[pt] Ut pictura poesis: um panorama histórico das relações entre pintura e poesia é uma análise crítica do percurso histórico das relações entre as denominadas artes gêmeas. A partir de premissas que se baseiam na permanência do topos ut pictura poesis e da ekphrasis como constantes na literatura ocidental, a investigação busca mapear historicamente os turning points das relações entre as duas artes, assim como organizá-los de um modo coerente e panorâmico que permita que as manifestações comparativas contemporâneas sejam analisadas à luz de seus antecedentes práticos e teóricos. / [en] Ut pictura poesis: a historic overview of the relationship between painting and poetry is a critical analysis of the historical development of the relationships between the so-called twin arts. Assuming the topos ut pictura poesis and ekphrasis as constants in western literature, the research seeks to historically map the turning points in the relationship between the two arts, as well as organize it in a coherent and panoramic way that allows that contemporary comparative expressions to be analyzed with the theoretical help of its practical and theoretical antecedents.

The topic of this thesis is visual art as a constitutive element of fictional worlds. The methodological basis is comparative semiotics, or more precisely intermediality research. The aim is to capture some of the possible realisations of intermedial relationships between literature and visual art. The constituent case studies are focused on the ekphrasis represented in the novel Witch Hammer by Václav Kaplický, on the transmediality as a transfer of aesthetics of one medium into another on the example of Josef Čapek's Three Proses which are traditionally perceived as cubist, and on the illustrative relationship between text and picture in František Hrubín's lyrical poems The Night of Job. The first study concerning the ekphrastic relationship confirms the ability of visual art to enrich the possibilities of literary expression thematically but also semantically through introspection into the inner lives of the characters which contributed to the overall interpretation of the work. The second study focused on the transmedia transfer in Čapek's proses does not have such an unequivocal conclusion. Given the complexity of each reader's receptive process, it is difficult to attribute the status of a literary pandanus of Cubism to the Three Proses, even with an awareness of its historical context. By...

Maria Tymoczko (2005) highlights four research trajectories that are likely to be at the forefront of translation studies in coming decades: the attempt to define translation, the internationalization of translation, the impact of technology and globalization on translation theory, and the contextualization of translation studies relative to other areas of academic inquiry. The goal of this thesis is to contribute to the first research trajectory. I hope to enrich current developments in translation studies by offering a new way of conceptualizing translation based upon pragmatist philosophy and its particular approach to language and epistemology. Specifically I build upon certain passages from the works of the contemporary neopragmatist philosopher Richard Rorty (1979; 1989; 1998; 1999) in order to develop a neopragmatist understanding of translation. I demonstrate the cross-disciplinary applicability of a neopragmatist understanding of translation, focusing in particular on visual art, popular science, and political history. I also demonstrate how the neopragmatist framework can be of use in constructing a theory of intersemiotic translation, by means of three case studies of translation between different media. The approach I develop offers a robust philosophical grounding for expanding our conceptualization of translation. Such an approach is motivated by recent research in translation studies highlighting the need for an expanded definition of translation in light of the following issues: traditional definitions of translation tend to be based upon Western views, thus neglecting the diverse international conceptions of translation and contributing to the cultural hegemony of the West; the term “translation” is used in more contexts than traditional definitions would predict; translation is not simply an operation between texts, but can also occur across semiotic systems; translation is not a method of relaying messages across languages through the mediation of a neutral translator, but is instead a complex interface in which a network of cultural, political, socio-historical, communicative, creative, and interpretative factors are intertwined. A neopragmatist framework is useful for building an understanding of translation that responds to the above issues, helping scholars to refine an adequately descriptive and generalized theory of translation.

The object of this thesis is to analyze the presence of the pedagogical ekphrastic elements in the novel The Story of The Predestined Pilgrim and his Brother Reprobate by Father Alexandre de Gusmmão. In the past this novel has been an obscure masterpiece outside the circle of those who study early Portuguese language works. In the last half century there has been a crescendo of the study of this novel as more scholars have taken an interest in the pilgrimage motif and in particular using this novel in comparative literature. A monumental contribution to bring this novel out of obscurity is the recent publication of its English translation by Christopher C. Lund. His efforts make this work more accessible to students and scholars who will become enlightened by its contents. His English translation has been used exclusively and is the enabling factor for this study of pedagogical ekphrastic elements contained in the novel. Pilgrimage is a frequent motif in seventeenth-century literature. His pilgrimage is the narrative of two polar opposite brothers whose journeys take them to six cities. As they traverse these cities, the brothers make choices that lead them to their final destinations of Jerusalem, the symbol of heaven, and Babylon, which depicts hell. Gusmmão emphasizes early on that their choices will cause them to be separated forever. Ekphrases are used to enrich and capture the reader's attention to the teachings of Gusmmão through the choices placed before each brother. Gusmmão employs whit, charm, characterization, ekphrases, vignettes, and allegory, with the poignant pedagogical objective to cause the reader to decide if he or she is a predestined or a reprobate and would be satisfied with the inevitable outcomes. I review the socio-historic presence of the Jesuits in Brazil as well as their remarkable pedagogical influence. Ekphrasis is studied as to its origins and its longevity throughout the centuries and how scholars have defined ekphrasis. The essence of this thesis is the extraction and examination of two hundred and forty-one ekphrastic passages from the novel and the analysis of their pedagogical value along with their pictorial elements. It is important to note that the findings of this study loudly affirm Gusmão's use of pedagogical ekphrastic elements as they were detected abundantly in all but ten of the sixty-three chapters included in his novel. The literary richness created by Gusmão's use of ekphrasis so predominantly throughout his novel is indicative of his stature as a pedagogical literary master.

Работа посвящена анализу визуальных приемов в романистике Джонатана Сафрана Фоера. В первой части работы рассматриваются теоретические и методологические основания исследования. В ней раскрываются особенности семиотической природы фотографии, особенности типографического стандарта, влияние графических элементов на идейный уровень текста, а также то, как их использование воздействует на реципиента. Во 2-ой части работы анализируется, как Дж. Фоер реализует прием включения фотографических изображений в текст в романе «Жутко громко и запредельно близко», также внимание уделено анализу графических элементов в романе «Жутко громко и запредельно близко». Описана структурная организация фотографических изображений, разобраны графические приемы такие как натурализация текста, использование различных типов шрифтов, фигурные приемы организации текста на странице, вынесение предложений на отдельные страницы; вставка пустых страниц; обведение слов и фраз в тексте; «уплотнение» текста; шифровка. Помимо этого, был рассмотрен такой визуальный прием, как метод «стирания», реализованный в «Древе кодов». Был рассмотрен прецедентный текст Бруно Шульца, разобрана его структура, образная и пространственно-временная организации, проанализировано нарушение типографической нормы, а также читательская практика Фоера. Был сделан вывод о том, что метод «стирания», реализованный Фоером, является больше чем экспериментом с типографскими нормами. По итогам работы сделан вывод об экспериментальной природе визуальной организации романов Дж. С. Фоера. / The work is devoted to the analysis of visual techniques in the novels by Jonathan Safran Foer. In the first part of the paper, the theoretical and methodological foundations of the study are defined. It reveals the semiotic nature of photography, the features of the typographic standard, the influence of graphic elements on the ideological level of the text, and the way it affects the recipient. The second part of the paper deals immediately with the types of photographic images and the ways of their inclusion into the text of "Terribly loud and extremely close", also attention is paid to the analysis of graphic elements in the novel “Terribly loud and extremely close”. The structural organization of photographic images is described, graphic techniques such as naturalization of the text, use of various types of fonts, figurative organization of the text on page, syntactic break up of sentence; inserting blank pages; highlighting, encryption are analyzed. In addition, such visual technique as the “erasure” method implemented in the “Tree of Codes” was considered. The precedent text of Bruno Schultz was studied, primarily in terms of its structure, figurative, special and temporal organization were analyzed, along with the pragmatics of the typographical norm violations and Foer’s “message” to the reader. It was concluded that the “erasure” method implemented by Foer was more than an experiment with typographical norms. Based on the results of the work, a conclusion was made on the experimental nature of the visual organization of J. S. Foer’s novels.

The aim of this thesis is to analyze the function of visual art in Torgny Lindgren's novels Till sanningens lov (1991), Dorés Bibel (2005) and Klingsor (2014) and the short story collection I Brokiga Blads vatten (1999). Visual art in Lindgren's prose is approached both as an instance of description and in terms of an activity and artefact to be viewed, created and interacted with. By studying ekphrases and "iconic projections" based on intermedial theory, the verbal descriptions of art are shown to have a narrative function, whereby the characters viewing or creating the artwork are reflected. A conspicuous trait of the ekphrases and iconic projections are their focus on details.  The area of creation as an activity relates visual art to crafts, cooking and alchemy, with an emphasis on its material aspects. The creation of art investigates the dualism of genuine versus fake, as well as the relationship between art and commerce. Lindgren's stories depict the market as an arbitrary yet powerful force, alongside individual creative forms of resistance to it.  The manner in which artefacts are described evokes the notion of an enchanted object, in accordance with research on the function of art-objects in contemporary fiction. Being able to discern enchantment in Lindgren's works is based on the conversion of one's vision, which in turn is related to one's view of the world as a whole. Conversion is engendered by methods of irony, ambiguity and the elevation of the humble.

Ce travail de thèse porte sur l’édition, la traduction et le commentaire de la Description du Tableau représentant le monde par Jean de Gaza. Ce poème de sept cent trente-deux vers (29 trimètres iambiques et 703 hexamètres) écrit en grec est datable de la première moitié du VIe siècle. La nouvelle édition s’appuie non seulement sur l’examen du témoin principal, le Parisinus Suppl. gr. 384, mais aussi sur la mise en perspective des copies apographes et des éditions anciennes. La traduction, en français, est le premier travail de ce type proposé dans une langue moderne. Les notes ont pour finalité d’aider la compréhension de la lettre du texte. Le commentaire, quant à lui, s’organise autour de deux thèmes : d’une part la relation entre la Description rhétorique et l’iconographie qui peut lui être associée, de l’autre des considérations sur la poétique de Jean de Gaza à travers l’étude littéraire, intertextuelle et philosophique du poème. Les Annexes comportent un lexique, la scansion intégrale du poème, les illustrations, la bibliographie, les indices et tables et la table des matières. / The aim of the present doctoral dissertation is to edit, translate and comment the Description of the Depiction of the World by John of Gaza. One can date this seven hundred and thirty two verses poem (29 trimetres and 703 hexametres) written in Greek to the first part of the VIth Century A.D. The new edition of the poem relies on studying the main manuscript (Parisinus Suppl. gr. 384) as well as considering the apograph copies and the ancient editions. The translation into French is the first work of that type ever offered in any modern language.The notes help the direct understanding of the text. The commentary is divided according to two prospective: first, the relation between the rhetorical Description and the associated iconography, second, some considerations about John of Gaza’s Poetic through the literary, intertextual and philosophical study of his poem. The Annexes contain a lexicon, the integral scansion of the poem, illustrations, bibliography, indices and tables and the general table of contents.

David Foster Wallace felt that literature was at a historical crossroad, and thatpostmodernism had passed the point which it could still be considered a'revolutionary' cultural phenomenon. He felt that the capitalistic machinery of TVand advertisement had absorbed the postmodernist techniques of pastiche,deconstruction and rejection of a distinction between high and low culturalmodels, to a point where there was no longer a difference between reality and itsown representation. Something that represented a problem for both youngnovelists and readers.This thesis analyses Infinite Jest as a response to this very problem, trying tounderstand in which way Wallace wanted to get over postmodernism, establishinga new kind of literature that highlights the artificiality of reality, by using differenttools than postmodernism. Cross-referencing media and literary studies, my thesisargues that Infinite Jest is a novel that emphasizes the fact that it is a construct. Ishow how the book acknowledges, and gives value to the subjectivity of everyhuman experience, but still stressing the idea that all the data that the reader isreceiving is and will always be heavily mediated information. Therefore, I showhow Wallace uses his characters as if they were human recording devices, creatingin this way a book that is some sort of hybrid between literature and TV.Furthermore, I explain how, by means of narrative devices (such as a disruptiveand incomplete plot, hundreds of endnotes), Wallace wanted to restore thecommunicative function of a text, making himself sure that the reader is invited toactively cooperate in the formation of the novel's meaning, ultimately meeting,and engaging into a dialogue with the author's consciousness in the novel'slanguage, breaking that state of self-consciousness and isolation into which thereader has been condemned by postmodernism and capitalism. Showing that“There's more to life than sitting there simply interfacing”1 David Foster Wallace; Infinite Jest; media studies; Postmodernism; Image-fiction Television; intermediality; transmediality; narratology; heteroglossia. 1 David F. Wallce, Infinite Jest, (Back Bay Books 2016), p. 14.

La crítica de arte escrita por el poeta, narrador y ensayista José Lezama Lima proporciona una triple perspectiva. Observa tanto en los ensayos compilados en La visualidad infinita, como en los artículos de la revista Orígenes el diálogo entre las corrientes artísticas internacionales y una pintura vanguardista cubana, reflexiona sobre elementos propios de la labor plástica y teje un continuo contrapunto entre la poesía y la pintura. Este encuentro entre los dos quehaceres artísticos, donde la imagen juega un rol fundamental, desdoblándose en el par imago visible-pictórica e imago invisible-poética, es el eje desde el cual pueden pensarse los planteamientos críticos de este autor sobre ambas manifestaciones estéticas, el pintor René Portocarrero y los procedimientos y técnicas de la composición pictórica. Si la crítica de arte hace parte de una poética lezamiana, un análisis acerca del modo de esta continuidad se constituye en el centro del presente proyecto de investigación. Nuestro propósito es analizar la percepción de la historia en estas dos artes, la prolongación entre los elementos del sistema poético y las propuestas acerca de la pintura en los dos ensayos extensos Paralelos. La pintura y la poesía en Cuba en los siglos XVIII y XIX y Homenaje a René Portocarrero. Como se trata de un estudio que parte de la literatura hacia las artes visuales, nos interesa el modo (o las operaciones) en los que desde el discurso de este escritor se asume el texto pictórico, la obra plástica. De esta manera, incursionamos en los planteos de disciplinas como la ecfrasis o en el desarrollo histórico de la frase horaciana Ut pictura poesis, una reflexión que evidencia la antigüedad del lazo entre ambas disciplinas estéticas e, igualmente, demuestra su actualidad, ya que en las dos últimas décadas asistimos a la multiplicación de estudios dedicados a este vínculo tanto en el ámbito anglosajón como en algunos sectores de la crítica literaria en lengua española / The writings about art criticism from the poet, narrator an essayist José Lezama Lima provides a triple perspective. Observes in the essays collected in La visualidad infinita as well as in the articles of the journal Orígenes the dialogue between the international artistic movements and an avant-garde Cuban painting, reflects on elements pertaining to plastic works and weaves a continuous counterpoint between poetry and painting. This encounter of the two artistic endeavors, where image plays a fundamental role, unfolding in the pair imago visible-pictorial and imago invisible-poetic, is the axis from which one can understand the Lezama´s critical proposals about the history of both aesthetic manifestations, the painter René Portocarrero and the methods and techniques of the pictorial composition. If art criticism is part of a lezamian poetic, an analysis regarding the character of this continuity constitutes the center of this research. Our objective is to analyze the historic perception in these two arts, the continuation between the elements of the poetic system and the approaches about painting in the two extensive essays Paralelos. La pintura y la poesía en Cuba en los siglos XVIII y XIX and Homenaje a René Portocarrero. As it pertains to a study that begins in literature and moves to visual arts, we have interest in the mode (or procedures) in which from this writers discourse, the pictorial text, plastic work is assumed. In this way, we make an incursion into the disciplines posed, like ekphrasis or in the historic development of the horatian sentence Ut pictura poesis, a reflection that demonstrates equally the antiquity of the tie between both disciplines as well as its topicality, since in the past two decades we have seen the proliferation of studies dedicated to this bond not only in the English speaking world, but also in some areas of the literary criticism in Spanish language

La crítica de arte escrita por el poeta, narrador y ensayista José Lezama Lima proporciona una triple perspectiva. Observa tanto en los ensayos compilados en La visualidad infinita, como en los artículos de la revista Orígenes el diálogo entre las corrientes artísticas internacionales y una pintura vanguardista cubana, reflexiona sobre elementos propios de la labor plástica y teje un continuo contrapunto entre la poesía y la pintura. Este encuentro entre los dos quehaceres artísticos, donde la imagen juega un rol fundamental, desdoblándose en el par imago visible-pictórica e imago invisible-poética, es el eje desde el cual pueden pensarse los planteamientos críticos de este autor sobre ambas manifestaciones estéticas, el pintor René Portocarrero y los procedimientos y técnicas de la composición pictórica. Si la crítica de arte hace parte de una poética lezamiana, un análisis acerca del modo de esta continuidad se constituye en el centro del presente proyecto de investigación. Nuestro propósito es analizar la percepción de la historia en estas dos artes, la prolongación entre los elementos del sistema poético y las propuestas acerca de la pintura en los dos ensayos extensos Paralelos. La pintura y la poesía en Cuba en los siglos XVIII y XIX y Homenaje a René Portocarrero. Como se trata de un estudio que parte de la literatura hacia las artes visuales, nos interesa el modo (o las operaciones) en los que desde el discurso de este escritor se asume el texto pictórico, la obra plástica. De esta manera, incursionamos en los planteos de disciplinas como la ecfrasis o en el desarrollo histórico de la frase horaciana Ut pictura poesis, una reflexión que evidencia la antigüedad del lazo entre ambas disciplinas estéticas e, igualmente, demuestra su actualidad, ya que en las dos últimas décadas asistimos a la multiplicación de estudios dedicados a este vínculo tanto en el ámbito anglosajón como en algunos sectores de la crítica literaria en lengua española / The writings about art criticism from the poet, narrator an essayist José Lezama Lima provides a triple perspective. Observes in the essays collected in La visualidad infinita as well as in the articles of the journal Orígenes the dialogue between the international artistic movements and an avant-garde Cuban painting, reflects on elements pertaining to plastic works and weaves a continuous counterpoint between poetry and painting. This encounter of the two artistic endeavors, where image plays a fundamental role, unfolding in the pair imago visible-pictorial and imago invisible-poetic, is the axis from which one can understand the Lezama´s critical proposals about the history of both aesthetic manifestations, the painter René Portocarrero and the methods and techniques of the pictorial composition. If art criticism is part of a lezamian poetic, an analysis regarding the character of this continuity constitutes the center of this research. Our objective is to analyze the historic perception in these two arts, the continuation between the elements of the poetic system and the approaches about painting in the two extensive essays Paralelos. La pintura y la poesía en Cuba en los siglos XVIII y XIX and Homenaje a René Portocarrero. As it pertains to a study that begins in literature and moves to visual arts, we have interest in the mode (or procedures) in which from this writers discourse, the pictorial text, plastic work is assumed. In this way, we make an incursion into the disciplines posed, like ekphrasis or in the historic development of the horatian sentence Ut pictura poesis, a reflection that demonstrates equally the antiquity of the tie between both disciplines as well as its topicality, since in the past two decades we have seen the proliferation of studies dedicated to this bond not only in the English speaking world, but also in some areas of the literary criticism in Spanish language