the events and references to music in Agaat should not be equated to her own life. Nevertheless, much of the music referred to is also significant to Van Niekerk. She listens to music much, using it as a stimulus, but also to keep her in check so that she does not fall into “easy” writing. Van Niekerk possesses a sound knowledge of music and of the repertoire. She can therefore make a variety of references to music terminology, music instruments, music making, South African culture in which music plays a decisive role, Afrikaans folk songs and songs from the FAK song album, psalms and hymns, popular songs, and compositions from the repertoire of classical music. Concealed, translated quotations of lines from German poems set to music as art songs are also included in Agaat. In these cases (poems set to music by Brahms, Mahler, Schubert and Schumann) the word text is incorporated in a complex manner. Van Niekerk includes the word texts of religious and folk songs nearly exclusively in order to comment on events in an ironic way. These texts are seldom presented in their proper circumstances. The intertextual integration of music references in Agaat can be regarded as a great achievement. Copyright / Dissertation (MA)--University of Pretoria, 2009. / Afrikaans / unrestricted

The plays of James Boaden, an author all too often forgotten in the pages of theatre history, are usually dismissed by scholars as mercenary adaptations of popular Gothic novels for the stage. Boaden’s plays of the 1790s—Fontainville Forest (1794), The Secret Tribunal (1796), The Italian Monk (1797), Cambro-Britons (1798) and Aurelio and Miranda (1799)—were certainly popular successes in their own time, but this should not discount them from serious consideration as aesthetic and ideological objects. In fact, these plays are intelligently wrought, using popular Gothic conventions to further a conservative ideology that was not originally associated with this genre. This fact has gone unrecognized by scholars partly because these plays have not been previously analysed for their dramaturgical structure as adaptations: Boaden borrows conventions from the Gothic, to be sure, but he also borrows dramaturgical techniques from Shakespeare. In so doing, Boaden harnesses both popular appeal and theatrical legitimacy to write Tory propaganda at a time when the stage was a key tool in the ideological war against France and French sympathizers in Britain. Political threats, both domestic and foreign, were of ongoing concern in Britain in the years following the French Revolution. Immediately after 1789, the Gothic was ideologically charged in ways that promoted revolutionary thinking. Boaden’s adaptation of the Gothic form responds to the revolution and the Reign of Terror by replacing the genre’s iconoclasm with a strongly nationalist orientation, drawn, in part, from eighteenth-century Shakespeare reception, itself often strongly nationalist in tone. Boaden’s plays are reactionary in that they comment on the current political situation, using allegory to play on the audience’s emotions. In his first phase, Boaden depicts the demise of a villainous usurper, a scapegoat figure, but his second phase reintegrates the villain into domestic and social harmony. In so doing, Boaden serves as a case study in the shifting attitude towards Britain’s revolutionary sympathizers, the Jacobins, and illustrates the important use of the Gothic mode for conservative purposes. Boaden emerges, in this study, as a figure whose relevance to theatre history in this fraught period requires reassessment.

1 Abstract In my diploma thesis I deal with the concept of the Jára Cimrman Theater. Using description and explanation, I examine the influence of mystification, fictional worlds, intertextuality, and special effects of the theater comicality up on its success and unwavering popularity among the audience. For this purpose, I work with audiovisual recordings and the book release of all theater plays by the Jára Cimrman Theater. In terms of theoretical research, I use bibliographic resources, among which are texts, articles, studies and publications by Lubomír Doležel, Umberto Eco and other authors whose works are relevant to the topic of my diploma thesis. In the diploma thesis I present an interpretation of theoretical knowledge, opinions, comments and reflections related to the chosen topic. The topic is a subject of broad professional discourse and is theoretically so complex that this diploma thesis cannot contain all the issues and contexts that apply to it. In this regard, I have tried to outline at least some of them and on their basis to elaborate the theme of this diploma thesis.

Работа посвящена изучению особенностей декодирования культурно-кодового значения, которое заложено в аллюзивный контекст риторики оратора, на примере речей Си Цзиньпина и их переводов на английский и русский языки. Исследование основывается на положении, что аллюзия, являясь когнитивной категорией, имеет культурно-кодовое значение, которое отражается не только в словарном понятийном содержании, но и в системе экстралингвистических знаний, ассоциаций и образов, обретающих смысл, закрепленный в культуре языковой общности, что обусловливает многоаспектный характер декодирования этого значения. Интерпретация аллюзивных языковых единиц осуществляется в рамках трех аспектов: прагматического, философского и образного. В ходе исследования анализируются 93 текстовых фрагмента с аллюзивными контекстами речей китайского лидера. В первой главе работы рассматриваются общие теоретические и методологические вопросы с опорой на научные труды И. В. Арнольд, М. М. Бахтина, Ю. Н. Караулова, Ю. Кристевой, Ю. М. Лотмана, А. П. Чудинова, У. Эко и др., где выявляются аспекты взаимодействия понятий «язык», «культура», «культурный код», а также описываются феномены интертекстуальности и прецедентного текста как лингвокультурологические явления. Особое внимание уделяется функционированию аллюзий в тексте публичного выступления и особенностям их декодирования при переводе, вводится понятие культурно-кодовое значение. В содержании главы представлены основные положения теории интерпретации П. Рикера, которая допускает множественность толкований смысла текста. Во второй главе исследования предлагается и описывается алгоритм интерпретационного анализа аллюзивных языковых единиц в речи китайского лидера путем сопоставления их репрезентаций на трех языках. Логика построения и описания системы аллюзивных языковых единиц учитывает полиаспектность изучения процесса декодирования аллюзии в текстах публичных выступлений и их переводах. Подчеркивается, что аллюзии в выступлениях Си Цзиньпина и их смысловые соответствия в текстах переводов обращены как к внутреннему (носителю китайского языка), так и к внешнему (иноязычной аудитории) адресатам. В результате, сопоставление переводов аллюзивных единиц с оригиналом позволяет сделать вывод, что в двуязычных переводах фрагментов речи оратора представлено неискаженное восприятие оригинального текста: авторская мысль передается без утраты исходного смысла, заложенного в аллюзии, и сохраняется образная нагрузка источника прецедентных языковых единиц. Результаты исследования могут быть использованы в практике преподавания лингвистических дисциплин, а также курсов, связанных с теорией перевода, теорией межкультурной коммуникации, стилистикой текста и лингвокультурологией. / The work is devoted to the study of the features of decoding the cultural-code meaning, which is embedded in the allusive context of the speaker's rhetoric, based on Xi Jinping's speeches and their translations into English and Russian. The study is based on the statement that the allusion, being a cognitive category, has a cultural-code meaning, which is reflected not only in the vocabulary conceptual content, but also in the system of extralinguistic knowledge, associations and images that acquire meaning, enshrined in the culture of linguistic community, that determines the multidimensional nature of the decoding this meaning. The interpretation of allusive language units is carried out in accordance with three aspects: pragmatic, philosophical and figurative. 93 text fragments contained allusive contexts are analyzed in the study. In the first chapter, theoretical and methodological issues are considered, based on the scientific works of I. V. Arnold, M. M. Bakhtin, Yu. N. Karaulov, Yu. Kristeva, Yu. M. Lotman, A. P. Chudinov, U. Eco and etc., which reveal the interaction aspects of the concepts «language», «culture», «cultural code» and describe the phenomena «intertextuality» and «precedent text» as linguoculturological phenomena. Particular attention is given to the functioning of allusions in the text of public speaking and to the features of their decoding in translation, the concept of cultural-code meaning is also introduced. The main statements of P. Ricoeur's «interpretation theory», which implies a great number of text interpretations, are represented in the chapter. In the second chapter of the study, the algorithm is proposed for the interpretative analysis of figurative units in the speech of Xi Jinping by comparing their representations in three languages. The compilation and description of the allusive language units system reflects the multidimensional aspect of decoding allusion process in the texts of public speaking and their translations. It is underlined that the allusions in the speech of the Chinese leader and their semantic correspondences in the translation texts are addressed both to the internal (native Chinese speaker) and to the external (foreign-language audience) addressees. As a result, comparing translations of allusive units with the original ones, we conclude that bilingual fragment translations of the speaker's speech present an undistorted perception of the original text: the author's thought is transmitted without the loss of the original meaning of an allusion, and the figurative component of the source of precedent language units is preserved. The results of this study can be used for teaching linguistic disciplines, as well as for the courses related to the Theory of Translation, the Theory of Intercultural Communication, Stylistics of the Text and Linguoculturology.