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In a critical climate that privileges the hermeneutic position of a reader of a text over the irretrievable intentions of its author, this thesis challenges the status quo by considering the elegist Propertius as his own first reader. Through an exploration of what I have called 'mindful reading' - how Propertius appears to engage intratextually with his own poetic material, recasting parts of it lexically and thematically - alongside his interaction with the works of his peers and predecessors and wider cultural discourses, we, as readers, are able to appreciate how he may have understood aspects of his own poetry at a given moment. This particular mode of reading is encouraged, in part, by the repeated treatment of certain themes and ideas by Propertius, and, most conspicuously, by the inherently repetitive nature of the amorous discourse in which he is implicated with Cynthia. There are seven chapters. (1) A rhythm of intratextual reading is established in the generically important funerary elegies of Book I, setting this against the poet's amatory discourse. An analysis of II.i shows that mindful reading is a phenomenon that occurs between, as well as within, books. (2) Consideration is given to editorial division of the canonically named 'Book II', and the ordering of poems; the latter part of the chapter considers the important programmatic elegy, II.xiii. (3) A close reading of III.i and III.ii, and their response to Propertius' predecessors and contemporaries is considered, particularly through a (re)reading of II.xxxiv. (4) Poems treating lovers' brawls and lucubratio are discussed. (5) Propertius' engagement with Maecenas, and his continued adherence to his poetic creed are explored in III.ix and III.x. (6) The notion that Propertius appears to 'un-write' his amatory discourse with Cynthia through mindful reading in the closing cycle of Book III is treated. (7) The place of Cynthia within Book IV, and the elegist's generic explorations are explored through mindful reading.

Orientador: Iara Lis Schiavinatto / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-06T13:12:57Z (GMT). No. of bitstreams: 1 Silva_TerezinhaElisabethda_D.pdf: 20447091 bytes, checksum: 11cf8307cf281799310a12cb1747c09f (MD5) Previous issue date: 2006 / Resumo: Este trabalho objetiva investigar problemáticas acerca do livro como tema de narrativas cinematográficas e a importância da imagem cinematográfica na construção do imaginário. Destaca os desdobramentos dos diferentes aspectos da representação do livro articulados pela linguagem cinematográfica numa série de filmes. Aborda a interação entre texto escrito e texto imagético, enfocando as relações entre mídias impressas e as visuais. Demarca as várias noções de intertextualidade e suas conexões com a construção da memória artística, literária e cinematográfica. Apresenta análises de dois filmes do diretor Peter Greenaway: A Última Tempestade (1991) e O Livro de Cabeceira (1996). Precede as análises um item focado na obra do diretor que evidencia as relações que Greenaway estabelece entre várias mídias e o trânsito que faz em seu processo de criação, assinalando o caráter multimidiático e multidisciplinar de sua obra Nas análises dos filmes são evidenciadas as conexões entre livros e filmes que o diretor realiza, priorizando a noção de intertextualidade e as categorias constitutivas do livro. / Abstract: This work aims to investigate matters concerning the book as subject of cinematographic narratives and the importance of the cinematographic image in the construction of the imaginary. It stresses different aspects of book representation articulated by the cinematographic language in several films. It approaches the interaction between written and imagetic texts, focusing the relationships between printed and visual media. It emphasizes the several intertextuality notions and their connections with the construction of the artistic, literary and cinematographic memory. It shows analyses of Peter Greenaway's Prospero1fs Books (1991) and The Pillow Book (1996). Precedes the analyses a topic focused on Greenaway's work which evidences the relations he establishes between several media and the flows he does in his creative process, pointing out the multimediatic and multidisciplinary character of his work. The films analyses evidences the connections realized between books and films, giving priority to intertextuality notion and the constituent categories of the book. / Doutorado / Doutor em Multimeios

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<p>L’adaptation cinématographique se présente régulièrement dans la culture contemporaine. Sa présence mérite une exploration plus détaillée. Il faut, d’abord, bien définir ce que c’est qu’une adaptation. Dans cette thèse, nous ferons appel à deux théories : la théorie de l’adaptation présentée par Linda Hutcheon et la théorie de l’intertextualité de Kristeva et celle de la transtextualité de Gérard Genette. En utilisant ces théories, nous observerons comment le texte se transforme lorsqu’il est adapté. Dans ce but, le roman <em>Les Misérables</em> de Victor Hugo sera examiné, ainsi que deux adaptations cinématographiques de ce roman. Les deux adaptations, créées par deux réalisateurs différents, correspondent aux catégories descriptives que Linda Hutcheon présente dans son livre. Ainsi, à travers son film, Claude Lelouch modernise l’histoire hugolienne et, de l’autre côté, Bille August nous offre une adaptation classique, mais pas entièrement fidèle. Les deux films sont des exemples de types d’adaptations différents. Par ailleurs, ils ont un style visuel très diffèrent et un rapport diffèrent au texte original.</p> / Master of Arts (MA)

published_or_final_version / Literary Studies / Master / Master of Arts

This thesis explores the concepts of ‘crime’, justice and punishment through the narratives of male ex‐prisoners. I adopt a critical criminological perspective and seek to humanise those who have been made monstrous by their status as ex‐prisoners by allowing their stories to be heard. I provide a unique examination of ex‐prisoners’ identities and argue that if we allow those who have experienced prison to tell their stories, new theories and counter discourses about prisons and justice can develop. By hearing these stories we are forced to confront the ex‐prisoner ‘other’, and must explain our own fears, disgust, pity, vitriol, but also fascination with those who have been punished. In hearing the stories of the ex‐prisoner ‘other’, we must reflect on what demands for ever harsher penalties, greater restrictions on liberty, disenfranchisement, and the denial of full human rights does: to those whom we focus these pains upon, and on us, as a society, who believe pain is the equivalent of justice. The methodology of the thesis involved life story research with 15 male ex‐prisoners. Utilising intertextuality, myth and mythology, the arc of the ex‐prisoners’ life stories is followed in analysing: life before prison, imprisonment, and life after prison. In doing this, consideration is given to the outlaw identities of the men when they were actively involved in offending, the prison myths that shaped their experience of incarceration, and the mutable identities that they adopt on release. The stories recounted here offer new ways of understanding ‘crime’, justice and imprisonment. They also, I argue, have the power to problematize existing discourses about prisons and punishment, and to open up new possibilities for social justice.

Summary: The aim of this thesis was to classify the intertextual relationship entered by fan fictions. A fan fiction is a modern literary form, which developed mainly in the second half of the 20th century and has been experiencing real boom since the beginning of the Internet era. Intertextuality is a basic condition for the existence of fan fictions, as these are derivatives of other texts (usually certain popular culture products). Fan fiction is created in fandom as a product of fan activity. These texts are unauthorized, they don't bring profit to their creators and can have a subversive character. Besides the basic intertextual relation to canon, fan fictions enter into a variety of other intertextual relationships. Among these are relationships to the cultural canon similar to those formed by traditional literature. Fan fiction borrows motives and plotlines from fairytales, myths, the Bible, poetry and songs, fiction and movies. On the other hand, fan fiction also enters into such intertextual relationships that are specific for this literary genre. These are so-called crossovers - mixing of several fictional worlds, and relationships to other works of fan fiction - parodies, continuing other authors' stories, replies to so-called challenges and prompts (ideas for stories).

Orientadora: Daniela Mantarro Callipo / Banca: Maria de Fatima Alves de Oliveira Marcari / Banca: Francisco Claudio Alves Marques / Banca: Lucia Granja / Banca: Patricia Peterle Figueiredo Santurbano / Resumo: A crônica é tempo e memória, funciona como registro de um tempo, é o eco da vida humana: nela pulsam os acontecimentos de uma época. Lendo as crônicas de Machado de Assis, entramos em contato com muitas culturas e literaturas, dentre elas a italiana. O curioso é que o escritor nunca saiu do Brasil; portanto, o conhecimento que tem da Itália foi adquirido de longe, do seu Rio de Janeiro que nunca abandonará, por meio da leitura de revistas, livros, jornais, correspondências e da vinda de italianos para a cidade carioca. Dessa maneira, a Itália machadiana não seria somente fruto de escolhas pessoais, mas também fruto do contato direto com certos mediadores que, de acordo com o conceito de transferências culturais, podem ser tanto um livro, um jornal ou um viajante, um escritor. Nesse sentido, este trabalho pretendeu analisar como a cultura italiana atravessou o Atlântico e circulou nas crônicas machadianas durante toda a contribuição de Machado de Assis como cronista para os jornais, começando em 1859 na Revista O Espelho até sua última contribuição em 1897 para a coluna "A Semana" do jornal Gazeta de Notícias. Buscou-se revelar a Itália do cronista, a partir dos conceitos de transferências culturais e intertextualidade, a fim de verificar de que modo a cultura italiana chegou ao Brasil oitocentista e como ela se manifestou na crônica de Machado, tomando por base as alusões e citações que aí se encontram / Abstract: Chronic is time and memory, it functions as a record of time, it is the echo of human life, it pulsates the events of an era. By reading the chronicles of Machado de Assis, we come into contact with many cultures and literatures, among them the Italian one. It is curious that the writer never left Brazil, so his knowledge of Italy was acquired from afar, from his Rio de Janeiro, which he will never abandon, by reading magazines, books, newspapers, correspondence, and by the coming of Italians to the city of Rio. In this way, Machado's Italy would not only be the fruit of personal choices, but also the fruit of direct contact with certain mediators, who according to the concept of cultural transfers can be either a book, a newspaper or a traveler, a writer. In this sense, this work aimed to analyze how the Italian culture crossed the Atlantic and circulated in the Machadian chronicles during the whole contribution of Machado de Assis's chronicles to newspapers, starting in 1859 in the Magazine The Mirror until his last contribution in 1897 for the column "The Week" of the newspaper Gazeta de Notícias. We intended to reveal the chronicler's Italy, based on the concepts of cultural transference and intertextuality, in order to verify how the Italian culture reached the nineteenthcentury Brazil and how it was manifested in Machado's chronicles, based on their allusions and quotations / Doutor

A Presença de Aristófanes em Literaturas de Expressão Inglesa apresenta um estudo realizado por meio de leituras e análises de recriações, que datam do fim do século XX e início do XXI, da comédia As Aves (414 a. C.) de Aristófanes. A princípio, o problema de pesquisa se manifestou a partir da observação da tendência do teatro irlandês contemporâneo por revisitar um grande número de tragédias gregas clássicas e apenas uma comédia: The Birds (1999) de Paul Muldoon. Ao ampliar a procura por outras versões desta comédia, foram encontradas The Birds (2002) de Sean O Brien e The Birds (1993) de Gwndlolyn MacEwen. A pergunta norteadora desta investigação é: como esta comédia antiga grega ainda mantém sua beleza e atualidade nos período mencionado? A hipótese é de que o texto clássico nunca terminou de dizer aquilo que tinha para dizer (CALVINO,1993, p. 11), desse modo a natureza do clássico permite que suas palavras ecoem novos sentidos para o leitor contemporâneo. O estudo tem base nas teorias de intertextualidade de Júlia Kristeva (1974), Julie Sanders, Linda Hutcheon (2011) e Lorna Hardwick (2003). O objetivo da pesquisa é propiciar uma reflexão sobre o processo de criação literária e sobre o diálogo entre o texto clássico e o contemporâneo. / The Presence of Aristophanes in English Literature analyses three transpositions of the aristophanic play The Birds (414 aC) to the contemporary theatre. At first, the research problem has arised from observing that various Irish playwrights have revisited classic Greek tragedies and only one has rewritten a comedy: The Birds (1999) by Paul Muldoon. As the research developed, the plays The Birds (2002) by Sean O Brien and The Birds (1993) by Gwndlolyn MacEwen had contributed for the comparative analysis of this work. The central question of this research is how this ancient Greek comedy still retains its beauty and relevance currently? The hypothesis is that the classic text \" (..) has not finished yet saying what it had to say\" (CALVINO, 1993, p. 11), therefore, the nature of the classic work enables its words to resonate new meanings for the contemporary reader. The research is based on the theories of intertextuality from the works of Júlia Kristeva (1974), Julie Sanders and Linda Hutcheon (2011), and the reception studies, represented by the work of Lorna Hardwick (2003). This dissertation aims to provide a reflection on the process of literary creation and on the dialogue between the classic and the contemporary text.