This thesis focuses on intertextuality in four key examples of Michael Roes' fictional travel literature. It places Roes' oeuvre within the wider context of both supposedly factual and avowedly fictional travel writing. I argue that Roes' use of intertextuality is inextricably linked to his vision of a cosmopolitan intercultural encounter and that his work offers alternative perspectives with which contemporary debates about identity can be understood. The four main chapters reveal that each novel acclaims, undermines, or throws new' light on its respective intertexts in different ways. The chapter on his most celebrated novel, Leeres Viertel, explores the links between the anthropological context in which the intercultural encounter is staged and the novel's playful intertextual approach. The second chapter, on Haut des Sudens, argues that Roes' deconstruction of racial identity depends to a considerable degree upon its 'metatextual' (Genette) reliance upon its classic American intertexts (Twain. Faulkner, Melville). In my analysis of Weg nach Timimoun, I read Roes' relocation of The Oresteia to contemporary Algeria as 'demythologizing' intertextuality. indicating a rejection of myth as an universal model. The final chapter, on Geschichte der Freimdschaft explicates the parallels between that novel's narrative of an intercultural friendship and its related intertexts (Montaigne. Foucault. Nietzsche), which provide a new framework for understanding the issue of relationships between men. By interweaving paradigm-changing theories into his novels. Roes impels his readers to rethink and revise perceptions of the world, both with regard to their home culture and to societies further afield. As such he engages with some of the most important and widely-discussed issues in contemporary society: race, sex, gender and international relations in a globalized world.

Orientadora: Daniela Mantarro Callipo / Banca: Silvia Maria Azevedo / Banca: Lucia Granja / Resumo: A crônica é um texto leve, fluente e sintético, apresenta-se por um modo de ser natural, é feita de uma linguagem que fala de perto, com a "sensibilidade de todo dia". Se comparada ao romance, à dramaturgia ou à poesia, a crônica não oferece cenários sublimes, carregados de adjetivos e períodos cadentes, fala do "miúdo" e mostra uma grandeza, a beleza de um singular jamais suspeitado. (CANDIDO, 1992). Por se abrigar em um veículo transitório como o jornal, ocupa-se do "espírito do tempo" devido as suas características formais, como também pelo conteúdo, pela relação que nela se instaura entre ficção e história. Machado de Assis é um notável representante desse gênero: em suas crônicas, tece o dia-a-dia da cidade, por meio de uma linguagem intertextual e marcada pela oralidade. Dialoga com outras culturas e literaturas, dentre elas a literatura clássica. Em sua colaboração para a coluna dominical "A Semana" do jornal Gazeta de Notícias este fio clássico é muito recorrente, sobretudo a presença Homero e Virgílio. Nesse sentido, este trabalho visa analisar exclusivamente os intertextos tecidos por Machado de Assis com esses dois autores e as referências explícitas as suas epopeias. Todo esse entrelaçar de fios homéricos e virgilianos e a sua atualização no contexto da época será pensado quanto à formação de um novo tecido-texto: a crônica machadiana. Sendo esse diálogo estabelecido em um texto cujo habitat é o jornal, deve se levar em consideração a relação desses intertextos com os acontecimentos do momento em questão e, obviamente, os leitores da época / Riassunto: La cronaca è un testo leggero, fluido e sintetico, si presenta in un modo naturale di essere, è scritta in un linguaggio che parla da vicino, con la "sensibilità di tutti i giorni". Se comparata al romanzo, alla drammaturgia o alla poesia, la cronaca non offre paesaggi sublimi, carichi di aggettivi e di periodi cadenti, ma parla delle "cose piccole" e mostra una grandezza, la bellezza di qualcosa di una singolarità mai sospettata. (CANDIDO, 1992). Proprio perché si rifugia in un veicolo transitorio come il giornale, si occupa dello "spirito del tempo", a causa delle sue caratteristiche formali, così come del contenuto, del rapporto che si stabilisce tra finzione e storia. Machado de Assis è un notevole rappresentante di questo genere: nelle sue cronache, racconta il quotidiano della città, attraverso un linguaggio intertestuale e segnato dalla oralità. Dialoga con altre culture e letterature, tra le quali la letteratura classica. Nei suoi scritti per il domenicale "A Semana" del quotidiano Gazeta de Notícias questo stile classico è molto ricorrente, in particolare la presenza di Omero e Virgilio. In questo senso, questo lavoro si propone di analizzare gli intertesti tessuti da Machado de Assis, con questi due autori e i riferimenti espliciti ai loro poemi epici. Tutto questo 'intreccio di filati' omerici e virgiliani e il suo aggiornamento nel contesto dell'epoca sarà pensato in relazione alla formazione di un nuovo 'tessuto-testo': la cronaca 'machadiana'. Poiché si tratta di un dialogo stabilito in un testo il cui habitat è il giornale, si deve prendere in considerazione il rapporto di questi intertesti con gli eventi del momento in questione, e, naturalmente, con i lettori dell'epoca / Mestre

Orientador: Antônio Roberto Esteves / Banca: Antonio Rodrigues Belon / Banca: Gilmei Francisco Fleck / Banca: Maria de Fátima Alves de Oliveira / Banca: Ester Myriam Rojas Osorio / Resumo: O escritor Wilson Bueno (1949 - 2010) pode ser considerado uma referência na produção literária brasileira das últimas três décadas. Todo o seu legado literário pode ser caracterizado como uma travessia nas fronteiras dos gêneros e do experimentalismo linguístico, e tem em Mar paraguayo (1992) um dos principais representantes desse trânsito entre as fronteiras. Nesse sentido, a partir dos pressupostos teóricos e críticos de autores como Gerard Genette (2006;2009), María Rosa Lojo (2011), Anselmo Peres Alós (2011; 2012), Néstor Perlonguer (1991;1992), Néstor García Canclini (2015), Irlemar Chiampi (1996), a abordagem será feita através da estruturação de três particularidades observadas no romance: a questão do gênero como gender, nas fronteiras entre o masculino e o feminino, na definição do (trans)gênero e da (trans)língua na invenção de uma linguagem, herdeira de Macunaíma, do Manifesto Antropófago e de Guimarães Rosa; a relação híbrida entre a poesia, a prosa, a fusão de culturas, ressaltando as fortes influências do neobarroco e do concretismo; e as conexões intertextuais, no reconhecimento dos diálogos com a tradição literária e com a cultura popular. Por fim, a hipótese é que tanto o discurso da protagonista quanto toda a estruturação do romance apontam para um hibridismo de gêneros e para a fronteira, entendida como um ponto para o qual os limites convergem e confundem-se. Tal hipótese se confirma e reflete um processo de criação artística que, por sua vez, não é inédi... (Resumo completo, clicar acesso eletrônico abaixo) / Resumen: El escritor Wilson Bueno (1949 - 2010) puede ser considerado una referencia en la producción literaria brasileña de los últimos tres siglos. Su legado literario puede ser caracterizado como una travesía en las fronteras de los géneros y del experimentalismo lingüístico, y tiene en Mar paraguayo (1992) uno de los principales representantes de ese tránsito en las fronteras. En ese sentido, según los presupuestos teóricos y críticos de autores como Gerard Genette (2006;2009), María Rosa Lojo (2011), Anselmo Peres Alós (2011; 2012), Néstor Perlonguer (1991;1992), Néstor García Canclini (2015), Irlemar Chiampi (1996), el abordaje se dará a través de la estructuración de três particularidades observadas en la novela: la cuestión del género como gender, en las fronteras entre el masculino y el femenino, en la definición del (trans) género y de la (trans) lengua en la invención de un lenguaje heredero de Macunaíma, do Manifesto Antropófago y de Guimarães Rosa; la relación híbrida entre la poesía, la prosa, la fusión de culturas, resaltando las fuertes influencias del neobarroco y del concretismo; y las conexiones intertextuales, en el reconocimiento de los diálogos con la tradición literaria y con la cultura popular. Por fin, la hipótesis es que tanto el discurso de la protagonista cuanto toda la estructuración de la novela apuntan para un hibridismo de géneros y para la frontera, entendida como un punto para el cual los límites convergen y se confunden. Tal hipótesis se confirma y r... (Resumen completo clicar acceso eletrônico abajo) / Abstract: The writer Wilson Bueno (1949 - 2010) can be considered a reference in Brazilian literary production of the last three decades. All of his literary legacy can be characterized as a crossing on the borders of genres and experimental language, and has in his Mar paraguayo (1992) one of the main representatives of this traffic across borders. In this sense, departing from the theoretical assumptions and critics by such authors as Gerard Genette (2006, 2009), María Rosa Lojo (2011), Anselmo Peres Alós (2011; 2012), Néstor Perlonguer (1991; 1992), Néstor García Canclini (2015), Irlemar Chiampi (1996), the approach will be made by structuring three particularities observed in the novel: the question of gender as a genre, the borders between male and female, in the definition of (trans) gender and (trans)language in the invention of a language, heir to Macunaíma, the anthropophagic Manifesto and Guimarães Rosa; the hybrid relationship between poetry, prose, fusion of cultures, highlighting the strong influences of Neo-Baroque and Concretism; and intertextual connections in the recognition of dialogues with literary tradition and popular culture. Thus, the hypothesis is that both the speech of the protagonist and the whole structure of the novel point to a hybridism of genres and towards the border, understood as a point to which the limits converge and get confused. This hypothesis is confirmed and reflects the process of artistic creation which, in turn, is not unheard of in terms ... (Complete abstract click electronic access below) / Doutor

Interest in plagiarism continues to generate debate both in the media and in the context of the academy. Opinions continue to differ not only about how plagiarism can be defined, but also about the nature of its causes and its possible solutions. Most universities have now developed websites to address the difficulties experienced by both students and staff in ascertaining exactly what kind of writing practices might constitute plagiarism. However more often than not, such websites tend to give undue emphasis to the mechanics of referencing and universal notions of ‘academic honesty’ in order to make their point. Little or no attention is given to providing well-developed guidelines on what constitutes ‘common’ knowledge, which is especially relevant currently given the growing cultural diversity of contemporary university classrooms. In addition, discussions about writer identity and authorship seem to be totally absent. This silence on such matters needs to be tackled as a matter of urgency. I have adopted a ‘critical ethnographic’ case study approach to this doctoral study in order to investigate how undergraduate university students from diverse language and disciplinary backgrounds have used the words and ideas of others in their written research-based assignments. The responses of academic staff to these students’ writing practices have also been explored. Three different sources of data from ten students and ten academic staff have been collected in order to allow for data analysis from multiple perspectives through a process of triangulation. Bakhtin’s concept of dialogism (1981, 1984, 1986), Kristeva’s writings on intertextuality and the subject-in-process-and-on-trial (1986a, 1986b, 1986c, 1996) and Howard’s work on patchwriting, textual ownership and writer development (1992, 1995, 1999) have been central to the construction of the analytical framework used in this study. I argue that, the notion of ‘plagiarism’ should be re-conceptualised in terms of transgressive and non-transgressive forms of intertextuality (see also Chandrasoma et al., 2004). My study also reveals how students react differently to the homogenising forces of the academy (Holton, 2000). Some feel alienated and have challenged or resisted these forces, while others have adopted an accommodationist position. Furthermore, this research shows that students are confused by unified and autonomous notions of textual ownership and originality that fail to conceptualise subjectivity and authorship as sociohistorically constructed and multi-voiced. I conclude that educators need to recognise the political nature of the processes involved in the construction of text/knowledge and writer identity and recommend a dialogic approach to pedagogy, which allows for textual ownership and authority to be circulated and negotiated between students and their lecturers.

By its structure and by the impressive quantity of literary presuppositions that it questions, Le Livre des questions sets itself in the margins of any classical understanding of literature. For Jabes, citation holds a central place in the book: it is one of the main elements which subverts the literary text. It is not an addition, an artifice or a purely stylistic process through which the text is reinforced and given credibility: it is the essence of writing, and the understanding of its importance made it possible for the writer to continue writing in spite of what he perceived as the failure of western culture after Auschwitz. This thesis examines citation in Le Livre des questions and attempts to define Jabes' conception of the book and of writing. Le Livre des Questions encourages us to redefine citation as movement, otherness and memory.

Interest in plagiarism continues to generate debate both in the media and in the context of the academy. Opinions continue to differ not only about how plagiarism can be defined, but also about the nature of its causes and its possible solutions. Most universities have now developed websites to address the difficulties experienced by both students and staff in ascertaining exactly what kind of writing practices might constitute plagiarism. However more often than not, such websites tend to give undue emphasis to the mechanics of referencing and universal notions of ‘academic honesty’ in order to make their point. Little or no attention is given to providing well-developed guidelines on what constitutes ‘common’ knowledge, which is especially relevant currently given the growing cultural diversity of contemporary university classrooms. In addition, discussions about writer identity and authorship seem to be totally absent. This silence on such matters needs to be tackled as a matter of urgency. I have adopted a ‘critical ethnographic’ case study approach to this doctoral study in order to investigate how undergraduate university students from diverse language and disciplinary backgrounds have used the words and ideas of others in their written research-based assignments. The responses of academic staff to these students’ writing practices have also been explored. Three different sources of data from ten students and ten academic staff have been collected in order to allow for data analysis from multiple perspectives through a process of triangulation. Bakhtin’s concept of dialogism (1981, 1984, 1986), Kristeva’s writings on intertextuality and the subject-in-process-and-on-trial (1986a, 1986b, 1986c, 1996) and Howard’s work on patchwriting, textual ownership and writer development (1992, 1995, 1999) have been central to the construction of the analytical framework used in this study. I argue that, the notion of ‘plagiarism’ should be re-conceptualised in terms of transgressive and non-transgressive forms of intertextuality (see also Chandrasoma et al., 2004). My study also reveals how students react differently to the homogenising forces of the academy (Holton, 2000). Some feel alienated and have challenged or resisted these forces, while others have adopted an accommodationist position. Furthermore, this research shows that students are confused by unified and autonomous notions of textual ownership and originality that fail to conceptualise subjectivity and authorship as sociohistorically constructed and multi-voiced. I conclude that educators need to recognise the political nature of the processes involved in the construction of text/knowledge and writer identity and recommend a dialogic approach to pedagogy, which allows for textual ownership and authority to be circulated and negotiated between students and their lecturers.

Thesis (D.D.(Ou Testament))--Universiteit van Pretoria, 2008. / Includes bibliographical references (leaves 253-267).

Honors Project--Smith College, Northampton, Mass., 2009. / Includes bibliographical references (p. 88-89)

Zugl.: Bochum, Universiẗat, Diss., 1993. / Zugl.: Bochum, Univ., Diss., 1993.

Thesis (M.A.)--Brigham Young University. Dept. of English, 2006. / Includes bibliographical references (p. 77-80).