Cette thèse est consacrée à l'étude des peintures d'un des manuscrits les plus importants de la tradition persane : une copie du Bustân de Sa‘di réalisée à la cour timouride de Herât vers 894 H./1488. Elle démontre que ces peintures incarnent un changement de fonction de la peinture, d'un dispositif de représentation à un objet de performance. Les peintures présentent plusieurs aspects inédits, qui contredisent la fonction illustrative généralement associée à la peinture persane de manuscrit. La surface de la peinture se couvre de formes qui n'ont aucun rapport avec le texte qu'elle est censée illustrer (chapitre I). Le peintre a également inséré des vers poétiques dans les peintures, qui évoquent le spectateur et constituent un panégyrique de l'image (chapitre II). On note aussi une miniaturisation des formes, visible en particulier à travers la prolifération de motifs linéaires infimes. La finesse de la ligne s'accompagne de la présence, dissimulée dans les détails de la composition, de la signature du peintre Behzâd (chapitre III). Ces aspects donnent à la peinture une dimension réflexive, qui détourne le spectateur du contenu de l'œuvre au profit d'un questionnement sur le statut de l'image et le talent du peintre. Ce changement de fonction s'explique par le rôle croissant du majlis, une assemblée où artistes, poètes et patrons se réunissent pour discuter des œuvres. Dans ce contexte qui annonce l'émergence des écrits historiographiques sur l'art, la peinture est conçue comme un objet de performance, où le peintre dissémine des éléments qui indiquent son talent, et que le spectateur peut utiliser en retour pour créer des discours et des fictions sur l'artiste. / This dissertation examines the paintings of one of the most important manuscripts of the Persianate book tradition: a copy of the Bustân of Sa‘di, executed in the Timurid court of Herât, ca. 894 H./1488. It argues that these paintings embody a shift in the understanding of painting from a device of representation to an object of performance. In the three chapters of the dissertation, I analyze several new characteristics that appear in the paintings of the Bustân. First, the painting becomes filled with elements that are not related to the text copied in the book (chapter I). Second, the monuments depicted are inscribed with poetic verses emphasizing the admiration of the viewer towards the paintings (chapter II). Lastly, the visual information becomes extremely miniaturized. The most meticulous details appear to be minute linear motifs. This emphasis on the line accords with the presence of the signature of the painter Behzâd, embedded in each composition (chapter III).All of these elements shift the attention of the viewer from the content represented in the paintings to the artistic process that led to their creation. By contrasting the paintings with the historical scenarios of their reception, this dissertation sheds light on a hitherto unnoticed aspect of late 9th/15th century Persian painting, one which foreshadows the development of art historiographical writings: the paintings signed “Behzâd” are conceived not only as representational devices, but also as objects of performance, that the painter uses to inscribe his gesture, and whose contemplation causes the viewer to elaborate discourses and fictions on the artist.

Text in English / This study focuses on the strategies and devices used to create humour in children’s literature. No language is a replica of another language and it is generally accepted that a translator has to be creative in order to make the Source Text (ST) meaning available to the Target Text (TT) reader. The research conducted in this study aims to fill a gap regarding the application of humour in the rather under-researched field of children’s literature. A descriptive framework was used to conduct this qualitative study in order to be able to describe the linguistic strategies and devices used to translate the English source text by Roald Dahl, Charlie and the Great Glass Elevator into the Afrikaans Target Text, Charlie en die Groot Glashyser by Kobus Geldenhuys. Literary devices to create humour, employed by both the writer and the translator, were identified and analysed. Interviews and reading sessions with ST learners (English) as well as TT learners (Afrikaans) were conducted in order to observe their non-verbal reactions as well as document their verbal comments to complement the data obtained from the textual analysis. The textual analysis showed that the literary device most frequently applied in the ST was the simile and the main trend regarding the transference of humorous devices to the TT was to retain the device with formal equivalence. The most popular translation strategy was direct translation with the most important shifts identified on morphological and lexical level and shifts in expressive and evoked meaning were relatively low. With regard to the reading sessions, the most positive results from both groups of learners regarding humorous devices in the ST and TT were obtained for the device of inappropriate behaviour. / Linguistics and Modern Languages / M.A. (Linguistics)

Este trabalho de pesquisa estuda um autor - Renato Canini - que construiu uma trajetória peculiar ao desenvolver uma narrativa de histórias em quadrinhos com um traço bastante pessoal apesar de inserida nas de estruturas de produção massivas. Envolve a articulação da CETPA Cooperativa Editora de Trabalhos de Porto Alegre - que pretendia publicar histórias em quadrinhos brasileiras para fazer frente à avassaladora presença de material importado , estrutura onde Canini realizou com as tiras de Zé Candango seus primeiros ensaios de uma linguagem brasileira de quadrinhos. E porque parte dessas tiras foi publicada no Jornal do Brasil, sua atuação pode ser vista dentro da construção de um sistema massivo de produção e distribuição no país. Este trabalho vai além ao abordar a seminal passagem deste autor pelas publicações Disney por meio da Editora Abril - desenhando as aventuras do personagem Zé Carioca. Deste período resultará uma obra que encontra grande significado por conseguir superar as contradições e os limites de uma estrutura caracterizada por uma rígida divisão de trabalho, dilatando os limites da questão autoral dentro da grande indústria e trazendo amplos questionamentos quanto aos elementos formadores de uma pretensa identidade nacional. / This research deals with the study of the artist Renato Canini, who managed to build a very peculiar way to develop a narrative of comics with a very personal style, although included in the structures of mass production. This period includes the articulation of CETPA (Cooperative Publishing Works of Porto Alegre), which intended to publish Brazilian comics to face the huge presence of imported material. That was when Canini drew his strips of Zé Candango its first steps of a language of Brazilian comics. And because of part of these strips were published in Jornal do Brasil, this work can be seen within the perspective of building a massive system of production and distribution. This work goes beyond by researching the important work done by Renato Canini at Disney publications - by Editora Abril - drawing the adventures of the character Zé Carioca. Not forgetting a significant formal research developed by him on the pages of the Recreio magazine. This period will result in a workforce that is able to overcome significant contradictions and limits of a structure known by being rigid with the labor division and also by extending the limits of copyright issue within the major industry issues and bringing extensive discussion on the elements of an alleged national identity.

Esta dissertação discute o fenômeno da autoria – compreendido como procedimento que organiza e controla o discurso, conceito extraído da obra de Foucault – e suas possíveis relações com a natureza material do discurso. Analisa os meios através dos quais os discursos ganham corpo, as modificações culturais que eles introduziram na cultura ocidental e os procedimentos de autoria que esses mesmos meios justificam. Descreve a autoria sob as culturas oral, manuscrita, impressa e digital e investiga a relação entre a materialidade de que se reveste o discurso e alguns procedimentos de autoria observados. Conclui que, dentre os procedimentos gerados por fatores sociais, históricos e ideológicos que compõem o contexto de produção mais amplo do discurso, há procedimentos de autoria que só podem ser compreendidos no âmbito da cultura midiática em que o discurso se produz. / This dissertation discusses the authorship phenomenon - understood as a procedure that organizes and controls the discourse, a concept extracted from Foucault's work - and its possible relations with the material nature of the discourse. It analyses the media through which discourses reach consistency, the cultural modifications they have introduced in the ocidental culture and the procedures of authorship these very media justify. It describes authorship under oral, handwritten, printed and digital cultures and investigates the relationship between the materiality that overlays the discourse and some procedures of authorship observed. It concludes that, among the procedures generated by social, historical and ideological factors that compose the wider context of discourse production, there are authorship procedures that can only be understood in the ambit of the mediatic culture in which the discourse is produced.

Um Kernfragen zur Mehrautorenschaft in einer bestimmten Zielgruppe zu klären, konzentriert sich diese Arbeit auf Aspekte von technologischer Kompetenz, menschlicher Interaktion und institutioneller Leitlinien. Zuerst werden interdisziplinäre Argumente in Bezug zu Mehrautorenschaft aus den Sozialwissenschaften, Naturwissenschaften, Informatik und Geisteswissenschaften präsentiert. Die Literaturübersicht enthält Statistiken zu Informationsnutzung, Beschreibung von Strategien des Wissensmanagements, Erforschung von Verhaltensmustern und Trends in der Kommunikationstechnologie, sowie Diskussionen einiger historischer, politischer und inhaltlicher Aspekte, welche die Anwendung des Internet als kollaboratives Werkzeug im akademischen Kontext beeinflussen können. Die Arbeit beschäftigt sich auch mit einigen Kontroversen zur Konzeption von Wissenschaft und wissenschaftlicher Praktiken, welche indirekt mit der Problematik von wissenschaftlicher Kommunikation und Zusammenarbeit, sowie Wissensproduktion in Zusammenhang stehen, insofern sie die Produktion Texten mit mehreren Autoren betreffen. Ein besonderer Schwerpunkt der Arbeit befasst sich mir dem zur Zeit vorherrschenden System zur Evaluation akademischer Publikationen (Bibliometrie oder Scientometrie; QUALIS und SCIELO Systeme). Das vorhandene System für die Evaluation von Autoren ist in der Regel unfair /voreingenommen. Das liegt daran, das Statistiken leicht manipuliert werden können um einer bürokratischen und unternehmerischen Agenda zu folgen oder individuelle Interessen darzustellen, anstatt die wirklichen Verdienste eines Autors widerzuspiegeln. Die Untersuchung wurde anhand von semi-strukturierten Interviews durchgeführt, in Kombination mit einer quantitativen Erhebung, welche drei miteinander verbundene Aspekte (technologische, institutionelle und kulturelle), die bei der in Mehrautorenschaft eine Rolle spielen, innerhalb des Graduiertenprogramms in 'Forest Engineering' an der Universidade Federal do Paraná (Brasilien) hervorheben sollte. / In order to verify core issues for co-authorship in a specific audience, the current work focus on technological literacy, human interaction, and institutional policy. It first presents an interdisciplinary collection of arguments from social sciences, natural sciences, computer sciences, and humanities about scientific collaboration, especially regarding co-authorship activities. This literature review includes statistics on information usage, description of knowledge management strategies, exploration of behavioral patterns, communication technology trends, and discussions of some historical, political and contextual elements that may be influencing the application of the Internet as a collaborative tool within academic contexts. It also draws back few controversies about the concept of science and its practices, which are indirectly related to the problematic of scholarly communication, scientific collaboration, and knowledge production. The investigation targets these activities in what they concern the production of co-authored texts. A special focus of this work targets the current mainstream system of academic publishing ranking and evaluation (Bibliometrics or Scientometrics; QUALIS and SCIELO systems). The existing measurement system for the ranking of authors is generally an unfair/biased system, as statistics can easily be manipulated by a bureaucratic and corporate agenda, or by individual interests, rather than representing the real merit of an author. The inquiry applies a semi-structured in-depth interview combined with a quantitative survey intending to reveal three interrelated aspects (Technological, Institutional, and Cultural) involved in co-authorship activities within the Graduate Program in Forest Engineering at the Federal University of Paraná/Brazil.

Made available in DSpace on 2016-04-28T19:58:54Z (GMT). No. of bitstreams: 1 Liniane Haag Brum.pdf: 6383423 bytes, checksum: 6702515acecea6ffb93b0307da91ddbe (MD5) Previous issue date: 2014-09-30 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This dissertation is inscribed into a zone of interval between critics and literary creation, that is, between the critical discourse about a work, Before the past: silence comes from Araguaia (2012), by my authorship, and the potential creation of another work - Stone house. Its objective is to speculate possible points of view for the narrator of a potential narration stablished around what is to be said by another one, already published: the novel Before the past, inscribed in the post-dictatorial Brazilian literature. Our methodological strategy is structured around two cores. The first one embraces the analysis of Before the past: the silence which comes from Araguaia, which was based on the concepts of narrator, vestige and threshold according to Wayne Booth and Walter Benjamin studies. The second one is centered on the work in progress - Stone house and has as conceptual axis the notions of archive, act and potency came from Michel Foucault e Giorgio Agamben studies. From this context, emerges the proposition of giving ear and trying to identify, describe and analyze Before the past narrative voice procedures, departing from a site where we are settled simultaneously as a researcher and a reader who scrutinizes her own work. In Part II, the architectural mechanisms of Stone house are investigated by a reflexive voice, which mixes first and third persons that narrate the creation research construction in the form of a writer s book , in the light of the book Passages, by Walter Benjamin. As a result, we delineated a sort of literary cartography of proto-book, which is Stone house, based on collecting and organizing archives made of documental vestiges, memories, audiovisual interviews, photographs, written and oral narratives about Brazilian military dictatorship, and the disappearing and death through a fragile narration which tries to keep itself in a threshold between said and non said, creation and (un)creation / Esta dissertação inscreve-se numa zona intervalar entre a crítica e a criação literária, ou seja, entre o discurso crítico sobre uma obra, Antes do Passado o silêncio que vem do Araguaia (2012), de minha autoria, e a criação potencial de outra Casa de Pedra. O objetivo é o de especular possíveis pontos de vista para o narrador de um relato potencial cujo esteio está naquilo que ficou por dizer em outro, já publicado: o do romance Antes do Passado inscrito na literatura brasileira do período pós-ditatorial. A estratégia metodológica se estruturou em dois núcleos. O primeiro abrange a análise da narração de Antes do Passado o silêncio que vem do Araguaia, tendo como fundamentos os conceitos de narrador, rastro e limiar a partir dos estudos de Wayne Booth e Walter Benjamin. O segundo centra-se na obra em processo de criação - Casa de Pedra - e tem como eixo conceitual as noções de arquivo, ato e potência, a partir de Michel Foucault e Giorgio Agamben. Surge, deste contexto, a proposição de uma escuta que procura identificar, descrever e analisar procedimentos da voz narrativa de Antes do Passado, partindo de um lugar onde nos colocamos, simultaneamente, como pesquisadora e leitora que perscruta a própria obra. Já na Parte II, são investigados os mecanismos arquitetônicos de Casa de Pedra, por meio de uma voz reflexiva que mescla primeira e terceira pessoas, a narrar a construção da pesquisa de criação na forma de um Livro do Escritor , à luz do livro das Passagens de Walter Benjamin. Como resultado, delineamos uma espécie de cartografia literária de um proto-livro , que é Casa de Pedra, a partir da recolha e da organização de arquivos feitos de rastros de documentos, memórias, entrevistas audiovisuais, fotografias, narrativas verbais e escritas sobre a ditadura militar brasileira, o desaparecimento e a morte por meio de uma frágil narração que busca se manter no limiar entre o dito e o não dito, entre criação e des-criação

Copyright is conventionally justified as an incentive to produce and disseminate works of authorship. We can justify and theorise copyright more richly, not least because empirical evidence does not support the incentive narrative. Rather than focussing on quantitative matters such as the number of works incentivised and produced, we should consider copyright's qualitative influence on culture. A threshold objection to such an approach is the risk of cultural paternalism. This objection can be overcome. Rather than specifying paternalistic standards of merit for works, we can target the conditions under which their creation and consumption takes place. I argue, firstly, that we should adopt the following high-level principles: (i) that the conditions of creation and consumption of works should be conducive to democratic deliberation (democracy) and (ii) that they should facilitate the development of human capabilities (autonomy). Secondly, I propose that we pursue three mid-level objectives, which are helpful indicia of democracy and autonomy: - a fair and wide distribution of communicative and cultural power (inclusiveness); - diversity in the content and perspectives available to the public (diversity); and - conditions that permit authors and users of works to engage rigorously with the conventions of the media in which they operate (rigour). It is often said that copyright obstructs important qualitative objectives, like freedom of expression, and that we could better pursue these goals by weakening copyright and relying on non-proprietary alternatives. My approach produces a more optimistic, but also more complicated, view of copyright. While copyright's qualitative influence is not optimal, reductions in the strength and scope of copyright sometimes produces conditions and incentive structures that are worse for inclusiveness, diversity and rigour than stronger copyright. For example, both attention and wealth are highly concentrated in networked information economies driven by free sharing of content, and this is bad for diversity or inclusiveness. Online business models, based on surveillance of users' consumption of free works, are corrosive of autonomy and democracy. Merely removing copyright-based restrictions on the sharing of works is not a panacea for copyright's ills. A qualitative theory such as mine equips us to better understand and calibrate more richly the trade-offs involved in copyright policy decisions, and encourages us to treat copyright as part of a broader, qualitatively-oriented information and cultural policy.

This dissertation examines the ways international research collaboration affects the ability of Colombian research teams to produce bibliographic outputs, and to contribute to local knowledge. Research hypotheses are tested using Zero Inflated Negative Binomial Regression models to account for the effects of international research collaboration on team output while controlling for team characteristics, partner characteristics, scientific discipline, sector, the characteristics of the teams' home institution, and team location. The study uses control groups and the Propensity Score Matching approach to assess the overall impact of international research collaboration on research team performance while controlling for the effects of endogeneity and selection bias. Results show that international research collaboration is positively associated with both team output and teams' ability to contribute to local knowledge. The study shows that such effects depend on the type of collaboration chosen and the type of partner involved. Particularly, it shows that while co-authoring with colleagues located overseas or receiving foreign funding positively affects team performance, hosting foreign researchers does not seem to affect a team's productivity or its ability to contribute to local knowledge once all other variables are held constant. It also finds that collaborating with partners from the South yields greater productivity counts than collaborating with partners from the North, but that collaboration with partners from northern countries is strongly associated with a team's ability to contribute to local knowledge, while collaboration with partners from southern countries is not. Theoretical and policy implications of these and other counterintuitive findings are discussed.

This dissertation examines the ways international research collaboration affects the ability of Colombian research teams to produce bibliographic outputs, and to contribute to local knowledge. Research hypotheses are tested using Zero Inflated Negative Binomial Regression models to account for the effects of international research collaboration on team output while controlling for team characteristics, partner characteristics, scientific discipline, sector, the characteristics of the teams' home institution, and team location. The study uses control groups and the Propensity Score Matching approach to assess the overall impact of international research collaboration on research team performance while controlling for the effects of endogeneity and selection bias. Results show that international research collaboration is positively associated with both team output and teams' ability to contribute to local knowledge. The study shows that such effects depend on the type of collaboration chosen and the type of partner involved. Particularly, it shows that while co-authoring with colleagues located overseas or receiving foreign funding positively affects team performance, hosting foreign researchers does not seem to affect a team's productivity or its ability to contribute to local knowledge once all other variables are held constant. It also finds that collaborating with partners from the South yields greater productivity counts than collaborating with partners from the North, but that collaboration with partners from northern countries is strongly associated with a team's ability to contribute to local knowledge, while collaboration with partners from southern countries is not. Theoretical and policy implications of these and other counterintuitive findings are discussed.

Writing the speculative fiction novel, Birthright, and this accompanying exegesis, led me to challenge the validity of the disclaimer usually found in the front matter of most novels that the story is purely imaginary, bears no relationship to reality, with the characters not being inspired by anyone known or unknown to the author. For the first time in my career, I began to consider how writers including myself might frequently revisit themes and ideas which resonate with our lived experiences. I call this restorying, an unconscious process whereby aspects of one's life history are rewritten through one's creative work to achieve a more satisfactory result. Through personal contact, studying authors' accounts of their creative practices, and surveying current literature on narrative therapy, a case is made that, far from being generated purely from imagination, writers' creative choices are driven by an unconscious need to restory ourselves.