Dissertation--Neuphilologie--Heidelberg, 1980. / Bibliogr. p. 280-294. Index.

Diss.--Münster (Westfalen)--Universität, 1989.

Thesis (Ph. D.)--University of Wisconsin--Madison, 1968. / Vita. Typescript. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references.

No description available.

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To fully appreciate the thematic essence of the Italian short-story writer Dino Buzzati it is necessary to understand his use of literary archetypes. As these have been discussed by the Canadian literary critic Northrop Frye, the question for the study was whether his theory about the tragic mode could be mapped directly onto the themes of Buzzati and, if there were discrepancies, what impact they had on the received message. The study presupposed the archetypes found in the tragic mode of the fifth phase and in the low mimetic mode as described by Frye, exemplified by Adam and the episode of the fall of man, and found many of them in the short stories collection La boutique del mistero by Buzzati. The narrative follows the archetypal theory perfectly with the cause, fall and effect of the situation, and many tragic characters can be found, such as Adam. However, Frye’s seven cyclic worlds correspond in only five cases, whereas two violate the tragic archetypal laws: the cosmological and the vegetable worlds. The literary effect is that tragedy is perceived as occurring too soon in the protagonist’s life and described by the ironic observational writer as having no effect on the world, leaving the readers with the sense that they too might be excluded from society the way Adam was and prematurely die alone.

Submitted by Daniella Santos (daniella.santos@ufma.br) on 2017-08-07T12:29:48Z No. of bitstreams: 1 THAYANE SOARES.pdf: 1776172 bytes, checksum: eb69740a68787ba5567243c27953c837 (MD5) / Made available in DSpace on 2017-08-07T12:29:48Z (GMT). No. of bitstreams: 1 THAYANE SOARES.pdf: 1776172 bytes, checksum: eb69740a68787ba5567243c27953c837 (MD5) Previous issue date: 2017-04-27 / In a media society in which politics is presented as a space of discursive battles, we present this work in order to evaluate memories produced for communism in a discursive event: the participation of a candidate of Brazil's communist party (PCdoB) in state elections of Maranhão, in 2014. We investigate specifically the meaning effects that have emerged in the media, from the association of Flávio Dino to the communism memory, during the 2014 elections. We used to do so, the conceptual principles of the Discourse Analysis, of French tradition, in Foucault's base, and studies on political speech, memory and media (COURTINE, 2011; Pêcheux, 1999; Gregolin 2007; 2008); identities are also discussed, from the perspective of Cultural Studies (Bauman 2005; HALL, 2006). We, methodologically, selected texts on the Flávio Dino 2014 election campaign: a cartoon published on O Estado newspaper; a television interview with Mirante network and a video of Flávio Dino’s election campaign; the first and the last video of his electoral propaganda entitled Carta aos Maranhenses and Carta dos maranhenses, respectively. We delimited the corpus contemplating the "regularity" of the emergence of "communism" theme in these texts, to focus our reading. The analyzes show that, in an interview, the regularity of speeches about Flávio Dino is in the construction of an opposition between the communist and christian identities, and these candidate conditions mobilizes a memory for compatible communism with the possibilities brought to the identities in post-modernity. We also realize that candidate's free electoral propaganda has the presence of a communism memory related to the building of an egalitarian society with goods and riches accessible to all. / Em uma sociedade midiática na qual a política se manifesta como espaço de embates discursivos, apresentamos este trabalho com o objetivo de avaliarmos memórias produzidas para o comunismo em um acontecimento discursivo: a participação de um candidato do Partido Comunista do Brasil nas eleições estaduais no Maranhão de 2014. Investigamos, especificamente, os efeitos de sentido que emergiram na mídia, a partir da associação do então candidato Flávio Dino à memória do comunismo, durante as eleições de 2014. Utilizamos para tanto, princípios conceituais da Análise do Discurso de linha francesa, reflexões foucaultianas para o entendimento das formações e circulação dos discursos, e estudos sobre discurso político, memória e mídias (COURTINE, 2011; PECHÊUX, 1999; GREGOLIN 2007; 2008); as identidades são discutidas da perspectiva dos Estudos Culturais (HALL, 2006; BAUMAN, 2005). Selecionamos, metodologicamente, textos relativos à campanha eleitoral de Flávio Dino de 2014: uma charge publicada no jornal O Estado; uma entrevista televisiva dada à Rede Mirante; o primeiro e o último vídeo da propaganda eleitoral do candidato intitulados Carta aos Maranhenses e Carta dos maranhenses, respectivamente; e um texto publicado no site do PMDB, partido de Lobão Filho, seu adversário político. Delimitamos o corpus contemplando a “regularidade” da emergência do tema “comunismo” nesses textos, para focalizarmos nossa leitura. As análises mostram que, em entrevista, a regularidade dos discursos sobre o candidato está na construção de uma oposição entre as identidades de comunista e cristão, e nessas condições o candidato mobiliza uma memória para o comunismo compatível com as possibilidades instauradas para as identidades na pós-modernidade. Percebemos também, na propaganda eleitoral do candidato, a presença de uma memória sobre o comunismo que rememora e atualiza o conceito de comunismo da igreja cristã primitiva, a da construção de uma sociedade igualitária com bens e riquezas acessíveis a todos.

This thesis explores the relationship between Buzzati’s fiction and Anglophone culture, particularly the re-use of narrative and visual sources in his works. The analysis of the intertextual stratification in Buzzati brings to the fore the author’s urge to convey the significance of imagination through the fantastic mode. It also reveals an optimistic and playful side of Buzzati, which lies behind a pervading pessimistic tone. Buzzati’s re-working of images from other authors and of generic topoi is aimed at decrying the loss of imagination occurring in the transition to adulthood as well as a general disregard of fantasy characterizing modern technologized societies. Nonetheless, intertextual practices are a means to recover and originally re-present the fantastic imagery conveyed by the artists from whom Buzzati drew inspiration. Buzzati was especially keen on Anglophone literature and art; hence, the focus of this thesis, which is divided into four chapters. Chapter One deals with Buzzati’s re-use in his fiction of drawings by the English illustrator Arthur Rackham; this is a process in which visual memory and intermedia translation are paramount. Chapter Two investigates the link between Joseph Conrad’s heroes and the characterization of Buzzati’s (anti-)heroic figures; they are trapped in the mechanisms of lack of courage and time but eventually find their own ways to self-redemption. Chapter Three considers Buzzati’s reversal and borrowing of topoi belonging to the sea monster story and the ghost story; these practices are aimed at emphasizing the importance of fantasy. Chapter Four places Buzzati’s Christmas fiction between the Italian and the Dickensian tradition, showing how Buzzati re-works the genre’s stereotypes to recreate the Christmas spirit. Whether Buzzati engages in an intertextual dialogue with individual authors or literary traditions, examining the connections he established with Anglophone culture allows a reassessment of his work. Indeed, the Buzzatian fantastic reveals itself as poised between gloominess and faith in the redeeming power of imagination; the fantastic alternatives Buzzati offers against the dullness of reality also evince his enjoyment of the artistic creation per se.

This dissertation proposes two modified cognitive diagnostic models (CDMs), the deterministic, inputs, noisy, "and" gate with hierarchy (DINA-H) model and the deterministic, inputs, noisy, "or" gate with hierarchy (DINO-H) model. Both models incorporate the hierarchical structures of the cognitive skills in the model estimation process, and can be used for situations where the attributes are ordered hierarchically. The Trends in International Mathematics and Science Study (TIMSS) 2003 data are analyzed to illustrate the proposed approaches. The simulation study evaluates the effectiveness of the proposed approaches under various conditions (e.g., various numbers of attributes, test lengths, sample sizes, and hierarchical structures). The simulation study attempts to address the model fits, items fit, and accuracy of item parameter recovery when the skills are in a specified hierarchy and varying estimation models are applied. The simulation analysis examines and compares the impacts of the misspecification of a skill hierarchy on various estimation models under their varying assumptions of dependent or independent attributes. The study is unique in incorporating a skill hierarchy with the conventional DINA and DINO models. It also reduces the number of possible latent classes and decreases the sample size requirements. The study suggests that the DINA-H/ DINO-H models, instead of the conventional DINA/ DINO models, should be considered when skills are hierarchically ordered. Its results demonstrate the proposed approaches to analyzing the hierarchically structured CDMs, illustrate the usage in applying cognitive diagnosis models to a large-scale assessment, and provide researchers and test users with practical guidelines.

Dissertação (mestrado)—Universidade de Brasília, Instituto de Letras, Departamento de Teoria Literária e Literaturas, Programa de Pós-Graduação em Literatura, 2017. / Submitted by Raquel Almeida (raquel.df13@gmail.com) on 2017-05-22T17:00:45Z No. of bitstreams: 1 2017_SandradosSantosVitorianoBarros.pdf: 13712028 bytes, checksum: aa7c71d9c6b2f34f5e29d254e4372351 (MD5) / Approved for entry into archive by Guimaraes Jacqueline (jacqueline.guimaraes@bce.unb.br) on 2017-05-26T15:02:15Z (GMT) No. of bitstreams: 1 2017_SandradosSantosVitorianoBarros.pdf: 13712028 bytes, checksum: aa7c71d9c6b2f34f5e29d254e4372351 (MD5) / Made available in DSpace on 2017-05-26T15:02:15Z (GMT). No. of bitstreams: 1 2017_SandradosSantosVitorianoBarros.pdf: 13712028 bytes, checksum: aa7c71d9c6b2f34f5e29d254e4372351 (MD5) / A presente dissertação objetiva comentar criticamente a tradução cultural, intermidiática e intersemiótica do mito órfico na arte híbrida do Poema em Quadrinhos de Dino Buzzati. O problema de pesquisa motivador deste texto é o de investigar como Dino Buzzati transpôs as barreiras entre a poesia e a HQ para criar uma arte mista, por meio de uma linguagem igualmente mista e atualizar o mito órfico. A hipótese é de que o artista (escritor e artista plástico) italiano se serviu de forte diálogo com as imagens surrealistas, para traduzir intersemioticamente o mito órfico. Além disso, ancorado especialmente em Nietzsche (1992), este estudo pretende inserir a obra buzzatiana em análise dentro da tradição dionisíaca que reposiciona o homem, segundo o filósofo alemão, junto à natureza e dá vazão ao seu lado poético e onírico. Em última análise, o Surrealismo pode ser visto também como o renascimento da arte dionisíaca e órfica. A proposta metodológica desta dissertação privilegia os elos perceptíveis entre as categorias vislumbradas como centrais para o empreendimento analítico (mito órfico, Surrealismo e intermidialidade). Nessa linha, esse trabalho foi concebido para interseccionar a tradição mitológica órfica, atualizada na obra híbrida de Buzzati tomada como corpus. Para viabilizar a discussão teórica foram utilizados os seguintes teóricos: Clüver (1997, 2006, 2011), Nietzsche (1992, 2002, 2005, 2008), Friedrich (1978), Hacquard (1996), Pilati (2010), Pozo Sánchez (2009), Vernant (2001, 2006), Blanchot (2011), Cirne (1971, 2001), Eisner (1999), Badet (2006), Paz (1996), Nazário (2008), Peters (2014), Amaral (2007), entre outros. Conclui-se, deste modo, que as experimentações estéticas de Buzzatti são extremamente sofisticadas e ousadas, alargando as possibilidades de leitura do mito órfico além de trazer para o diálogo outras relações possíveis entre as artes da palavra e as artes visuais. O aparato teórico da intermidialidade e da semiótica possibilitam um olhar novo sobre estas questões de ressignificação da mitologia órfica e do surrealismo revistados no Poema em quadrinhos buzzatiano. / This work aims to critically review the cultural, intermidial and intersemiotic translation of the Orphic myth in hybrid Poem Strip, by Dino Buzzati. The motivator research problem of this text is to investigate how Dino Buzzati transposed the barriers between poetry and the Comics to create a hybrid art, moving between the scholarly and the popular, by an equally mixed language to recreate the Orphic myth. The hypothesis is that the artist (writer and artist) Italian poured strong dialogue with surreal images to translate intersemiotically the Orphic myth. Also, anchored especially in Nietzsche (1992), this study intends to enter the buzzatian work in question within the Dionysian tradition that repositions the man, according to the german philosopher, close to nature. The methodological proposal of this dissertation privileges the perceptible links between the categories perceived as central to the analytical enterprise (Orphic myth, Surrealism and intermidiality). In this line, this work was conceived to intersect the Orphic mythological tradition, updated in the hybrid work of Buzzati taken as corpus. In order to facilitate the theoretical discussion, the following theoreticians were used: Clüver (1997, 2006, 2011), Nietzsche (1992, 2002, 2005, 2008), Friedrich (1978), Hacquard (1996), Pilati (2010), Vernant (2001, 2006), Blanchot (2011), Cirne (1971, 2001), Eisner (1999), Badet (2006), Paz (1996), Nazario, among others. It is thus concluded that Buzzatti's aesthetic experiments are extremely sophisticated and daring, extending the possibilities of reading the Orphic myth and bringing into dialogue other possible relations between the arts of the word and the visual arts. The theoretical apparatus of intermidiality and semiotics provide a fresh look at these questions of re-signification of Orphic mythology and of surrealism, as seen in the Buzzatian Poem Strip.