<p>This dissertation aims to address the lack of transcultural and historical perspective in the study of the Chinese term <em>shishi</em> and its role in the contemporary literature among the current scholarship. To begin with, the study traces the origin and genealogical development of <em>shishi</em> as a literary concept. It concludes that although it was initially invented as a translation for the Western term “epic,” the connotation of <em>shishi </em>was then greatly expanded and modified by Chinese intellectuals and should be understood as a unique aesthetic paradigm for evaluating literary works and inspiring writers, especially in terms of the criticism and the creation of historical fiction.</p> <p>Guided by the craving for building a unified identity for the newborn nation with literary works inspired by communist ideology, the revolutionary historical novel from the “Seventeen-Year Era” (1949-1966) becomes the embodiment of the classic ideas of <em>shishi</em>: heroism and optimistic belief in social progress. With the revolutionary era coming to an end, the orthodox historical narrative was challenged by writers and critics who began to implement new and alternative methods of representing and reconstructing past events and memories, which leads to the renovation and diversification of <em>shishi</em>. With a combination of textual analysis and historical interpretation, this study shall examine the works of six writers with varied and distinctive features from the 1980s to the present and demonstrate their contribution to the continued relevance and vitality of <em>shishi</em> in Chinese literature. The final lesson is, instead of sustaining a static and definitive view of <em>shishi</em>, we should recognize and embrace its dynamic and plural natures, and its ability to adapt and innovate.</p>

Orientador: Rubens Pereira dos Santos / Banca: Marcio Roberto Pereira / Banca: Rosane Gazolla Alves Feitosa / Banca: Igor Rossoni / Banca: Sérgio Henrique Rocha Batista / Resumo: Esta tese se apresenta com os olhos centrados na VOZ, e, para tanto, explorar-se-á pela análise do discurso, as estratégias praticadas por este elemento em duas instâncias narrativas, que são: "A morte e a morte de Quincas Berro D'Água", de Jorge Amado, e, "Ensaio sobre a Cegueira", de José Saramago. Se é o discurso dessa realidade narrativa que está em jogo, o plano da história, isto é, a organização funcional e sequencial do texto, será posto à parte assim como, portanto, qualquer observação quanto ao sentido diegético dos elementos que compõem essa organização; é a narrativa enquanto discurso e não a narrativa enquanto história, que está aqui em causa. Os problemas da narrativa podem ser organizados através dos da análise do discurso narrativo, segundo categorias tomadas da gramática do verbo, e que se reduzirão a três classes fundamentais: as que estão ligadas às relações temporais entre narrativa e diegese, sob a categoria do tempo; as que estão ligadas às modalidades (formas e graus) de representação narrativa, logo aos modos da narrativa, e por último as que estão ligadas à forma pela qual se encontra implicada na narrativa a própria narração no sentido de instância narrativa, e, com ela, seus dois protagonistas: o narrador e seu destinatário real ou virtual. O tempo e o modo funcionam ambos ao nível das relações entre história e narrativa, enquanto a Voz designa, simultaneamente, as relações entre narração e narrativa e entre narração e história. Sendo Genette, um dos... (Resumo completo, clicar acesso eletrônico abaixo) / Abstract: This research is presented with the eyes centered on the VOICE, and, therefore, it will be explored by the discourse analysis, the strategies practiced by this element in two narrative instances, that are: "The death and the death of Quincas Berro D 'Água', by Jorge Amado, and 'Blindness Essay', by José Saramago. If it is the discourse of this narrative reality that is at stake, the plane of history, that is, the functional and sequential organization of the text, will be set aside as well as, therefore, any observation as to the diegetic meaning of the elements that compose this organization; It is narrative as discourse rather than narrative as history that is at stake here. Narrative problems can be organized through those of narrative discourse analysis, according to categories taken from the grammar of the verb, which will be reduced to three fundamental classes: those that are linked to the temporal relations between narrative and diegese, under the category of time; those that are linked to the modalities (forms and degrees) of narrative representation, then to the modes of narrative, and finally those that are linked to the way in which narrative itself is implicated in narrative in the sense of narrative instance, and with it, its two protagonists: the narrator and its real or virtual recipient. Time and mode both function at the level of the relations between history and narrative, while the Voice simultaneously designates the relations between narration and... (Complete abstract click electronic access below) / Doutor

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This paper deals with issues related to the translation of humor specific to the medium of subtitling. It focuses on the ways of preserving the quality of the original material in spite of the limited space and time allotted to subtitles on the screen. The main themes include the translation of culture-specific content, how well or badly certain types of humor travel across languages and cultures, the linguistic challenges inherent to a successful renderingof humor, and humor translation as a creative and artistic process. Concrete examples are drawn from the included corpus of three American television programs of mass media subtitled into French by the author.

In the late 18th century an artist named Torii Kiyotsune 鳥居清経inherited and mastered a style of ukiyo-e that was soon to go out of fashion. Few of his prints survived and he left little impression on Japanese art history, despite his association with such a prominent school as the Torii. Yet the very association may have contributed to his obscurity. The assumption that Kiyotsune was primarily an ukiyo-e artist led to the overshadowing of his work in another arena, popular books known as kusazōshi. In fact he was quite prolific in that medium, illustrating over 130 kibyōshi, as well as works in other genres. Analysis of one of his kibyōshi, Kaminari no hesokuigane 雷之臍喰金, shows that there is still much to be learned about him and his contributions to early modern Japanese visual culture. Through an analysis of Kaminari no hesokuigane this thesis also explores the unique set of characteristics that distinguishes kibyôshi from other forms of visual-verbal narratives such as comics or illustrated books. Moreover it argues that, despite their having served as cheap, disposable fiction in their time, kibyōshi can serve as an informative lens through which to examine how the ordinary inhabitants of Edo identified with their city, creating a culture of their own and developing the Edokko type that has survived into the modern era.

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