Целью диссертационного исследования является комплексное многоаспектное исследование и описание разнородных форм современной анонимной сетевой пародии, представленной как сложными поликодовыми, так и монокодовыми (вербальными) текстами. Описание типов современной анонимной вербальной сетевой пародии проводится с учетом их сопоставления со специфическими особенностями пародийных форм в диахронии и в синхронии, а также с учетом соотношения пародийного текста с экстралингвистическим контекстом и современным культурным пространством. Разрабатываются механизмы анализа анонимных сетевых пародий. При этом анализ текстов строится на выделении в тексте пародии совокупности экспонентов прототекста, т.е. элементов, отсылающих к тексту-источнику. В данной работе экспоненты прототекста описываются как культурные знаки, сферы-источники которых принадлежат культурному пространству, общему для создающего пародию и воспринимающего ее. Благодаря такому подходу через анализ КЗ и соответствующих им сфер - источников оказывается возможным составить представление о наборе прецедентных текстов, входящих в т.наз. «культурный багаж» представителя конкретной эпохи и конкретного общества. / Šio darbo tikslas yra kompleksiškai ištirti ir įvairiais aspektais aprašyti šiuolaikines internetines parodijas, kurias reprezentuoja polikodiniai (daugialypiai, derinantys verbalinį ir neverbalinius kodus) tekstai ir verbalinės (žodinės) parodijos. Atliekant šį tyrimą šiuolaikinių anoniminių parodijų kognityviniai diskursiniai požymiai buvo lyginami su istorinių parodijos atmainų ir šiuolaikinių parodijos išraiškos būdų anapus interneto erdvės analogiškais požymiais. Disertacijoje kuriami anoniminių internetinių parodijų analizės mechanizmai. Tekstų analizė grindžiama pirmiausia išskyrimu parodijos tekste prototeksto eksponentų, kurie funkcionuoja kaip metoniminiai ženklai, recipiento sąmonėje iškeliantys mentalinę prototeksto reprezentaciją ir atitinkamus konceptus. Šiame darbe prototeksto eksponentai aprašomi kaip kultūriniai ženklai, kurių šaltiniai priklauso kultūros erdvei, apimančiai ir kuriantįjį parodiją, ir ją suvokiantįjį. Taikant tokią prieigą, analizuojant kultūros ženklus bei šaltinius-sritis, kurioms jie priklauso, galima susidaryti vaizdą apie precedentinių tekstų visumą, sudarančią konkrečios epochos ir konkrečios visuomenės vadinamąjį „kultūros bagažą“. / The aim of the present research is to investigate and describe different aspects of internet parody, which is represented by multifold (combining both verbal and non-verbal codes) and verbal texts. In the course of the study discourse cognitive characteristics of contemporary anonymous parody were being compared to the analogous characteristics of the historic parody variety and means of expressing parody that are ulterior to the internet space. The mechanisms for internet parody analysis are created in the dissertation. The analysis of the text is first of all based on the identification of prototext exponents, which function as metonymical signs causing the mental representation of prototext and corresponding concepts in the recepient‘s consciousness. In the present study prototext exponents are defined as cultural signs, whose sources belong to the cultural space that embraces both the creator of a parody and the one perceiving it. By taking such an approach, by analysing cultural signs and sources-spheres they belong to, one can get the idea of the precedented texts as a whole comprising the so-called „cultural baggage“ of a particular epoch and of a particular society.

Šio darbo tikslas yra kompleksiškai ištirti ir įvairiais aspektais aprašyti šiuolaikines internetines parodijas, kurias reprezentuoja polikodiniai (daugialypiai, derinantys verbalinį ir neverbalinius kodus) tekstai ir verbalinės (žodinės) parodijos. Atliekant šį tyrimą šiuolaikinių anoniminių parodijų kognityviniai diskursiniai požymiai buvo lyginami su istorinių parodijos atmainų ir šiuolaikinių parodijos išraiškos būdų anapus interneto erdvės analogiškais požymiais. Disertacijoje kuriami anoniminių internetinių parodijų analizės mechanizmai. Tekstų analizė grindžiama pirmiausia išskyrimu parodijos tekste prototeksto eksponentų, kurie funkcionuoja kaip metoniminiai ženklai, recipiento sąmonėje iškeliantys mentalinę prototeksto reprezentaciją ir atitinkamus konceptus. Šiame darbe prototeksto eksponentai aprašomi kaip kultūriniai ženklai, kurių šaltiniai priklauso kultūros erdvei, apimančiai ir kuriantįjį parodiją, ir ją suvokiantįjį. Taikant tokią prieigą, analizuojant kultūros ženklus bei šaltinius-sritis, kurioms jie priklauso, galima susidaryti vaizdą apie precedentinių tekstų visumą, sudarančią konkrečios epochos ir konkrečios visuomenės vadinamąjį „kultūros bagažą“. / The aim of the present research is to investigate and describe different aspects of internet parody, which is represented by multifold (combining both verbal and non-verbal codes) and verbal texts. In the course of the study discourse cognitive characteristics of contemporary anonymous parody were being compared to the analogous characteristics of the historic parody variety and means of expressing parody that are ulterior to the internet space. The mechanisms for internet parody analysis are created in the dissertation. The analysis of the text is first of all based on the identification of prototext exponents, which function as metonymical signs causing the mental representation of prototext and corresponding concepts in the recepient‘s consciousness. In the present study prototext exponents are defined as cultural signs, whose sources belong to the cultural space that embraces both the creator of a parody and the one perceiving it. By taking such an approach, by analysing cultural signs and sources-spheres they belong to, one can get the idea of the precedented texts as a whole comprising the so-called „cultural baggage“ of a particular epoch and of a particular society. / Целью диссертационного исследования является комплексное многоаспектное исследование и описание разнородных форм современной анонимной сетевой пародии, представленной как сложными поликодовыми, так и монокодовыми вербальными текстами. В работе формулируется положение о необходимости определения пародии с учетом «контекста эпохи», а также с учетом проявления и трансформации в пародии архетипических черт. Соответственно, описание типов современной анонимной вербальной сетевой пародии проводится с учетом их сопоставления со специфическими особенностями пародийных форм в диахронии и в синхронии, а также с учетом соотношения пародийного текста с экстралингвистическим контекстом и современным культурным пространством. Разрабатываются механизмы анализа анонимных сетевых пародий. При этом анализ текстов строится на выделении в тексте пародии совокупности экспонентов прототекста, т.е. элементов, отсылающих к тексту-источнику. В данной работе экспоненты прототекста описываются как культурные знаки, сферы-источники которых принадлежат культурному пространству, общему для создающего пародию и воспринимающего ее. Благодаря такому подходу через анализ КЗ и соответствующих им сфер - источников оказывается возможным составить представление о наборе прецедентных текстов, входящих в т.наз. «культурный багаж» представителя конкретной эпохи и конкретного общества.

Esta dissertação tem como objetivo discutir o princípio do anonimato de doadores de gametas na reprodução assistida. Inspiramo-nos no termo cunhado pela antropóloga norte-americana Charis Thompson, coreografia ontológica – termo que visa explicitar os diferentes modos pelos quais os aspectos técnicos, científicos, legais, políticos e financeiros do parentesco são coordenados nas clínicas de RA. Para melhor entender os diferentes elementos da questão, escolhemos três agentes centrais que, ao mesmo tempo, revelam e influenciam essa “coreografia”. São eles: a divulgação jornalística, os especialistas da área e a legislação. Entendemos que ainda que a ciência impressa nessas tecnologias tenha pretensões universais, os modos de conhecer tais procedimentos são dados a partir de “epistemologias cívicas” e operacionalizados a partir de “estratégias nacionais de regulamentação”. Por essa razão acreditamos que o método comparativo ilumina a especificidade dos diferentes casos e faz com que esses objetos produzam comentários recíprocos um sobre o outro. Além de conduzir entrevistas entre médicos e embriologistas especializados na reprodução assistida, nessa dissertação nos comparamos a divulgação jornalística de quatro países e a legislação de outros cinco. Tais comparações nos permitem visualizar o modo como a reprodução assistida e mais especificamente o anonimato de doadores tem sido configurados no jogo de semelhanças e diferenças; as lógicas que conduzem da prática a proibição; as razões que explicam por que a busca por irmãos é mais aceitável do que a busca por pais genéticos, e os pesos relativos da adoção e da doação de gametas. / In this dissertation, we discuss the principle of anonymity concerning the donors of gametes in the process of assisted reproduction. Our analysis is inspired in the term ontological choreography, coined by North American anthropologist Charis Thompson to describe the technical, scientific, legal, political and financial aspects of kinship that are coordinated in the clinics of assisted maternity. In order to better understand the different elements in question, we have chosen three central agents that simultaneously reveal and influence this “choreography”: journalistic articles, specialists in the area and legislation. We consider that, although the science present in these technologies has universal pretensions, the ways in which we come to know these procedures are conditioned by “civic epistemologies” and operationalized according to “national styles of regulamentation”. For this reason, we believe that the comparative method illuminates the specificity of different cases, causing each context to shed light on the others. Aside from conducting interviews among Brazilian doctors and embryologists specialized in assisted reproduction, we compare in this dissertation the journalistic divulgation of four countries and the legislation of another five. Such comparisons permit us to visualize the way in which assisted reproduction, and specifically donor anonymity, take shape in the play between similarities and differences; the logics that lead from practice to prohibition; the explanations why the search for siblings is more easily accepted than the search for genetic parents, and the relative weights attributed to adoption and the donation of gametes.

Esta dissertação tem como objetivo discutir o princípio do anonimato de doadores de gametas na reprodução assistida. Inspiramo-nos no termo cunhado pela antropóloga norte-americana Charis Thompson, coreografia ontológica – termo que visa explicitar os diferentes modos pelos quais os aspectos técnicos, científicos, legais, políticos e financeiros do parentesco são coordenados nas clínicas de RA. Para melhor entender os diferentes elementos da questão, escolhemos três agentes centrais que, ao mesmo tempo, revelam e influenciam essa “coreografia”. São eles: a divulgação jornalística, os especialistas da área e a legislação. Entendemos que ainda que a ciência impressa nessas tecnologias tenha pretensões universais, os modos de conhecer tais procedimentos são dados a partir de “epistemologias cívicas” e operacionalizados a partir de “estratégias nacionais de regulamentação”. Por essa razão acreditamos que o método comparativo ilumina a especificidade dos diferentes casos e faz com que esses objetos produzam comentários recíprocos um sobre o outro. Além de conduzir entrevistas entre médicos e embriologistas especializados na reprodução assistida, nessa dissertação nos comparamos a divulgação jornalística de quatro países e a legislação de outros cinco. Tais comparações nos permitem visualizar o modo como a reprodução assistida e mais especificamente o anonimato de doadores tem sido configurados no jogo de semelhanças e diferenças; as lógicas que conduzem da prática a proibição; as razões que explicam por que a busca por irmãos é mais aceitável do que a busca por pais genéticos, e os pesos relativos da adoção e da doação de gametas. / In this dissertation, we discuss the principle of anonymity concerning the donors of gametes in the process of assisted reproduction. Our analysis is inspired in the term ontological choreography, coined by North American anthropologist Charis Thompson to describe the technical, scientific, legal, political and financial aspects of kinship that are coordinated in the clinics of assisted maternity. In order to better understand the different elements in question, we have chosen three central agents that simultaneously reveal and influence this “choreography”: journalistic articles, specialists in the area and legislation. We consider that, although the science present in these technologies has universal pretensions, the ways in which we come to know these procedures are conditioned by “civic epistemologies” and operationalized according to “national styles of regulamentation”. For this reason, we believe that the comparative method illuminates the specificity of different cases, causing each context to shed light on the others. Aside from conducting interviews among Brazilian doctors and embryologists specialized in assisted reproduction, we compare in this dissertation the journalistic divulgation of four countries and the legislation of another five. Such comparisons permit us to visualize the way in which assisted reproduction, and specifically donor anonymity, take shape in the play between similarities and differences; the logics that lead from practice to prohibition; the explanations why the search for siblings is more easily accepted than the search for genetic parents, and the relative weights attributed to adoption and the donation of gametes.

Esta dissertação tem como objetivo discutir o princípio do anonimato de doadores de gametas na reprodução assistida. Inspiramo-nos no termo cunhado pela antropóloga norte-americana Charis Thompson, coreografia ontológica – termo que visa explicitar os diferentes modos pelos quais os aspectos técnicos, científicos, legais, políticos e financeiros do parentesco são coordenados nas clínicas de RA. Para melhor entender os diferentes elementos da questão, escolhemos três agentes centrais que, ao mesmo tempo, revelam e influenciam essa “coreografia”. São eles: a divulgação jornalística, os especialistas da área e a legislação. Entendemos que ainda que a ciência impressa nessas tecnologias tenha pretensões universais, os modos de conhecer tais procedimentos são dados a partir de “epistemologias cívicas” e operacionalizados a partir de “estratégias nacionais de regulamentação”. Por essa razão acreditamos que o método comparativo ilumina a especificidade dos diferentes casos e faz com que esses objetos produzam comentários recíprocos um sobre o outro. Além de conduzir entrevistas entre médicos e embriologistas especializados na reprodução assistida, nessa dissertação nos comparamos a divulgação jornalística de quatro países e a legislação de outros cinco. Tais comparações nos permitem visualizar o modo como a reprodução assistida e mais especificamente o anonimato de doadores tem sido configurados no jogo de semelhanças e diferenças; as lógicas que conduzem da prática a proibição; as razões que explicam por que a busca por irmãos é mais aceitável do que a busca por pais genéticos, e os pesos relativos da adoção e da doação de gametas. / In this dissertation, we discuss the principle of anonymity concerning the donors of gametes in the process of assisted reproduction. Our analysis is inspired in the term ontological choreography, coined by North American anthropologist Charis Thompson to describe the technical, scientific, legal, political and financial aspects of kinship that are coordinated in the clinics of assisted maternity. In order to better understand the different elements in question, we have chosen three central agents that simultaneously reveal and influence this “choreography”: journalistic articles, specialists in the area and legislation. We consider that, although the science present in these technologies has universal pretensions, the ways in which we come to know these procedures are conditioned by “civic epistemologies” and operationalized according to “national styles of regulamentation”. For this reason, we believe that the comparative method illuminates the specificity of different cases, causing each context to shed light on the others. Aside from conducting interviews among Brazilian doctors and embryologists specialized in assisted reproduction, we compare in this dissertation the journalistic divulgation of four countries and the legislation of another five. Such comparisons permit us to visualize the way in which assisted reproduction, and specifically donor anonymity, take shape in the play between similarities and differences; the logics that lead from practice to prohibition; the explanations why the search for siblings is more easily accepted than the search for genetic parents, and the relative weights attributed to adoption and the donation of gametes.

Summaries in Afrikaans and English / Die term "volkspoesie" is reeds in die agtiende eeu deur Johann Gottfried Herder gebruik. Dit kom steeds in Europese tale soos Nederlands en Dui ts voor en word oak in Afrikaans gebruik. Belangstelling in die genre word in twee verskillende vakgebiede aangetref: die volkskunde en die letterkunde. Volkspoesie is poesie wat deur 'n individu geskep word, maar soveel aanklank vind by die "gewone publiek" dat hulle dit as 11volksbesit 11 aanvaar en mondel ing oordra. Die oorspronklike skepper raak dus vergete, die kunswerk bestaan anoniem voort en variante ontstaan. Volkspoesie het verskeie verskyningsvorme soos die volkslied( jie), die ballade, rympies en raaisels. Eiesoortige kenmerke is: spontaneiteit, eenvoud, die irrasionele. Alhoewel volkspoesie oor "landsgrense11 heen kan swerf, is bepaalde vorme daarvan dikwels streekgebonde. Nieteenstaande sy bevraagtekening van die term in die vyftigerjare het N.P. van Wyk Louw dit ook self gebruik. Sy gedigreeks 11 Klipwerk uit Nuwe verse (1954) het 'n nuwe belangstelling in volkspoesie gewek. Later het hy die reeks bestempel as 'n "soort volkspoesie wat hy doelbewus wou skep: volksversagtige" gedigte, gebind aan die digter se jeugwereld. D.J. Opperman het in sy proefskrif van 1953 ook ender meer 'n belangstelling in volkspoesie geopenbaar en in 1962 gewys op die volkse in moderne Afrikaanse digkuns. Sy laaste digbundel, Kamas uit 'n bamboesstok ( 1979), word as 'n volksboek met volkspoesie-eienskappe aangebied. Die vorm en eienskappe van volkspoesie vind neerslag in beide Van Wyk Louw en Opperman se werk. Aanvanklik skryf Van Wyk Louw heelwat volksversagtige gedigte en later gebruik hy ook volksballade-eienskappe in sy ballades. Ook in Tristia (1962) kom eienskappe van volksliedjies en rympies voor. Opperman verwerk meermale bestaande volksliedjies en -rympies in sy poesie en gebruik dit betekenisverruimend as verwysingsveld. Die twee digters se belangstelling in volkspoesie het gelei tot 'n verdere ontginning van die "volkse" vers in Afrikaans, onder andere deur digters soos Boerneef, Adam Small en Breyten Breytenbach. Volkskundige navorsing deur P.W. Grobbelaar en andere het in die moderne tyd ook die aandag op hierdie onderwerp gevestig. In die tagtigerjare is mondelinge Afrikaanse poesie selfs deur swartmense in hulle politieke stryd gebruik! / The term "folk-poetry" had already been used by Johann Gottfried Herder in the eighteenth century. It has ever since prevailed in European languages such as Dutch and German and is also found in Afrikaans. Interest in this genre occurs in two different fields of study: folklore and literature. "Folk-poetry" is poetry created by the individual and accepted by the "general public" to a large extent. Therefore it is acknowledged as common property and passed on by word of mouth. The original creator is thus forgotten, the work of art prevails anonymously and different versions come into being. "Folkpoetry" appears in a variety of forms: the folk-song( s), the ballad, rhymes and riddles. Particular characteristics are: spontaneousness, simplicity, the irrational. Although "folkpoetry" may cross "national borders", some forms are often regional. Despite his questioning the term in the fifties, N.P. van Wyk Louw used it himself. His poetry series "Klipwerk" from Nuwe verse (1954) gave rise to a new interest in ''folk-poetry". He afterwards labelled the series as "a kind of folk-poetry" which he deliberately wanted to create: "folksy" poems, relating to the world of the poet's youth. In his 1953 thesis D.J. Opperman also showed amongst others an interest in "folk-poetry" and in 1962 pointed out the "folksy" identity in contemporary Afrikaans poetry. His last anthology, Kamas uit 'n bamboesstok (1979), is presented as a folk book with "folk-poetry" characteristics. The form and characteristics of "folk-poetry" are embedded in both Van Wyk Louw's and Opperman's work. Initially Van Wyk Louw wrote quite a number of "folksy" poems and afterwards also used folk-ballad characteristics in the ballads he wrote. Characteristics of folk-songs and rhymes also occur in Tristia (1962). Opperman adapts existing folk-songs and rhymes in his poetry and uses it as framework to broaden the meaning. These two poets' interest in "folk-poetry" resulted in further exploration of the "folksy" verse in Afrikaans, among others by poets like Boerneef, Adam Small and Breyten Breytenbach. Folk research by P.W. Grobbelaar and others focused attention on this subject. In the eighties even blacks used oral Afrikaans poetry in their political struggle! / Afrikaans and Theory of Literature / D. Lit. et Phil. (Afrikaans)

Summaries in Afrikaans and English / Die term "volkspoesie" is reeds in die agtiende eeu deur Johann Gottfried Herder gebruik. Dit kom steeds in Europese tale soos Nederlands en Dui ts voor en word oak in Afrikaans gebruik. Belangstelling in die genre word in twee verskillende vakgebiede aangetref: die volkskunde en die letterkunde. Volkspoesie is poesie wat deur 'n individu geskep word, maar soveel aanklank vind by die "gewone publiek" dat hulle dit as 11volksbesit 11 aanvaar en mondel ing oordra. Die oorspronklike skepper raak dus vergete, die kunswerk bestaan anoniem voort en variante ontstaan. Volkspoesie het verskeie verskyningsvorme soos die volkslied( jie), die ballade, rympies en raaisels. Eiesoortige kenmerke is: spontaneiteit, eenvoud, die irrasionele. Alhoewel volkspoesie oor "landsgrense11 heen kan swerf, is bepaalde vorme daarvan dikwels streekgebonde. Nieteenstaande sy bevraagtekening van die term in die vyftigerjare het N.P. van Wyk Louw dit ook self gebruik. Sy gedigreeks 11 Klipwerk uit Nuwe verse (1954) het 'n nuwe belangstelling in volkspoesie gewek. Later het hy die reeks bestempel as 'n "soort volkspoesie wat hy doelbewus wou skep: volksversagtige" gedigte, gebind aan die digter se jeugwereld. D.J. Opperman het in sy proefskrif van 1953 ook ender meer 'n belangstelling in volkspoesie geopenbaar en in 1962 gewys op die volkse in moderne Afrikaanse digkuns. Sy laaste digbundel, Kamas uit 'n bamboesstok ( 1979), word as 'n volksboek met volkspoesie-eienskappe aangebied. Die vorm en eienskappe van volkspoesie vind neerslag in beide Van Wyk Louw en Opperman se werk. Aanvanklik skryf Van Wyk Louw heelwat volksversagtige gedigte en later gebruik hy ook volksballade-eienskappe in sy ballades. Ook in Tristia (1962) kom eienskappe van volksliedjies en rympies voor. Opperman verwerk meermale bestaande volksliedjies en -rympies in sy poesie en gebruik dit betekenisverruimend as verwysingsveld. Die twee digters se belangstelling in volkspoesie het gelei tot 'n verdere ontginning van die "volkse" vers in Afrikaans, onder andere deur digters soos Boerneef, Adam Small en Breyten Breytenbach. Volkskundige navorsing deur P.W. Grobbelaar en andere het in die moderne tyd ook die aandag op hierdie onderwerp gevestig. In die tagtigerjare is mondelinge Afrikaanse poesie selfs deur swartmense in hulle politieke stryd gebruik! / The term "folk-poetry" had already been used by Johann Gottfried Herder in the eighteenth century. It has ever since prevailed in European languages such as Dutch and German and is also found in Afrikaans. Interest in this genre occurs in two different fields of study: folklore and literature. "Folk-poetry" is poetry created by the individual and accepted by the "general public" to a large extent. Therefore it is acknowledged as common property and passed on by word of mouth. The original creator is thus forgotten, the work of art prevails anonymously and different versions come into being. "Folkpoetry" appears in a variety of forms: the folk-song( s), the ballad, rhymes and riddles. Particular characteristics are: spontaneousness, simplicity, the irrational. Although "folkpoetry" may cross "national borders", some forms are often regional. Despite his questioning the term in the fifties, N.P. van Wyk Louw used it himself. His poetry series "Klipwerk" from Nuwe verse (1954) gave rise to a new interest in ''folk-poetry". He afterwards labelled the series as "a kind of folk-poetry" which he deliberately wanted to create: "folksy" poems, relating to the world of the poet's youth. In his 1953 thesis D.J. Opperman also showed amongst others an interest in "folk-poetry" and in 1962 pointed out the "folksy" identity in contemporary Afrikaans poetry. His last anthology, Kamas uit 'n bamboesstok (1979), is presented as a folk book with "folk-poetry" characteristics. The form and characteristics of "folk-poetry" are embedded in both Van Wyk Louw's and Opperman's work. Initially Van Wyk Louw wrote quite a number of "folksy" poems and afterwards also used folk-ballad characteristics in the ballads he wrote. Characteristics of folk-songs and rhymes also occur in Tristia (1962). Opperman adapts existing folk-songs and rhymes in his poetry and uses it as framework to broaden the meaning. These two poets' interest in "folk-poetry" resulted in further exploration of the "folksy" verse in Afrikaans, among others by poets like Boerneef, Adam Small and Breyten Breytenbach. Folk research by P.W. Grobbelaar and others focused attention on this subject. In the eighties even blacks used oral Afrikaans poetry in their political struggle! / Afrikaans and Theory of Literature / D. Lit. et Phil. (Afrikaans)