Thesis (M.F.A.)--Rochester Institute of Technology, 2009. / Typescript.

Submitted by Flavia Seregati (flavia_seregati@hotmail.com) on 2018-04-04T14:53:52Z No. of bitstreams: 1 Dissertação Flávia Seregati.pdf: 1579174 bytes, checksum: 1384eea7c92c97b5d09931d11d36e9e2 (MD5) / Approved for entry into archive by Elza Mitiko Sato null (elzasato@ibilce.unesp.br) on 2018-04-04T17:32:00Z (GMT) No. of bitstreams: 1 seregati_f_me_sjrp.pdf: 1590112 bytes, checksum: c93884131e037c302862396df9fd4bd1 (MD5) / Made available in DSpace on 2018-04-04T17:32:00Z (GMT). No. of bitstreams: 1 seregati_f_me_sjrp.pdf: 1590112 bytes, checksum: c93884131e037c302862396df9fd4bd1 (MD5) Previous issue date: 2018-03-09 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / O presente trabalho tem como objetivo a investigação do léxico em romances policiais, com vistas a detectar e analisar a incidência de fatores pragmáticos na tradução (espanhol-português) de lexias simples e complexas, especificamente as consideradas tabus linguísticos. Como corpus de pesquisa elaboramos o MVM 4 composto pelas obras em espanhol, Milenio Carvalho I. Rumbo a Kabul e Milenio Carvalho II. Rumbo a las antípodas de Manuel Vázquez Montalbán e sua tradução para o português Milênio. Tendo como base a Lexicologia e a Pragmática, nosso estudo foi fundamentado no contexto do romance policial em que as lexias tabus foram encontradas. Assim, para o levantamento das unidades lexicais tabus (ULTs) utilizamos o método manual, dado que se fez necessário compreender o âmbito em que a lexia está inserida para que fosse possível classificá-la em uma das esferas de motivação de uso propostas. Desse modo, a análise das ULTs, iniciou-se após a separação das lexias conforme as cinco esferas de motivação de uso, de maneira que pudéssemos estabelecer uma relação entre as obras em espanhol e sua respectiva tradução para o português, atentando para as relações eufemísticas e disfemísticas presentes na tradução. Com foco nas ULTs e com base no modelo de divisão por esferas, proposto por Simão e Seregati (2016), foram examinadas as motivações de uso mais frequentes das ULTs, os recursos eufemísticos e disfemísticos utilizados na tradução das lexias tabu, as relações entre os eufemismos e os disfemismos e as esferas em que estão inseridas e, por fim, discutimos e propusemos a ampliação do modelo de divisão por esferas proposto por Simão e Seregati (2016). / This research aims to study the taboo lexicon in detective novels in order to observe and analyze the incidence of pragmatics factors in the translation (SpanishPortuguese) of simple and complex words, specifically the ones that are considered linguistic taboos. For this purpose, the MVM 4 has been created as a research corpus, being composed by the Brazilian Portuguese translation of the following Manuel Vázquez Montalbán's works: Milenio Carvalho I. Rumbo a Kabul and Milenio Carvalho II. Rumbo a las antípodas. Based on Lexicology and Pragmatics, this study was founded on the context of the detective novel in which the taboo lexicons were observed. Thus, a manual method was used for the taboo lexicons (ULTs) assessment, since it was necessary to understand the scope in which the lexicon was inserted, so that it could be classified in one of the proposed categories. Therefore, the analysis of the ULTs began after the lexicons were classified according to the taboo lexicon division of the use motives into five categories and in such a way that a relation between the novels in Spanish and their respective translations in Portuguese was established, highlighting the euphemistic and dysphemistic relations in the translation. Focusing on the ULTs and based on the division model proposed by Simão and Seregati (2016), the most frequent motives for the use of ULTs have been investigated, as well as the euphemistic and dysphemistic strategies used in the translation of taboo lexicons, the relation between euphemisms and dysphemism, and the categories in which they are inserted. And finally, after a discussion, an increase of the motives division model proposed by Simão and Seregati (2016).

Le Faucon maltais et L’Introuvable de Dashiell Hammett ont été portés avec succès au cinéma, faisant apparaître le personnage typiquement américain du détective privé avec les figures de Sam Spade et de Nick Charles.La dernière incarnation de Sam Spade, sous les traits de Humphrey Bogart dans le film de John Huston, en 1941, demeure l’une des figures les plus célèbres du film noir. Nick Charles, sous les traits de William Powell dans le film de Woody S. Van Dyke, en 1934, fut si populaire que l’acteur et le personnage, échappant à son auteur, furent exploités dans une suite de cinq films. Pourquoi le public français ne connaît-il guère que les premiers (personnage et acteur) et méconnaît-il les seconds ?Quelle place dans cette concurrence tient la figure de Dashiell Hammett, détective puis écrivain, devenu un personnage d’écrivain-détective dans Hammett, un film de Wim Wenders en 1982 ?L’examen de toutes les adaptations des romans de l’auteur, de 1931 à 1942, permet de comparer les diverses représentations de ses figures littéraires d’enquêteur. Celui des cinq films qui, de 1934 à 1947, ont repris le personnage de Nick Charles, montre la difficulté à conserver une cohérence au personnage.L’observation du changement du goût du public, de la Grande Dépression à l’après-Seconde Guerre Mondiale, et celle de l’évolution de la carrière d’Humphrey Bogart et de William Powell, permet de comprendre pourquoi le public français, si attaché à la notion de film noir, n’a retenu que le premier. Enfin, la constatation de l’intérêt éditorial, renouvelé en France au début du vingt-et-unième siècle, pour toute l’œuvre et la vie de Dashiell Hammett, conduit à considérer, temporairement peut-être, la figure de l’auteur comme un mythe moderne. / The Maltese Falcon and The Thin Man by Dashiell Hammett, adapted successfully to the screen, revealed the typically American character of the private detective, with Sam Spade and Nick Charles.The last incarnation of Sam Spade by Humphrey Bogart in 1941 John Huston’s movie remains one of the most famous film noir figures. Nick Charles, with William Powell in Woody S. Van Dyke’s film in 1934, was so popular that both the character, escaping his creator, and the actor were reused in a succession of five films, until 1947.Why does the contemporary French public only know the first (character and actor) and why does it almost ignore the second ?Between them, what place does Dashiell Hammett hold, detective then writer, who became a character of detective writer in Hollywood Wim Wenders’s movie Hammett in 1982 ?The study of all Dashiell Hammett novels adaptations, from 1931 to 1942, enables to compare the various representations of his investigator characters. The study of the five movies reusing Nick Charles character allows to follow its lack of coherence.The observation of the change of the public taste, from the Great Depression until the post- Second World War years and the examination of the cinematographic careers of the two actors, explain the Bogart’s fame in France.Eventually, the French editorial revival of Dashiell Hammett at the beginning of the 21st century makes it possible to consider the author figure as a new myth.

Submitted by Renata Lopes (renatasil82@gmail.com) on 2018-08-15T13:54:04Z No. of bitstreams: 1 pabloitaboraydecarvalho.pdf: 4526356 bytes, checksum: 82e2ce191766b7426d065142ec7fc9f5 (MD5) / Approved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2018-08-15T14:20:45Z (GMT) No. of bitstreams: 1 pabloitaboraydecarvalho.pdf: 4526356 bytes, checksum: 82e2ce191766b7426d065142ec7fc9f5 (MD5) / Made available in DSpace on 2018-08-15T14:20:45Z (GMT). No. of bitstreams: 1 pabloitaboraydecarvalho.pdf: 4526356 bytes, checksum: 82e2ce191766b7426d065142ec7fc9f5 (MD5) Previous issue date: 2018-04-06 / O objetivo principal deste trabalho foi analisar uma estratégia de ampliação de repertório do jovem leitor que consiste em usar o jogo de tabuleiro Scotland Yard e a série televisiva Sherlock como mediadores no processo de apropriação de estratégias literárias usadas na narrativa policial clássica. Foi concebido no âmbito do Profletras-UFJF, como parte do projeto Intertextualidade no polissistema literário: uma proposta de ampliação do repertório do jovem leitor desenvolvido pela professora Elza de Sá Nogueira. O embasamento teórico é constituído pelos conceitos de letramento literário (Cosson e Paulino); de repertório (Iser); de polissistema literário (Even-Zohar); de adaptação (Hutcheon); de comunidade de leitores (Chartier); de jogo (Huizinga); e de narrativa policial (Todorov). Foi aplicado numa turma de 9o ano de uma escola pública federal de Juiz de Fora, utilizando a metodologia da pesquisa-ação. A partir do diagnóstico – elaborado com base na análise de questionários aplicados na turma em questão – de que a maioria dos alunos lê apenas os livros exigidos pela escola e, portanto, não inserem a literatura em suas vidas num sentido mais amplo, formulamos a hipótese de que, por meio do jogo e da narrativa audiovisual, a inserção dos alunos numa comunidade de leitores seria mais efetiva, e a ampliação de repertório se realizaria como fruição estética. Na sequência da proposta, foi realizada a leitura compartilhada (conforme recomendada por Tereza Colomer) de um romance e cinco contos de Sir Arthur Conan Doyle, durante a qual foram usadas, como estratégias, questões mediadoras propostas pelo professor e o registro das discussões no diário de leitura por parte dos alunos. A apropriação das estratégias aprendidas foi avaliada através da elaboração coletiva de um jogo de tabuleiro similar ao Scotland Yard, que contou com a adaptação dos contos lidos em sala de aula. Os resultados comprovaram a hipótese, afinal percebeu-se que os alunos, além de se apropriarem das estratégias literárias e terem se inserido numa comunidade de leitores, tiveram maior fruição estética na leitura dos textos literários propostos. / The main objective of this work was to annalyze a strategy to broaden young readers' repertoire, consisting in using Scotland Yard's board game and television series Sherlock as mediators in the process of appropriation of literary strategies used in classic detective fiction. It was conceived within Profletras-UFJF, as part of the project "Intertextualidade no polissistema literário: uma proposta de ampliação do repertório do jovem leitor" (Intertextuality in literary polysystem: a proposal to expand young readers' repertoire) developed by Professor Elza de Sá Nogueira. The theoretical basis is constituted by the concepts of literary literacy (Cosson and Paulino); repertoire (Iser); literary polysystem (Even-Zohar); adaptation (Hutcheon); community of readers (Chartier); game (Huizinga); and detective fiction (Todorov). It was applied to a 9th grade class in a federal public school on Juiz de Fora, using research-action method. After diagnostics - based on the analysis of questionnaires applied to the referred class - that most of the students only read books required by the school, therefore not inserting literature in their lives on a broader sense, we formulate the hypothesis that inserting students into a community of readers would be more effective through game and audiovisual narrative, and repertoire expansion would be performed as aesthetic enjoyment. Following that proposal, there was a shared reading of a novel and five short stories by Sir Arthur Conan Doyle (as recommended by Tereza Colomer), during which were used as strategies some mediatorial questions proposed by the teacher and the registry of those discussions by students on their reading journals. The appropriation of strategies learned was evaluated through collective elaboration of a board game similar to Scotland Yard, which counted on adaptation of stories read in the classroom. The results proved our hypothesis, after all it was noticed that students, beyond appropriating literary strategies and entering a community of readers, had greater aesthetic enjoyment when reading the proposed literary texts.

(in English): The present diploma thesis analyses three translations, published with twenty years of difference, of novels featuring the commissioner Maigret character written by a Belgian writer Georges Simenon. As a baseline for our analysis of the translations, the theoretical part of the present paper outlines the current state of research in the topic, provides an introduction into the life and work of the writer. Further, we present an account of detective novels in general and their historical development in France, which will enable us to identify how the Maigret novels fit within the genre and where they differ from its general features. Next, we will review how Simenon's work was received by readers in the French speaking countries and within the Czech environment; we will also present an overview of the publications of the Maigret novels. We will then provide a detailed analysis of the original French version of the novels focusing on introduction and classification of the selected characteristics. Based on the analysis, we discovered certain areas such as translation of local names or translation of expressions of level of certainty, which allow for comparison of the translations in question. Using this comparison, we aim to track any potential development in translation strategy. The...

Cette thèse tente de présenter la vie et les ouvrages de Cheng Xiaoqing (1893-1976) et d’analyser les Huo Sang tan’anji [Enquêtes de Huo Sang], sa série policière, ainsi que leurs liens avec Les Aventures de Sherlock Holmes d’Arthur Conan Doyle d’une part, et avec Shi gong’an [Jugements de Shi], recueil anonyme traditionnel chinois, d’autre part. Cheng Xiaoqing, pionnier et promoteur des récits de déduction/détection chinois, fut le fer de lance du genre policier en Chine. Il a été le touche-à-tout de génie de ce mouvement littéraire : à la fois traducteur et écrivain, rédacteur en chef et éditorialiste de revues spécialisées et même auteur d’essais et d’études sur la technique du roman policier, on lui doit la série la plus importante centrée sur un seul héros : Huo Sang. Patriote, Cheng Xiaoqing n’a jamais rejeté le passé de son pays ni quitté le sol de la Chine. Héritier des caractéristiques du biji des dynasties Ming et Qing et de celles du huaben des Song, il a voulu jeter un pont entre la littérature narrative traditionnelle et un contexte en constante évolution, en faisant des emprunts stylistiques aux romans d’importation tout en laissant le devant de la scène à des personnages à l’identité chinoise fortement marquée. Son héros Huo Sang parvient ainsi à être une sorte de trait d’union entre le Juge Shi Shilun et le Holmes britannique. / This thesis attempts to present the life and works of Cheng Xiaoqing (1893-1976) as well as to analyze the Huo Sang tan’anji [Investigations of Huo Sang], his detective series and its links with The Adventures of Sherlock Holmes by Arthur Conan Doyle on one hand, and with Shi gong’an [Case Decisions by Shi], a traditional anonymous collection, on the other hand. A pioneer and promoter of Chinese stories of deduction and detection, Cheng Xiaoqing was the spearhead of the genre in China. He was the ingenious Jack of all trades of this literary movement: both translator and fiction writer, chief editor and leading writer of magazines specializing in detective stories, he even published essays analyzing these stories with their technical tricks. We can thank him for the creation of the most important series centered on one protagonist: Huo Sang. A true patriot, Cheng Xiaoqing never turned his back on the history of his country nor did he ever leave it. As heir to the tradition of the biji of the Ming and Qing dynasties, and that of the huaben of the Song dynasty, Cheng strove to unite the traditional literary narrative with the ever changing society of his times, by borrowing stylistic devices from foreign sources, but allowing protagonists with clear Chinese identities to take the spotlight. His main character Huo Sang thus turns out to be a kind of link between the Judge Shi Shilun and Sherlock Holmes.

In my thesis, I examine the discursive space of the detective fiction genre following Kasai Kiyoshi's periodization in his two-volume seminal work Tantei shosetsuron (The Theory of Detective Fiction, 1998). I investigate how Japanese detective fiction has developed in relation to Japan's modernization, industrialization, nationalism, and globalization, specifically in the 1920s-30s, the 1950s-60s, and from the 1990s to present. By historicizing the discursive formation of the genre in decisive moments in Japanese history, I examine how Japanese detective fiction delineated itself as a modern popular literature differentiating itself from serious literature (junbungaku) and also from other genres of popular fiction (taishu bungaku). My study exposes the socio-political, cultural and literary conditions that conditioned the emergence of the detective fiction genre as a problematic of Japanese society, stitching fantasy and desire for the formation of the national subject in the cultural domain. I investigate the dynamics through which Japanese detective fiction negotiates its particularity as a genre differentiating itself from the Western model and domestically from the conventional crime stories of the Edo and Meiji periods. Chapters One through Three of my study examine Japan's socio-cultural contexts after the Russo-Japanese war, specifically magazine culture and the rise of the detective fiction genre (Chapter I), the I-novel tradition and its relation to the genre (Chapter II), and representations of Tokyo as an urban center, focusing on Edogawa Ranpo's "Inju" (Beast in the Shadows, 1928) (Chapter III). Chapters Four through Six investigate the socio-cultural contexts after World War II, especially Japan's democratization in the 1950s-60s and the rearticulation of the genre through repeated debates about authenticities in Japanese detective fiction (Chapter IV), and the transition from tantei shosetsu (detective fiction) to suiri shosetsu (mystery) focusing on Yokomizo Seishi's Honjin satsujin jiken (The Honjin Murder Case, 1946) and Matsumoto Seicho's Ten to sen (Points and Lines, 1957) as representative works of the two trends (Chapter V), and finally the postmodern "return" to the prewar tradition in the 1990s (Chapter VI).

L. T. Meade's Avaricious Anomaly: Madame Sara, British Imperialism, and Greedy Wolves in The Sorceress of the Strand. Laurie Langlois Denning, Department of English, BYU Master of Arts. Critics interested in the prolific late Victorian author L.T. Meade have primarily focused on her work as an author of girls' stories and novels for young people, which enjoyed fantastic commercial success in her lifetime but fell into obscurity after her death. Recent scholarship on her detective fiction shows Meade's significant contributions to the genre as well as her engagement with social and political discourse. Scholars have noted ways that Meade's popular series, The Sorceress of the Strand, contributes to the New Woman debate and expresses anxiety over the British imperial project. This project examines Meade's villain in the series as a social anomaly that functions to interrogate the greed at the heart of imperialism. Examining the series' conclusion and the unusual nature of its ending sheds new light on Meade's contribution to debate over empire at the fin de siécle. Meade's fascinating villain, Madame Sara, is doggedly pursued by two detective figures--one is considered the top forensic specialist in the British police force and the other is the head of a business fraud agency--but the detectives are never able to bring Madam Sara to justice. Instead, it is a wolf that finally defeats the brilliant criminal mastermind. Why a wolf? Madam Sara's unusual demise serves as a deus ex machina that invites the reader to consider the Dante symbolism embedded in the text. Other critics see Meade's ending as reinforcing the empire; however, given the Dante imagery that has Madam Sara symbolizing a greedy imperial force, Meade's series indicts imperial greed and warns British citizens about failure to apprehend the evil in empire.

Every second, there are many attempts to attack various entities on the Internet. This is why high-quality, fast, and up-to-date tools are needed to easily analyze network traffic. Netfox Detective is one of such tools. Specifically, it is used for forensic analysis of network communication. The aim of this work is to migrate Netfox Detective to the newest version of .NET platform (.NET 5), including refactoring with respect to user experience and correct use of software design patterns. This thesis deals not only with the migration itself, but is listing common mistakes programmers make along with possible solutions to these mistakes. The chapters contain a detailed decision log that can help guide other developers to better solutions. Furthermore, the work deals with analysis and creation of unit tests and with correct use of tools for CI/CD. Fully migrated project is not the only output of this thesis. A development environment for the project has been prepared in GitLab and it is ready to be used.

This study examines how criminals are portrayed in Martin Widmark’s series of children’s detective stories, JerryMaya’s Detective Agency. The aim of the study is to find out what patterns and norms are communicated through this popular series for children aged seven to nine. Fourteen books in the JerryMaya series were selected and analysed to see how the criminal is portrayed, what motives are presented and what are the consequences of the criminal act. The study shows that several of the crimes in the JerryMaya series concern morality and legislation, and that there is often a moral criminal alongside a criminal who breaks the law. In eight of the fourteen books the crimes are some form of theft, and in five of them the consequence is an arrest. Only three books contain crimes that are not theft, and in these cases the books are about subjects such as revenge, attempted escape and cheating. For example, a person who steals money is punished according to law while a person who takes revenge for being bullied as a child is given the task of lecturing about anti-bullying. The consequences of the crimes thus often depend on the situation and the criminal’s motives.