This essay explores how different forms of othering are applied in the novel Shadow  and Bone compared to the tv-series adaptation. The essay will focus on how differ ent forms of othering are used to characterize the main character Alina Starkov as well as the community called Grisha. In order to compare the changes this essay uti lizes adaptation theory and Gérard Genette’s hypertextuality. To further understand  the different forms of othering the essay relies on studies of racism and its connec tion to the fantasy genre. The essay concludes that different forms of othering are used in the novels compared to the tv-series. The novels use othering to characterize  Alina based on her Grisha identity. As the tv-series has given Alina a whole new  identity as multiracial, it is rather her ethnicity that is the foundation for her other ing. While the tv-series displays a more diverse cast than the novels, it also fails to  provide a rich presentation of Grisha culture and history.

This thesis is an attempt to interpret the novel of Ladislav Fuks - The duchess and the art of cookery. It is focused on the relationship of its fictional world with culture and with the philosophy of biedermeier. Biedermeier is thought to be a value stream, a harmonizing approach to life, and also a method, which prefers idylls. The analytic source is Gérard Genette's theory of transtextuality, chosen because of Fuks's distinctive intertextuality of his work.

Made available in DSpace on 2016-04-28T19:59:22Z (GMT). No. of bitstreams: 1 Maria Aparecida da Silva Santos.pdf: 412401 bytes, checksum: df5b9eb60c00bdef11eafb9a44038e45 (MD5) Previous issue date: 2010-05-18 / Secretaria da Educação do Estado de São Paulo / This dissertation is centered at the structural reading of the Mário de Andrade s anthology, CONTOS NOVOS and its discursive, discontinuous and innovated process of the literary tales genre. The chosen corpus is composed by the following stories: Vestida de Preto, O Peru de Natal and O Poço. These stories present specifics aims: To illustrate the geniality of the author about the enlargement of the limits of his esthetic scheme of the literary tales genre; the modern man and his alterity which comes from his identity; the questions about o fazer literário ; the transgression of literary language; the linguistics experiments; the Brazilian language assimilation and stylization; the textual performance of the storyteller, the character, and the reader, who is merged in hypertextual connections suggested by the main subject of the literary tales. Our hypothesis is very well demonstrated and supported by the subsequent authors and their theories: Mikhail Bakhtin, Julio Cortázar, Ricardo Piglia, Manual Bandeira, Edgar Allan Poe, Alfredo Bosi, Afrânio Coutinho, Massaud Moisés, André Jolles, Paul Zumthor, Pierre Lévy, and Wayne Booth, among other ones. It is also supported by Mário de Andrade s interview, as well as by his private letters and articles. This academic study exposes the subthemes as follows: The first chapter exibites an idea about the course, the structural features and the metamorphosis of the literary tales genre, including the oral tradition and even the modern literary writing. This chapter also lists the Brazilian tales writers, mainly Mário de Andrade, in the context of the modernism; his latest guidelines and connections, according to the non-linear logic, antecipating the structure of the modern novel. The second chapter describes the multifaceted narrative process, the storyteller and his many-sided expressions in CONTOS NOVOS: interconnections between first- person tales, which is showed by the storyteller-character relationship: from the oral to the written word. The third chapter demonstrates our focal hypothesis that says about the hypertext structure which is inside the multi-linear system of the CONTOS NOVOS; This chapter shows the importance of the memory and of the imaginary word in the construction of the narrative process and also shows all the experimental procedures of the storyteller-character, relating memory experience: interaction, alterity and identity are in the base of the new hypertextual content in a dramatic unit / O objetivo desta dissertação está centrado na leitura estrutural da antologia de Mário de Andrade, CONTOS NOVOS e seu processo discursivo descontínuo inovador do gênero conto. O corpus escolhido, os contos: Vestida de Preto, O Peru de Natal e O Poço apresenta objetivos específicos: evidenciar a genialidade do autor em relação à proposta estética de ampliação das fronteiras do gênero conto; a temática do homem moderno, e sua identidade a partir da alteridade; a preocupação com o fazer literário ; a transgressão da linguagem literária; os experimentos lingüísticos; a incorporação e a estilização da língua brasileira ; as performances do jogo textual do narrador, da personagem e do leitor imersivo em conexões hipertextuais sugeridas pelas matrizes dos contos. Esta é a nossa hipótese demonstrada e sustentada pela leitura de alguns teóricos e suas teorias: Mikhail Bakhtin, Julio Cortázar, Ricardo Piglia, Mário de Andrade, Manuel Bandeira, Edgar Allan Poe, Alfredo Bosi, Afrânio Coutinho, Massaud Moisés, André Jolles, Paul Zumthor, Pierre Lévy, Paul Ricoeur, Lúcia Santaella, Fernando Segolin, João Luiz Lafetá, Luis Costa Lima, Telê Ancona Lopez, Nádia Gotlib, Massaud Moisés, Anatol Rosenfeld, Wayne Booth, bem como os testemunhos do próprio Mário de Andrade, a partir de entrevistas, correspondências e artigos particulares do autor. O desenvolvimento dissertativo considerou as seguintes subtemáticas: Capítulo I apresenta o percurso, os traços estruturais e as metamorfoses do gênero do conto, desde a tradição oral até a escritura literária moderna, apontando os contistas brasileiros, em especial Mário de Andrade, no alvorecer do Modernismo brasileiro; suas novas diretrizes e conexões do conto sob o tratamento da lógica alinear, profetizando a estrutura do romance moderno. O capítulo II descreve o complexo processo narrativo, o narrador e suas máscaras presente em CONTOS NOVOS: interconexões entre os contos de primeira pessoa evidenciados no movimento do narrador-personagem em saltos discursivos: da oralidade à escrita. O capítulo III evidencia nossa hipótese central referente à presença da estrutura do hipertexto no sistema multilinear dos CONTOS NOVOS; a importância da memória e do imaginário no processo narrativo e os procedimentos experimentais do narradorpersonagem em trabalho de relato de experiência memorialística: interação, alteridade, identidade sob novas matrizes hipertextuais em uma única célula dramática

Apesar da grande quantidade de estudos acerca da obra de Fernando Pessoa, um número ínfimo deles enfoca o Fausto, poema dramático no qual Pessoa trabalhou entre 1908 e 1933, deixando-o, inconcluso e fragmentário, depositado na famosa arca junto com todo o seu espólio. Este trabalho pretende, tomando por base a edição organizada por Teresa Sobral Cunha, analisar como se processa a retomada do Fausto de Goethe pelo texto do poeta português. Para tanto, servem como pressupostos teóricos os conceitos de dialogismo, intertextualidade e, especialmente, hipertextualidade. Fernando Pessoa se apropria do texto do poeta alemão para transformá-lo, ou seja, ainda que algumas cenas de Fausto: tragédia subjectiva sejam reminiscências goetheanas, há uma reelaboração dos elementos alheios e o texto é relançado em um novo circuito de sentido. Existem, é certo, analogias entre os textos; todavia, as diferenças – que aqui serão enfatizadas – são marcantes. O Fausto de Goethe é um drama de ação, já o de Fernando Pessoa se enquadra na categoria de teatro estático, ideal para a representação de uma tragédia anímica. O personagem de Pessoa, a exemplo do seu antecessor, deseja ultrapassar limites; tenciona fazê-lo, porém, através do pensamento. Aqui, uma vez que o pacto inexiste, não há ameaça de danação eterna. Além disso, o protagonista é abúlico, não age, não ama e não se transforma. Enquanto o Fausto de Goethe, na figura do seu herói, expressa o otimismo e a crença no progresso, o de Pessoa, por sua vez, é a representação do sentimento de crise, da descrença na ação e da falta de esperança, características próprias do Decadentismo. / Despite the large number of studies concerning the work of Fernando Pessoa, a small percentage of them focuses on Faust, a dramatic poem in which Pessoa worked between the years of 1908 and 1933, leaving it, incomplete and fragmentary, deposited in his famous ark along with all his estate. This study aims to, based on the edition organized by Teresa Sobral Cunha, examine how the Portuguese poet text processes the resumption of Goethe's Faust. To do so, were used as theoretical concepts dialogism, intertextuality, and especially hypertextuality. Fernando Pessoa appropriates the text of the German poet to transform it, that is, even if some scenes of Faust: subjective tragedy are goetheans reminiscences’, there is a reworking of the extraneous elements and the text is relaunched in a new circuit of meaning. There are, of course, analogies between the texts, however, the differences - which are emphasized here - are striking. Goethe's Faust is a drama of action while Fernando Pessoa’s fits in the category of static theater, ideal for the representation of a tragedy pertaining to the soul. Pessoa’s character, like his predecessor, would exceed limits, it intends to do so, however, through thought. Here, since the pact does not exist, there is no threat of eternal damnation. Moreover, the protagonist is apathetic and does not act, love and transform. While Goethe's Faust, in the figure of his hero, expressed optimism and belief in progress, Pessoa’s, in turn, is the representation of the sense of crisis, of disbelief in action and lack of hope, characteristics of Decadence.

Apesar da grande quantidade de estudos acerca da obra de Fernando Pessoa, um número ínfimo deles enfoca o Fausto, poema dramático no qual Pessoa trabalhou entre 1908 e 1933, deixando-o, inconcluso e fragmentário, depositado na famosa arca junto com todo o seu espólio. Este trabalho pretende, tomando por base a edição organizada por Teresa Sobral Cunha, analisar como se processa a retomada do Fausto de Goethe pelo texto do poeta português. Para tanto, servem como pressupostos teóricos os conceitos de dialogismo, intertextualidade e, especialmente, hipertextualidade. Fernando Pessoa se apropria do texto do poeta alemão para transformá-lo, ou seja, ainda que algumas cenas de Fausto: tragédia subjectiva sejam reminiscências goetheanas, há uma reelaboração dos elementos alheios e o texto é relançado em um novo circuito de sentido. Existem, é certo, analogias entre os textos; todavia, as diferenças – que aqui serão enfatizadas – são marcantes. O Fausto de Goethe é um drama de ação, já o de Fernando Pessoa se enquadra na categoria de teatro estático, ideal para a representação de uma tragédia anímica. O personagem de Pessoa, a exemplo do seu antecessor, deseja ultrapassar limites; tenciona fazê-lo, porém, através do pensamento. Aqui, uma vez que o pacto inexiste, não há ameaça de danação eterna. Além disso, o protagonista é abúlico, não age, não ama e não se transforma. Enquanto o Fausto de Goethe, na figura do seu herói, expressa o otimismo e a crença no progresso, o de Pessoa, por sua vez, é a representação do sentimento de crise, da descrença na ação e da falta de esperança, características próprias do Decadentismo. / Despite the large number of studies concerning the work of Fernando Pessoa, a small percentage of them focuses on Faust, a dramatic poem in which Pessoa worked between the years of 1908 and 1933, leaving it, incomplete and fragmentary, deposited in his famous ark along with all his estate. This study aims to, based on the edition organized by Teresa Sobral Cunha, examine how the Portuguese poet text processes the resumption of Goethe's Faust. To do so, were used as theoretical concepts dialogism, intertextuality, and especially hypertextuality. Fernando Pessoa appropriates the text of the German poet to transform it, that is, even if some scenes of Faust: subjective tragedy are goetheans reminiscences’, there is a reworking of the extraneous elements and the text is relaunched in a new circuit of meaning. There are, of course, analogies between the texts, however, the differences - which are emphasized here - are striking. Goethe's Faust is a drama of action while Fernando Pessoa’s fits in the category of static theater, ideal for the representation of a tragedy pertaining to the soul. Pessoa’s character, like his predecessor, would exceed limits, it intends to do so, however, through thought. Here, since the pact does not exist, there is no threat of eternal damnation. Moreover, the protagonist is apathetic and does not act, love and transform. While Goethe's Faust, in the figure of his hero, expressed optimism and belief in progress, Pessoa’s, in turn, is the representation of the sense of crisis, of disbelief in action and lack of hope, characteristics of Decadence.

Apesar da grande quantidade de estudos acerca da obra de Fernando Pessoa, um número ínfimo deles enfoca o Fausto, poema dramático no qual Pessoa trabalhou entre 1908 e 1933, deixando-o, inconcluso e fragmentário, depositado na famosa arca junto com todo o seu espólio. Este trabalho pretende, tomando por base a edição organizada por Teresa Sobral Cunha, analisar como se processa a retomada do Fausto de Goethe pelo texto do poeta português. Para tanto, servem como pressupostos teóricos os conceitos de dialogismo, intertextualidade e, especialmente, hipertextualidade. Fernando Pessoa se apropria do texto do poeta alemão para transformá-lo, ou seja, ainda que algumas cenas de Fausto: tragédia subjectiva sejam reminiscências goetheanas, há uma reelaboração dos elementos alheios e o texto é relançado em um novo circuito de sentido. Existem, é certo, analogias entre os textos; todavia, as diferenças – que aqui serão enfatizadas – são marcantes. O Fausto de Goethe é um drama de ação, já o de Fernando Pessoa se enquadra na categoria de teatro estático, ideal para a representação de uma tragédia anímica. O personagem de Pessoa, a exemplo do seu antecessor, deseja ultrapassar limites; tenciona fazê-lo, porém, através do pensamento. Aqui, uma vez que o pacto inexiste, não há ameaça de danação eterna. Além disso, o protagonista é abúlico, não age, não ama e não se transforma. Enquanto o Fausto de Goethe, na figura do seu herói, expressa o otimismo e a crença no progresso, o de Pessoa, por sua vez, é a representação do sentimento de crise, da descrença na ação e da falta de esperança, características próprias do Decadentismo. / Despite the large number of studies concerning the work of Fernando Pessoa, a small percentage of them focuses on Faust, a dramatic poem in which Pessoa worked between the years of 1908 and 1933, leaving it, incomplete and fragmentary, deposited in his famous ark along with all his estate. This study aims to, based on the edition organized by Teresa Sobral Cunha, examine how the Portuguese poet text processes the resumption of Goethe's Faust. To do so, were used as theoretical concepts dialogism, intertextuality, and especially hypertextuality. Fernando Pessoa appropriates the text of the German poet to transform it, that is, even if some scenes of Faust: subjective tragedy are goetheans reminiscences’, there is a reworking of the extraneous elements and the text is relaunched in a new circuit of meaning. There are, of course, analogies between the texts, however, the differences - which are emphasized here - are striking. Goethe's Faust is a drama of action while Fernando Pessoa’s fits in the category of static theater, ideal for the representation of a tragedy pertaining to the soul. Pessoa’s character, like his predecessor, would exceed limits, it intends to do so, however, through thought. Here, since the pact does not exist, there is no threat of eternal damnation. Moreover, the protagonist is apathetic and does not act, love and transform. While Goethe's Faust, in the figure of his hero, expressed optimism and belief in progress, Pessoa’s, in turn, is the representation of the sense of crisis, of disbelief in action and lack of hope, characteristics of Decadence.

The diploma thesis describes the application of theoretical concepts of journalism into the environemnt of two most popular music websites Musicserver and iREPORT. In the theoretical basis for the topic are featured the basic characteristics of online journalism and the problematic nature of the term "ideal critic". Furthermore, there are at first theoretically established and afterwards analyzed the concepts of agenda-setting, gatekeeping, objectivity and bias, participative journalism, user generatec content, professionalism, hypertextuality and intertextuality, the usage of social networks, tabloidization and the analysis will also touch upon the issue of name transformation to fit the Czech language. There is also a semiotic and visual analysis of chosen samples performed. On the basis of concepts, the paper intends to explain the functioning of the websites, the aspects that are influencing their content, the factors that have an effect on the selection of the content, the means of working with the audience, the problems in terms of objectivity in the art criticism, the requirements laid upon the editorial staff members and the level of influence upon the readers. Keywords online journalism, theoretical concepts, Musicserver, iREPORT, music, agenda-setting, gatekeeping, objectivity,...

This dissertation attempts to investigate the intertextual modus operandi in the oeuvre of H.J. Pieterse, with specific focus on his volumes, Alruin (1989) and Die burg van hertog Bloubaard (2000). The overarching purpose of the investigation is to prove that the author not only uses intertextuality in the sense that one text (literary text) refers to another text (literary and non–literary), or that one text influences another. Pieterse engages in conversation with other texts and re–writes these texts by repositioning them in another context and by adding additional metaphoric meaning to them. The author allows these texts to exchange conversation, to mutually influence one another, and this has as a result that, in his poems, his poetry and his oeuvre, metaphoric lines come into being, which lend a layered meaning to these texts and enrich the possibilities of their interpretation. Thus, a play on multiple meaning develops, which moves between texts: written texts, literary texts, non–literary texts, the author, the reader and the context(s). The conclusion to which this dissertation comes, is that the above mentioned manifestations of meanings, which exist and come into existence within the physically confines of the text, expand this text to a less confined existence in terms of meaning, more unlimited and unbound than what is necessarily allowed by the physically confined nature of the written text. The question thus arises of how the physically limited text take possession of and draws into the texts what lies beyond its physical confines to produce meaning, and how this tension around the limits of the literary text is functionally used. Consequentially, the question that follows is how this happens in the oeuvre of H.J. Pieterse and how the author uses his poetic technique to go beyond the confines of the written text. / Thesis (M.A. (Afrikaans and Dutch))--North-West University, Potchefstroom Campus, 2011.

This dissertation attempts to investigate the intertextual modus operandi in the oeuvre of H.J. Pieterse, with specific focus on his volumes, Alruin (1989) and Die burg van hertog Bloubaard (2000). The overarching purpose of the investigation is to prove that the author not only uses intertextuality in the sense that one text (literary text) refers to another text (literary and non–literary), or that one text influences another. Pieterse engages in conversation with other texts and re–writes these texts by repositioning them in another context and by adding additional metaphoric meaning to them. The author allows these texts to exchange conversation, to mutually influence one another, and this has as a result that, in his poems, his poetry and his oeuvre, metaphoric lines come into being, which lend a layered meaning to these texts and enrich the possibilities of their interpretation. Thus, a play on multiple meaning develops, which moves between texts: written texts, literary texts, non–literary texts, the author, the reader and the context(s). The conclusion to which this dissertation comes, is that the above mentioned manifestations of meanings, which exist and come into existence within the physically confines of the text, expand this text to a less confined existence in terms of meaning, more unlimited and unbound than what is necessarily allowed by the physically confined nature of the written text. The question thus arises of how the physically limited text take possession of and draws into the texts what lies beyond its physical confines to produce meaning, and how this tension around the limits of the literary text is functionally used. Consequentially, the question that follows is how this happens in the oeuvre of H.J. Pieterse and how the author uses his poetic technique to go beyond the confines of the written text. / Thesis (M.A. (Afrikaans and Dutch))--North-West University, Potchefstroom Campus, 2011.