<p>The aim of this study has been to analyse metaphorical strings which have been interpreted literally, a process referred to as metaphor reversal. This was first described by Löflund (1999:18) and the specific term was later coined by Alm-Arvius (2006:6). Metaphor reversal is basically a subcategory of the broader term polysemy punning.</p><p>When a metaphor unexpectedly is interpreted literally, a humorous effect takes place and a pun is created. Especially if the metaphorisation in question has an entrenched figurative meaning, the unexpectedness of the literal interpretation is greater and the pun more obvious. The examples of these puns exploiting metaphor reversal have been taken from films featuring the verbal comedian Groucho Marx (GM), who frequently used this type and other kinds of puns in his films.</p><p>The terms internal and external metaphor, coined by Alm-Arvius (2003:78), have been used in order to distinguish between two different types of metaphorisations. Internal metaphor refers to metaphors with obvious internal collocational clashes and external metaphor refers to metaphors without such clashes, which can thus be given a literal as well as a figurative reading. However, this is not a clear-cut distinction and occasional overlapping between the two categories is common. Therefore, a continuum has been given which shows the overlapping category ‘more figurative external metaphors’. These are metaphors without collocational clashes, but with entrenched figurative meanings which make them metaphorical and not literal.</p><p>GM does not only revert external metaphors; he also reverts internal metaphors although this category contains collocational clashes which should make a literal interpretation impossible. Internal metaphor puns tend to be more absurd than external metaphor puns due to the collocational clashes which make the literal interpretation less probable. Reverted external metaphors are referred to as REM and reverted internal metaphors as RIM.</p><p>Most examples analysed are metaphorisations with idiom status with clearly preferred figurative meanings. Consequently, their figurative meanings are deeply entrenched and should not be altered. However, these figurative meanings are altered by GM in his punning; they are reverted and interpreted literally. This indicates that one of the few occasions when it is accepted or even possible to interpret a metaphorical idiom literally is in punning.</p>

Nel sistema di Croce l'Estetica costituisce il primario fondamento, e nella sua auroralità eccede per aver trovato immediata declinazione, e crescita nella critica letteraria, attraverso la redazione della rivista la critica; determinando la rapida e diffusa infiltrazione dei suoi principi nel terreno della cultura artistica nazionale. ma importare le conquiste filosofiche nella critica letteraria, vuol dire anche trasferirne le problematiche aperte. Serra, Cecchi, de Robertis e Boine sulla Voce avanzano l'esigenza di un superamento; Russo, Levi e Capasso sono esempi del difficile accordo o del contrasto di una critica storica e stilistica con l'estetica di Croce. Anche la critica musicale e figurativa provano uno sviluppo decisivo nella spinta dell'idealismo. l'influenza è circolare: i motivi generati dalle rassegne spingono croce a riformulare la propria estetica nella Poesia del 1936. / Estetica (Aesthetics) is the primary foundation of Croce's system, and in auroral (auroralita') character it excels for having discovered his immediate inflexion, confirmation and growth into the literary criticism through the redaction of the review La Critica; causing the quick and widespread diffusion of his principles into the national artistic culture. Importing philosophic pursuits in literary criticism means also transfer deep problems. Serra, Cecchi, De Robertis and Boine in the review Voce push for the downfall of Croce's thought; Russo, Levi and Capasso are examples of the opposition of a historicist and stylistic criticism with Croce's aesthetics. The music and art criticism demonstrate also a decisive development with an idealistic thrust. The influence is circular: the critiques coming from reviews urge Croce to re-formulate his own aesthetics that was in his 1936 work Poesia.

This diploma is devided into two major parts. Theoretical and practical. In the theoretical part I consider the meaning of touch which is ambiguouse. Fist of all it should express, by the form of art, our desire and necessity to establish into relationship with another human-being, get in touch and get to know each other. By the time of working at this cycle my form is beginning to change. Touch doesn´t only express relationship but they´re also recording my touching, getting to know myself. The practical part of my thesis focus on production figures. It consists of a cycle of paintings, fiberboard of various sizes made by acrylic technique. These paintings capture directly human bodies in positions of touching, proximity, delay. They capture the joy in positions of direct touch againts deprivation when a person is deprived of contact with another person. The starting point of this thesis is personality and emocionality.

Made available in DSpace on 2015-05-14T12:39:48Z (GMT). No. of bitstreams: 1 arquivototal.pdf: 1578593 bytes, checksum: d83cf98c666e1de5e07f3f24af46d3cb (MD5) Previous issue date: 2013-04-01 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / This study aimed to raise the concept of playing for teachers, students and parents of Municipal nurseries in Campina Grande/PB. To achieve that objective, we did a reading thematic-figurative concept of play, classifying them as to how to be modal (foundational each subject) cultural (specific to each nursery) and universal (present throughout the universe of research examined consisting of four nurseries). The theory was the chosen proposal greimasian semiotics, focusing on the level of discoursivization, in particular, the relationship thematic-figurative texts in this interview. The corpus collection occurred at the end of the year 2011, through interviews with eight teachers, sixteen students and eight parents. The results showed that the play is a teaching resource used in all kindergartens and has defined spaces that are the classroom and the courtyard and can be free, at the initiative of the children and targeted, when the teacher intervenes in the fun or just provides the conditions for them to happen. Also the lack of understanding of the needs of children playing in kindergarten and consequently experiences that promote their development, generates the production of repetitive play and disciplining, wasting the opportunity to challenge the children to new knowledge. Based on the speeches analyzed, we conclude that the play is based much of children's learning, both in the socializing aspects, as also cultural and affective. But for their potential value is recognized, some conditions must be satisfied. These include adults sensitive, formed on the need of children playing, an Educational System involved in a careful institutional organization that supports the conditions of initial and continuing education, planning and evaluation of the moments of play; teachers to ensure the right of children to play, committed to the idea that play is an essential activity in their integral development. For that, nurseries need to understand how it should be played the role of proposer, mediator and observer of the activities of the students fun, moreover, the teacher needs to unite the liking for research to educational practice. / Este trabalho teve por objetivo levantar o conceito do brincar para professores, alunos e pais de Creches Municipais de Campina Grande/PB. Para atingir esse objetivo, fizemos uma leitura temática-figurativa do conceito de brincar, classificando-os quanto ao modo de serem modalizadores (instauradores de cada sujeito) culturais (próprios de cada creche) e universais, (presente em todo o universo de pesquisa examinado, constituído de quatro creches). A teoria escolhida foi a proposta da semiótica greimasiana, enfocando o nível da discursivização, em especial, as relações temática-figurativas presente nos textos entrevistas. A coleta do corpus ocorreu no final do ano de 2011, através de entrevistas com oito professores, dezesseis alunos e oito pais. Como resultados, observou-se que o brincar é um recurso de ensino utilizado em todas as creches e tem espaços definidos que são a sala de aula e o pátio, podendo ser livres, por iniciativa das crianças e direcionados, quando a professora intervém na brincadeira ou apenas oferece as condições para que elas aconteçam. Também que a falta de compreensão das necessidades brincantes das crianças na Educação Infantil e consequentemente vivências que promovam o seu desenvolvimento, gera a produção de brincadeiras repetitivas e disciplinadoras, desperdiçando a oportunidade de desafiar as crianças para novos conhecimentos. Tendo por base os discursos analisados, concluímos que o brincar fundamenta grande parte da aprendizagem das crianças, tanto nos aspectos socializadores, como, também, culturais e afetivos. Mas, para que o seu valor potencial seja reconhecido, algumas condições precisam ser satisfeitas. Essas incluem adultos sensíveis, formados sobre a necessidade das crianças brincarem; um Sistema Educacional envolvido em uma cuidadosa organização institucional, que dê suporte às condições de formação inicial e continuada sobre o brincar, planejamento e avaliação dos momentos brincantes; professores que garantam o direito de brincar às crianças, comprometidos com a ideia de que o brincar é uma atividade primordial no seu desenvolvimento integral. Para isso, as creches precisam compreender como deve ser desempenhado o papel de propositor, mediador e observador das atividades brincantes dos alunos, além disso, o professor precisa unir o gosto pela pesquisa à prática docente.

Idioms are a big part of languages but can cause trouble for communication, especially for non-native speakers of a language. Interpreting idioms correctly means that one must derive a figurative meaning from words that individually mean something else. Recent research primarily focuses on the impact of context for successful idiom comprehension and seems to prioritize native speakers’ understanding of them. This study investigates the impact of context for Swedish non-native upper secondary students’ interpretation of English idioms. It further explores if grades and level of education are factors to consider. In a two-part, multiple-choice test, 53 students were presented with 10 idioms in context and 10 idioms out of context with two additional questions regarding level of education and last received grade in English. The students were also asked whether they had seen each idiom before or not. The results showed that context and grade seem to have impact on non-native students’ interpretation of idioms to some extent, but level of education does not seem to. One interesting finding was that idioms were interpreted correctly even though they were neither presented in context nor were considered familiar by the students. A possible conclusion is therefore that even if context is an important factor for successful idiom interpretation for non-native students, several other factors might be of equal importance.

Tels que l’historiographie de l’art les a enregistrées, l’œuvre de Paul Rebeyrolle et sa carrière (1945-2005) posent question au-delà de cette définition stricte, base factuelle d’une hypothétique notice d’encyclopédie : qu’est-ce qu’un peintre français des IVe et Ve républiques ? Paul Rebeyrolle est connu pour être méconnu, reconnu, toujours, comme un excellent peintre, loué par certains comme l’un des plus importants de la période, en France, mais demeure réduit à la portion congrue de l’histoire de l’art contemporain français, lorsque celle-ci juge bon de le mentionner. Il a pourtant bénéficié d’un succès précoce, dans les années 1950, dans le sillage d’un Bernard Lorjou ou, surtout, d’un Bernard Buffet, avant de subir un désaveu équivalent. Un marchand aussi important qu’Aimé Maeght et des préfaciers aussi renommés que J.-P. Sartre ou M. Foucault n’y auront rien changé. En cela, il est exemplaire de tout un pan de l’art français qui, avec la Ve république et sa politique culturelle, semble avoir été déclassé pour un certain nombre de raisons qu’il reste encore à évaluer : différends esthétiques, mésententes plastiques, dénis hérités de la querelle des abstraits et des figuratifs, non-dits liés à la question de l’engagement politique de l’artiste, imprécisions ou partis-pris critiques et légèreté des commentaires journalistiques friands de poncifs... Autant de malentendus qui ont contribué à brouiller la juste appréciation de son œuvre et l’ont tenu éloigné d’une véritable reconnaissance institutionnelle. / The way they’ve been retained by Art historiography, Paul Rebeyrolle’s work and his carreer (1945-2005) appear to be problematic beyond this strict definition, factual basis for an hypothetical encyclopedia entry : what defines a French painter under the 4th and 5th republics ? Paul Rebeyrolle is well-knowed for being under-estimated, always acknowledged as a great painter, sometimes even praised as one of the most important painters of that period, in France, but still limited to the smallest share of the French history of contemporary art, when this one finds it appropriate to mention it.Yet he benefited of an early success, during the 50’s, in the wake of painters such as Bernard Lorjou and especially Bernard Buffet, before enduring a similar disavowal. An art dealer as important as Aimé Maeght and preface writers as renowned as Jean-Paul Sartre or Michel Foucault didn’t make any difference. Thus, he appears to be paradigmatic of an entire part of French art which, under the 5th republic and its cultural policy, seems to have been downgraded for a certain number of reasons that still needs to be evaluated : aesthetic disagreements, plastic discords, denial inherited from the abstract and figurative painters’ quarrel, unsaid things about the artist’s political commitment, art critics’ vagueness and preconceived opinions, journalistic frivolity fond of clichés... As many misunderstandings that led to interfere with a fair appraisal regarding his work and prevented him from ever getting a real institutional recognition.

Cette thèse se focalise sur le groupe artistique international Abstraction-Création, créé pour servir de forum à l’art non figuratif à Paris entre 1931-1936. Au fil des années, il a eu une centaine de membres, y compris certains artistes hongrois, notamment Étienne Béothy, Alfred Reth, Lajos Tihanyi et Ferenc Martyn, tandis que László Moholy-Nagy était membre sans vivre à Paris. Ce n’est que dans les années 1970 que les premières recherches approfondies ont été menées sur Abstraction-Création. Depuis, l’activité d’Abstraction-Création n’a été que rarement étudiée, sa structure, ses objectifs ou son histoire ont été largement négligés. Le constat est le même pour l’état de la recherche relative à chacun des membres hongrois : jusqu’à présent, seule la participation de Béothy et de Martyn a été analysée en détail. Outre l’objectif principal de cette thèse, notamment la mise en perspective des artistes hongrois dans le groupe, la réévaluation et l’interprétation de l’ensemble de l’activité d’Abstraction-Création sont également mises en lumière. A la base d’une analyse théorique et historique, ce travail compare Abstraction-Création avec deux groupes parisiens non figuratifs. Cette thèse vise à clarifier les différences qui les séparent en soulignant qu’Abstraction-Création ne peut pas être considéré comme une combinaison des deux. Grâce à des documents jusqu’alors non analysés, l'auteur donne un aperçu de la structure organisationnelle de ce forum et discute, à partir d’une perspective entièrement nouvelle, le rôle du comité, leurs débats, leur formation, cessation et leurs plateformes, y compris les réunions, la galerie et le cahier. La thèse démontre la relation entre Abstraction-Création et Surréalisme au moyen d'une analyse stylistique et théorique. Elle prétend que, grâce aux activités des membres hongrois, toutes les facettes du groupe peuvent être présentées. L'auteur révèle quels ont été les objectifs initiaux de l'adhésion des membres hongrois et comment ils ont tiré profit de leur participation. La thèse décrit la période abstraite parisienne des artistes hongrois dans les années 1930, et ce, dans un contexte artistique international et dans un contexte historique plus large. / This dissertation focuses on the international artistic group, called Abstraction-Création (1931-1936. Out of the approximately 100 members joining the association a few were Hungarian artists, namely Étienne Béothy, Alfred Reth, Lajos Tihanyi and Ferenc Martyn, whereas László Moholy-Nagy received an external membership. A deeper research into the Parisian non-figurative formations of the 1930s, including Abstraction-Création, only took shape in the 1970s. Since then, Abstraction-Création has been discussed only occasionally, and a deeper discussion concerning the structure, the goals, or the history of the group is still missing. The same applies to the research on individual Hungarian artists; while for each of them the participation in the forum was presented as an important stage of their lives, so far only the participation of Béothy and Martyn has been examined in detail. Beyond the basic goal of the study to concentrate on Hungarian artists in the group, the re-evaluation and a new examination of Abstraction-Création are also placed in the focus. Based on a theoretical and historical analysis, the study compares Abstraction-Création with two non-figurative Parisian groups, clarifying the differences between them and pointing out that Abstraction-Création could not be viewed as a combination of the two of them. Drawing on hitherto unanalyzed documents, the author gives an overview of the organizational structure of the forum, and discusses, from an entirely new perspective, the role of the committee, their debates, their formation and cessation and their platforms, including their meetings, gallery and journal. The dissertation demonstrates the relation between Abstraction-Création and Surrealism by means of a stylistic and theoretical analysis. It claims that through the activities of the Hungarian members, all the facets of the group can be shown, particularly because of the fact that they did not form a special group within the association, but had their different individual roles and routes. The author presents what the original aims behind the admission of the Hungarian members were and how they benefited from the participation. The dissertation depicts the Parisian abstract period of Hungarian artists in the 1930s in an international artistic context and against a broader historical background.

Déployant une esthétique tournée vers la claire lisibilité des images garantissant leur performativité narrative, la ligne claire s’est naturellement constituée comme un style graphique idéel pour la bande dessinée. Mais en bâtissant un univers orienté vers la neutralisation de l’empreinte plastique de l’auteur, elle restreint singulièrement les ressources expressives de la représentation. À l’orée des années 70, de nombreux auteurs américains et français participent à redéfinir de façon radicale les canons du neuvième art et explorent le potentiel figural de l’image et du récit : l’icône et la linéarité narrative se trouvent alors perturbées par de multiples expérimentations. Elles sont placées en déséquilibre et accède à travers cette instabilité à une richesse insoupçonnée. La bande dessinée découvre l’équivoque et s’accorde à l’incertitude d’une pratique expérimentale et non plus normée. Tourmentée, l’image atteint à une puissance poétique qui étend le champ d’expression du neuvième art. Nous souhaitons observer les conditions d’émergence de ces auteurs et de production de ces œuvres qui entrent en dissidence avec l’esthétique « classique », afin d’analyser les procédés stylistiques employés pour détourner la bande dessinée des conventions de la ligne claire. Nous verrons ainsi que les diverses stratégies que nous avons relevées conduisent, selon les degrés d’intensité développés par les auteurs, à une conversion des images et des récits qui les amènent progressivement à s’éloigner de la limpidité figurative et narrative pour aller vers une confusion figurale de plus en plus affirmée. / The Clear Line naturally constituted itself as an ideal graphic style for the comic strip by deploying an aesthetic turned towards the clear legibility of the images, guarantying their narrative performativity. By building a graphic universe oriented towards the neutralization of the author's plastic imprint, it strangely restricts the expressive resources of the representation. At the dawn of the 1970s, many American and French authors tried to radically redefine the canons of the ninth art and explore the figural potential of the image and narrative: the icon and the narrative linearity are then disturbed by multiple experiments. They are placed in imbalance and access through this instability to an unsuspected wealth. Comics discover this ambiguity and the uncertainty of an experimental practice no longer normed. Tormented, the image reaches a poetic power that extends the field of expression of the ninth art.We wish to observe the conditions of emergence of these dissenting authors and works parting with the "classical" aesthetic, and analyze the stylistic processes used to divert the comics from the conventions of the Clear Line. The various strategies we have identified, to the levels of intensity developed by the authors, lead to a conversion of images and narratives, gradually moving away from figurative and narrative limpidity towards a growingly assertive figural confusion.

1 Summary My dissertation focuses on Mishima Yukio and the way the author, who strongly occupied himself with reflections on the imperfection of human language during the last decade of his life, conveyed the things that he was not able to or did not want to express explicitly. The dissertation is based on the metaphor of four rivers flowing into the Sea of Fertility, one of the arid lunar maria, that the writer used for his 'inconsistent' life shortly before his death. The four rivers that merged in Mishima's final work, the grandiose tetralogy The Sea of Fertility, represented four areas of the author's life. Each of them allowed him to express his ideas and feelings in a slightly different way. The River of Writing represented his fiction, the River of Theater showed his plays and his acting, the River of Body emphasized the role of bodybuilding and other sports in his life and finally, the River of Action revealed how the effeminate writer had transformed himself into a 'man of action'. The first section of my dissertation deals with Mishima's view on verbal communication. Although Mishima was a renowned writer and playwright who for the most part led a hardworking life and poured most of his energy into his writing, his attitude towards words was rather ambivalent. On the one hand, Mishima loved...

This study integrates three independent subjects-translation theory, Mandarin aspect, and Greek aspect-for the purpose of formulating a working theory applicable to translating the New Testament. Aspect is treated here as a grammatical category-as opposed to Aktionsart-and is described as the locutionary agent's subjective viewpoint expressed morphologically by a verb. The primary objectives are defined in terms of grammatical translation of Greek aspect into Mandarin aspect at the discourse level. However, major Bible translation issues pertaining to lexical, phonological, formal, and functional elements, as well as translating conditional statements and figurative speech, are also considered. A historical overview of the Chinese Bible is provided as a way of introducing major issues related to linguistic, conceptual, and logistical challenges. Porter's tripartite model of aspect in Greek, defined in terms of the binary oppositions [±perfective], and [+imperfective] vs. [+stative], is adopted. Aspect in Mandarin closely resembles that in Greek, except that the privative opposition [±remote] does not exist in Mandarin. Also, unlike the tense-forms in Greek, morphologically expressed aspect morphemes (e.g. -le, IDVCs) are largely optional in Mandarin. Thus, notions of markedness and grounding become pertinent when the 0 morpheme is used instead of morphologically expressed aspect morphemes to translate all five tense-forms in Greek: the more heavily marked disyllabic verbs are preferable in translating the present and imperfect, whereas the less heavily marked monosyllabic verbs are preferable to translate the aorist. The most heavily marked four-character set phrases are utilized to reflect both the stative aspect and discourse function ofthe perfect and pluperfect as frontgrounding tense-forms. It is argued that morphologically expressed perfective and imperfective aspect morphemes are preferable to the 0 morpheme. The more heavily marked two-morpheme aspect compounds (e.g. zai...-zhe) are employed to reflect the foregrounded prominence indicated by the present and imperfect tense-forms. The proposed theory provides the translator with a powerful tool, which is tested in the two sample passages in John 18-19 and 1 Corinthians 15. Provided also are critical reviews of over sixty Chinese Bible versions, Nestorian, Manichaean, Catholic documents, and a translation written according to the proposed theory. / Thesis / Doctor of Philosophy (PhD)