Thesis (Ph. D.)--University of Chicago, Committee on Social Thought, June 1997. / Includes bibliographical references. Also available on the Internet.

Inaug.-Diss.--Münster. / Vita.

Thesis (doctoral)--Université de Paris. / Includes bibliographical references (p. vii-xv).

Thesis (Ph. D.)--Catholic University of America. / Vita. Bibliography: p. 49-51.

Thesis (Ph. D.)--University of Chicago, 1940. / Lithoprinted. "Private edition, distributed by the University of Chicago Libraries, Chicago, Illinois." "Select bibliography": p. 86-89.

Thesis (Ph. D.)--Catholic University of America. / Vita. Bibliography: p. 49-51.

Thesis (doctoral)--Université de Paris. / Includes bibliographical references (p. vii-xv).

Diss.--Cologne, 1963.

John Zonaras, a high-ranking judge, subsequently a monk in the twelfth-century Byzantine Empire, is well known as author of a universal history that stretches from the Creation to his own time and a collection of canon law. His history is regularly used as a historical source, not only for recent and contemporary events but also as the medium through which information from lost early historians (in particular Cassius Dio) is preserved, while his work on canon law shows an uncommon knowledge of the practices of the Byzantine Church. The language of these works, however, has not yet received detailed study. It is the intention of this thesis to remedy this deficiency, thereby attempting to identify and highlight the most important literary features of Zonaras' writings. The Introduction covers a survey of the intellectual currents in the twelfth century, to be followed by a biography of Zonaras and the description of the island of St. Glyceria, the place of his retirement, as it appeared during our visit in summer 1993. Part one studies the prooimion of Zonaras in relation to the prooimia of other eleventh and twelfth-century Byzantine historians. Part two entails a comparative study of Zonaras' history with the work of contemporary historians and non-historians and discusses the subject of the homogeneity of his language. Part three deals with specific linguistic features of Zonaras' style such as wordplay, humour and irony, the use of proverbs, linguistic borrowings from contemporaries, etc. The discussion ends with a Conclusion and an Appendix on the so-called Lexicon Tittmarmianum, a major work of lexicography of disputed authenticity which we argue is probably a genuine work of Zonaras. From the studies in this thesis, it emerges that Zonaras' language reveals the talent of an author who has been unjustly neglected and certainly deserves further attention and exploitation for the benefit of both historians and linguists.

Made available in DSpace on 2014-06-11T19:25:24Z (GMT). No. of bitstreams: 0 Previous issue date: 2004-03-18Bitstream added on 2014-06-13T20:32:56Z : No. of bitstreams: 1 oliveira_jk_me_arafcl.pdf: 429662 bytes, checksum: 7c52b637529c51e236631ac26dfda1bc (MD5) / Fundação de Amparo à Pesquisa do Estado de São Paulo (FAPESP) / A ilusão dramática na comédia grega antiga possui interessantes peculiaridades quanto a seus mecanismos de construção da ficção teatral. Por vezes, o pacto que valida as convenções entre palco e platéia é evidenciado. Sabendo dessa característica, analisaremos a comédia grega antiga Acarnenses, de Aristófanes, levada à cena em 425 a. C., partindo da investigação das marcas lingüísticas que podem denotar a ruptura da ilusão. Para tal, faz-se necessário avaliar a estrutura enunciativa e definir quais são os enunciadores e os enunciatários do discurso: é necessário avaliar se o enunciado é proferido pela personagem ou pelo ator e qual é o destinatário da enunciação e, desta forma, notar se essa fala compõe-se dentro da ilusão, se for proferida pela personagem, ou se rompe a ilusão ao evidenciar a presença de um ator ou dos mecanismos teatrais. Acontece que em princípio essas falas se integram à estrutura narrativa do texto, considerando-se que se trata de falas proferidas por personagens. Mas, quando se dá a ruptura da ilusão dramática, a fala que registra essa ruptura promove, ao mesmo tempo, uma suspensão momentânea na seqüência narrativa. A confusão de identidade entre os enunciadores causa o embaralhamento entre efeito de real e efeito teatral, evidenciando a existência da dupla enunciação teatral. Avaliaremos a estrutura enunciativa da peça sem perder de vista que se trata de uma obra de ficção e, portanto, Aristófanes, ao evidenciar a presença dos mecanismos cênicos, na obra verdade, os inclui no corpo ficcional da comédia. Assim, as rupturas de ilusão, previstas pelo comediógrafo na composição da peça e esperadas pelo público das comédias do quinto século antes de Cristo, tornam-se parte integrante do gênero e, por isso, também são signos de teatro e em nenhum momento o processo semântico é suspenso. / The dramatic illusion in ancient Greek comedy presents some interesting peculiarities concerning the mechanism of its theatrical fiction construction. The pact which validates the conventions established between the stage and the audience is sometimes evidence. Taking into consideration this characteristic, we analyze the ancient Greek comedy Acharnians, by Aristophanes, staged in 425 BC, investigating the linguistic traces that may show the define which are the subjects of the énonciation and the subjects of the énoncé: it is necessary to exam if it is the ènoncé is uttered by the character or by the actor and who is the adressee of the énonciation and this way to note is this speech is made up within this illusin if it is uttered by the character or if it disrupts this illusion by presence of na actor or of the theatrical mechanisms. At first, those speeches are integrated in the narrative structure of the text, once they are speeches uttered by characters. But when the suspension of disbelief is broken, the speech, bearing this rupture creates at the subjects of the énonciation and the énoncé provokes the muddle between the effect of the real and the theatrical effect, showing the existence of a double theatrical énonciation. We exam the énonciation structure of the play considering we are working with a work of fiction. Thus, when Aristophanes shows the presence of the scenic mechanisms, he does so including them in the fictional body of the comedy. In this way, the disruption of illusion foreseen by the playwright in the composition of the play and expected by the 5th century BC audience, which were used to see comedies, become a vital part of the genre and therefore they are theatrical signs and in instance the semantic process is suspended.