Este trabalho apresenta uma análise da Sonata para piano sobre tema de Bartók op.45 (2003) do compositor Marlos Nobre (1939) com o objetivo de identificar os elementos apropriados do primeiro movimento do Concerto para Orquestra (1943) do compositor húngaro Béla Bartók (1881-1945) e investigar como esses elementos são inseridos e metamorfoseados na linguagem de Nobre. Foram utilizados como referenciais teóricos os autores Straus (1990) e Hyde (1996) que estudam o fenômeno da intertextualidade na música. Este trabalho divide-se em duas etapas: a primeira consiste em uma revisão da literatura sobre a intertextualidade na música e sobre estilos e influências detectadas nos processos composicionais e a segunda, em uma análise formal, intertextual e comparativa entre a Sonata op. 45 de Nobre e o Concerto de Bartók. / This dissertation, while presenting an analysis of Sonata para piano sobre tema de Bartok op. 45 (2003) composed by Marlos Nobre (1939), aims at identifying elements appropriated from the first movement of Concerto for Orchestra (1943) composed by the Hungarian Bela Bartok (1881-1945). Based on works by Straus (1990) and Hyde (1996), phenomena identified as intertextuality in music establish the main focus of this text divided into two mains sections. The first section deals with a review of the literature geared to the study of intertextuality in music, as well as aspects of style and matters of influence within the compositional processes. The second section offers a formal, intertextual and comparative analysis of Nobre´s Sonata op. 45 in relation to Bartok´s Concerto for Orchestra.

Este trabalho apresenta uma análise da Sonata para piano sobre tema de Bartók op.45 (2003) do compositor Marlos Nobre (1939) com o objetivo de identificar os elementos apropriados do primeiro movimento do Concerto para Orquestra (1943) do compositor húngaro Béla Bartók (1881-1945) e investigar como esses elementos são inseridos e metamorfoseados na linguagem de Nobre. Foram utilizados como referenciais teóricos os autores Straus (1990) e Hyde (1996) que estudam o fenômeno da intertextualidade na música. Este trabalho divide-se em duas etapas: a primeira consiste em uma revisão da literatura sobre a intertextualidade na música e sobre estilos e influências detectadas nos processos composicionais e a segunda, em uma análise formal, intertextual e comparativa entre a Sonata op. 45 de Nobre e o Concerto de Bartók. / This dissertation, while presenting an analysis of Sonata para piano sobre tema de Bartok op. 45 (2003) composed by Marlos Nobre (1939), aims at identifying elements appropriated from the first movement of Concerto for Orchestra (1943) composed by the Hungarian Bela Bartok (1881-1945). Based on works by Straus (1990) and Hyde (1996), phenomena identified as intertextuality in music establish the main focus of this text divided into two mains sections. The first section deals with a review of the literature geared to the study of intertextuality in music, as well as aspects of style and matters of influence within the compositional processes. The second section offers a formal, intertextual and comparative analysis of Nobre´s Sonata op. 45 in relation to Bartok´s Concerto for Orchestra.

Este trabalho apresenta uma análise da Sonata para piano sobre tema de Bartók op.45 (2003) do compositor Marlos Nobre (1939) com o objetivo de identificar os elementos apropriados do primeiro movimento do Concerto para Orquestra (1943) do compositor húngaro Béla Bartók (1881-1945) e investigar como esses elementos são inseridos e metamorfoseados na linguagem de Nobre. Foram utilizados como referenciais teóricos os autores Straus (1990) e Hyde (1996) que estudam o fenômeno da intertextualidade na música. Este trabalho divide-se em duas etapas: a primeira consiste em uma revisão da literatura sobre a intertextualidade na música e sobre estilos e influências detectadas nos processos composicionais e a segunda, em uma análise formal, intertextual e comparativa entre a Sonata op. 45 de Nobre e o Concerto de Bartók. / This dissertation, while presenting an analysis of Sonata para piano sobre tema de Bartok op. 45 (2003) composed by Marlos Nobre (1939), aims at identifying elements appropriated from the first movement of Concerto for Orchestra (1943) composed by the Hungarian Bela Bartok (1881-1945). Based on works by Straus (1990) and Hyde (1996), phenomena identified as intertextuality in music establish the main focus of this text divided into two mains sections. The first section deals with a review of the literature geared to the study of intertextuality in music, as well as aspects of style and matters of influence within the compositional processes. The second section offers a formal, intertextual and comparative analysis of Nobre´s Sonata op. 45 in relation to Bartok´s Concerto for Orchestra.

[pt] Rute é uma mulher pobre, viúva e estrangeira moabita. Não obstante isso, é uma mulher de força/valor, em atitudes e palavras; é uma mulher decidida que se comporta em termos de paridade com Booz, o homem que ao seu lado divide a cena central em Rt 3: a cena da eira. A presente tese, intitulada Uma heroína chamada Rute: análise narrativa e intertextual de Rt 3, buscou mostrar, por meio da exegese narrativa, as possibilidades que assinalam essa paridade entre os protagonistas, Rute e Booz, através da análise de seus atos e falas, quer pelo tratamento que o autor, através da voz do narrador dá a cada um, quer pelo discurso destes personagens, valorizando, ainda, a importância e o papel de Noemi nas cenas anterior e posterior à cena da eira. A seguir, a partir da análise intertextual bíblica e extrabíblica, foi possível identificar outras mulheres que em muito se assemelham à pessoa, às características e ao comportamento de paridade entre Rute e Booz em Rt 3: as mulheres bíblicas Débora, Jael, Abigail e a mulher de Pr 31,10-31, bem como as mulheres extrabíbicas Arete e Alceste, todas com seus pares masculinos em cena. Esta aproximação permitiu aplicar a Rute o conceito de heroína, conforme o modelo literário dos textos da Antiguidade. Nestes, mulheres fortes, corajosas e pares dos homens caracterizam as heroínas, seja nos textos que retratavam a sociedade em Israel, no Antigo Oriente Próximo, ou entre os povos da Grécia continental e insular, os quais circulavam na bacia do Mediterrâneo. / [en] Ruth is a poor, widowed and moabite foreigner woman. Nevertheless, she is a woman of strength/value, in attitudes and words; a decided woman that behaves at parity with Booz, the man with whom she shares side by side the central scene in Rt 3: at the threshing floor. This thesis, entitled A heroine called Ruth: narrative and intertextual analysis of Rt 3, sought to show, through the narrative exegesis, the possibilities that point out that parity between the protagonists, Ruth and Booz, either by the treatment the author, through the Narrator s voice, gives to each one or by the speeches of these characters, giving value, still, to Naomi s importance and role before and after the threshing floor scene.Then, from the bible and extrabible intertextual analysis, it was possible to identify other women who very much resemble the person, characteristics and behavior of parity between Ruth and Booz in Rt 3: the bible women Deborah, Jael, Abigail and woman of Pr 31,10 31, as well as the extrabible women Arete and Alcestis, all with their male counterparts at the scene. This approach made it possible to apply to Ruth the concept of heroin, as the literary model of the texts of Antiquity. In these strong, courageous women and men s counterparts characterize the heroines in texts that depict the society in Israel, in the ancient Near East, or between the people of continental and insular Greece, which circulated in the Mediterranean basin.

The hypothesis of this study is as follows: If Psalm 47 is analysed intra-, inter and extratextually, we will be able to gain greater insight into the cultural and historical context in which it originated, the cultic use of the Psalm in later periods, as well as its general meaning. All this is done to determine whether there are any indications of universalism in Psalm 47 and that has indeed been found to be the case on various grounds. Each chapter deals with one of these aspects. Chapter 1 forms the introduction that stipulates the research question and how the study will go about resolving it. Chapter 2 focuses on an intratextual analysis of Psalm 47 in an attempt to determine the interrelatedness of all textual features (morphology, syntax, poetic stratagems, structure, genre) on the literary level. This analysis will aid the interpreter in establishing a structure of the text, suggesting one that could meet with relative consensus amongst some exegetes. It, in turn, forms the framework for the socio-historical interpretation of the text. Other interpretation problems such as its Gattung, Sitz im Leben and dating are also discussed in this section. Chapter 3 investigates Psalm 47 from an intertextual perspective. Attention is paid to similarities with other texts in the immediate and more remote context of the psalm. An intertextual analysis is conducted between Psalm 47 and Psalms 46 and 48, and a brief overview of intertextual relations between Psalm 47 and the rest of the Korahite Psalms are given. Here the study links up with a recent trend in Psalms research, namely to concentrate less upon individual poems and their so-called Sitz im Leben and more upon the composition and redaction of the Psalter as a book especially by focussing on concatenation of a psalm and the psalms which follow on it and precede it. Attention is also given to a spatial reading of these texts to understand how they fit into the Ancient Near Eastern spatial orientation, but also transcend it. Chapter 4 consists of an extratextual analysis of Psalm 47. It had three aims: First, to identify and explain terminology referring to patronage and how patron-client/vassal relationships functioned in the Ancient Near East. This was done through a socio-scientific investigation of the poem in its social context, in order to understand the behaviour of the different role-players in the psalm. Second, to identify and explain war terminology occurring in Psalm 47. Third, to “illustrate” the psalm by investigating Ancient Near Eastern iconography and art. The main goal of this chapter was to gain a clearer understanding of the relationship between Israel and her neighbours. Are the nations considered to be incorporated into Israel or do they function merely as a vassal to their patron in Psalm 47:10? Chapter 5 is a summary of the insights gained in the previous chapters. It critically discusses the results of the study, the conclusions reached, the contribution of this work to the field of study, areas opened for further research, and possible shortcomings in the researcher’s own approach. Copyright / Dissertation (MA)--University of Pretoria, 2008. / Ancient Languages / unrestricted

Scholars have proposed that Jude and 2 Peter are literarily dependent. However, there is no definitive conclusion among scholars concerning which one is literarily dependent on the other. There are arguments for and against each of the literary dependency theories. It is difficult to define what is meant by literary dependency and how to measure it. By utilizing Lemke’s notion of intertextuality, this study examines the thematic formations, axiological stance, and rhetorical formations of Jude and 2 Peter. This study demonstrates that there are significant intertextual relations that can account for the similarities between these two texts. There is substantial evidence which suggests that their differences are significant. Jude and 2 Peter do not provide essential intertextual background information to understand each other. Through the analysis of other intertexts, this study reveals a significant number of intertexts, like the LXX, Old Testament Pseudepigrapha, and contemporary literature, that can account for the meaning formation of the two books. These texts can be considered as more significant intertexts for Jude and 2 Peter.