Made available in DSpace on 2014-06-11T19:26:52Z (GMT). No. of bitstreams: 0 Previous issue date: 2012-05-25Bitstream added on 2014-06-13T20:15:57Z : No. of bitstreams: 1 andrade_fhd_me_assis.pdf: 448791 bytes, checksum: ea16478491e78d0b9a0f30fb88dd3c8b (MD5) / Fundação de Amparo à Pesquisa do Estado de São Paulo (FAPESP) / Este estudo tem como finalidade descortinar, por meio do uso da paródia, o sarcasmo elaborado nos vários “eus-femininos” presente em alguns dos textos de Contos de Amor Rasgados, que são minicontos. Marina Colasanti, escritora mais reconhecida dentro da literatura infanto-juvenil, traz a marca da zombaria enobrecida por meio da re(construção) de textos e personagens clássicos da literatura de autoria masculina, utilizados pela autora como meio de “melhorar” tais textos, de modo a “desamarrar a voz desses vários ‘eus-mulheres’ ”. Tendo em vista a importância desta proposta para as pesquisas acadêmicas e também levandose em conta que as versáteis obras da referida autora ainda não têm o devido destaque no meio acadêmico, este estudo pretende dar luz e voz ao elemento do sarcasmo na formação de paródias criadas a partir de minicontos, em conformidade com a quebra dos paradigmas femininos da mulher “amarrada”, servil, apagada diante de seu marido, construídos pela alteridade patriarcal falocêntrica muito antes das primeiras pegadas feministas no século XIX. Para tanto, dividimos nosso trabalho acadêmico em três capítulos, a saber: no primeiro, “O miniconto colasantiano – a construção de tramas existenciais ‘a pouca tinta’ ”, abordamos o miniconto dentro das teorias do conto e de novíssimos estudos desse tipo de conto curto, de maneira a exaltar as técnicas de escrita de alguns dos minicontos de Marina Colasanti. No segundo capítulo, “O humor corrosivo maquia bocas femininas”, entramos... / This study aims to unveil the elaborated sarcasm, by using parody, found in various “female voices”, which occur in some of the texts from Contos de Amor Rasgados, which are short short stories. Marina Colasanti, a much more renowned writer among children’s literature readers, shows us an ennobled mockery through the (re)creation of texts and classic characters attached to the male authorship, which were employed by that writer as a way of “improving” such texts and “unchaining the voices of those several ‘female speeches’ ”. Considering the importance of this analysis for the academic researches and also taking into account that Colsanti´s skillful writings still have not been properly highlighted in the scientific field, this academic work intends to spotlight sarcasm in the development of parodies from microfictions, according to the deconstruction of feminine paradigms, such as the “tied” women, the subservient ones, blanked out before their husbands; and all of these archetypes were conceived by the phallocentric patriarchic alterity much more before the first feminist steps on the second half of the nineteenth century. Our dissertation is divided in three parts, set as following: in the first one, “The Colasantian microfiction – the development of existential plots ‘low on ink’ ”, in which we analyze the short short story according to theoretical support on the short story, besides very recent studies on that... (Complete abstract click electronic access below)

Écrivain français d’origine grecque, Pierre Gripari (1925-1990) est l’auteur de nombreux recueils de contes destinés aux enfants ou aux adultes. Pour les composer, il a eu recours à de nombreuses sources populaires, mais il a également emprunté à des littératures plus classiques. Dans Un passeur d’écriture. Pierre Gripari et les traditions littéraires, nous examinons donc comment il a repris, avec une érudition très éclectique, des thèmes empruntés à de grands écrivains, français et étrangers, comme Perrault, Pouchkine, Mérimée, Gogol, Hugo, mais aussi aux mythes grecs (Médée) et aux contes folkloriques. Notre travail de recherche se propose de montrer que ce jeu constant avec les références permet de saisir l’originalité d’un écrivain très singulier et comment sa passion de la réécriture contribue à la transformation des genres littéraires (récits ou théâtre). Le corpus retenu fait apparaître que les contes de Gripari dialoguent en permanence avec des modèles traditionnels. Les œuvres étudiées donnent des exemples de transposition d’une langue à l’autre, ainsi que de l’acclimatation de récits, comme les contes d’Afanassiev et les bylines, transposés de leur milieu d’origine dans un autre domaine culturel. Avec une grande variété, ces textes présentent des formes de contamination ou de parodie (notamment de Perrault), des jeux d’inversions (« La Fée », « Monologue de toile », « La Vénus d’El »), des réécritures en hommage (« Vie amoureuse de Jean Valjean », « Médée »). Elles soulignent la place du comique dans ces recréations. Prenant place au carrefour de diverses traditions culturelles, nos recherches portent non seulement sur les textes français, mais également sur les textes d’origine. Elles s’appuient sur des travaux théoriques, littéraires et esthétiques provenant de philologues français aussi bien que de critiques russes ou ukrainiens. En prenant ces relations interculturelles pour objet privilégié, notre étude révèle l’importance du rôle de passeur qu’a tenu Pierre Gripari entre le public français et d’autres traditions littéraires. / French writer of Greek origin, Pierre Gripari (1925-1990) is the author of numerous collections of tales intended for children or adults. To compose them, he turned to numerous popular sources, but he also borrowed from a more classic literature. In A boatman of writing. Pierre Gripari and the literary traditions, we thus examine how this writer took back, with a very eclectic learning, themes borrowed from such big writers, French and foreign, as Perrault, Pushkin, Mérimée, Gogol, Hugo, but also from the Greek myths and folk tales. This research shows, on one hand, the originality of a very singular writer and, on the other one, an evolution of literary genres. The reserved corpus shows how the tales of Gripari have a dialogue with the traditional models. The studied works give examples of the transposition of the language and the acclimatization of a narrative from its original environment to another one (tales of Afanassiev and bylines); contaminations and parodies (subjects of Perrault), inversions (« La Fée » (" The Fairy "), « Monologue de toile » ("Linen monologue"), « La Vénus d’El » (" The Venus of El "), rewritings in tribute (« Vie amoureuse de Jean Valjean », (" Jean Valjean's love life "), « Médée » ("Medea"), and others. They underline the place of the comic in these re-creations. Taking place in the crossroads of diverse cultural traditions, our researches concern not only the French texts, but also the original texts. They lean on theoretical, literary and aesthetic works produced by French philologists as well as by Russian or Ukrainian critics. By taking these intercultural relations for privileged object, our study shows the importance of boatman's role which Pierre Gripari held between the French reader and other literary traditions.

Orientador: Clélia Cândida Abreu Spinardi Jubran / Banca: José Gaston Hilgert / Banca: Edson Carlos Romualdo / Banca: Lourenço Chacon Jurado Filho / Banca: Fabiana Cristina Komesu / Resumo: Com base na perspectiva da intertextualidade estrita (KOCH, 2009), este trabalho investiga a produção de texto com reescrita orientada pelo professor em contexto universitário, com o objetivo de descrever os processos por meio dos quais o escrevente gerencia a entrada do texto alheio no seu próprio texto, tanto na produção da primeira versão do texto, quanto na reescrita dele. As instruções iniciais e intervenções feitas pelo professor com o intuito de auxiliar o escrevente na tarefa de escritura e reescritura são levadas em consideração na análise, no sentido de verificar o papel desempenhado por elas durante o processo de escrita/reescrita. As justificativas dessa proposta residem, de um lado, no enfoque teórico fundamentado na intertextualidade estrita, já que estudos realizados no Brasil sobre reescrita voltam-se mais para a prática pedagógica de reescritura; e, de outro lado, no recorte do contexto universitário para a investigação, pois pesquisas sobre reescrita têm priorizado os ensinos Fundamental e Médio, sendo menos frequentes os trabalhos com alunos universitários. O corpus é formado por 21 conjuntos de texto, que incluem: proposta de produção; primeira versão do aluno; comentários do professor; versão reescrita. Os resultados apontam para uma preferência por formas de intertextualidade implícita na retomada de textos da proposta e pela utilização da paráfrase como processo de reformulação do texto, indicando uma tendência à diluição do texto alheio como modo de absorção pelo texto, com uso restrito de formas que explicitam a fonte das informações retomadas / Abstract: Based on the strict perspective of intertextuality (KOCH, 2009), this study investigates the production of text rewritten guided by the teacher in the university context, in order to describe the processes by which the clerk manages the input of others in your text itself, both in producing the first draft, and in rewriting it. The initial instruction and interventions made by the teacher in order to assist the clerk in the task of writing and rewriting are taken into account in the analysis, in order to verify the role played by them during the process of writing / rewriting. The justification of this proposal lie on one side, the theoretical approach based on strict intertextuality, since studies performed in Brazil on rewriting is turning more to teaching the practice of rewriting, and on the other hand, the clipping of the university context to investigation, because studies have focused on rewriting the elementary and high schools, and less frequently works with college students. The corpus consists of 21 sets of text, comprising: a production proposal, the first version of the student, teacher comments, rewritten version. The results indicate a preference for forms of intertextuality implicit in the resumption of the draft text and the use of paraphrase as a process of redrafting the text, indicating a tendency to dilute the other's text so as to absorb the text, in limited ways that explain the source of the information included / Doutor

Submitted by Noeme Timbo (noeme.timbo@metodista.br) on 2017-10-24T19:02:55Z No. of bitstreams: 1 LuanaGolin.pdf: 1810450 bytes, checksum: 7a19811664efc3cef82740c8bae4fa40 (MD5) / Made available in DSpace on 2017-10-24T19:02:56Z (GMT). No. of bitstreams: 1 LuanaGolin.pdf: 1810450 bytes, checksum: 7a19811664efc3cef82740c8bae4fa40 (MD5) Previous issue date: 2015-09-29 / Dostoevsky creates in his novel The Idiot with Prince Myshkin a character with Christ's attributes. The author always had the Bible by his side, specially the New Testament, from childhood to his death. A theoretical framework is dedicated in the first chapter of this study, which deals with the universe of language. Literary text and biblical literature come from the myth, so that reli-gion and literature stay closer and meet each other. The second chapter shows how Christ and the Gospels are recurring subjects, motives, and images in Dostoevsky works. Biblical literature is in the several major works (to varying extents) of the Russian writer and not only in The Idiot. The third chapter hypothesizes, by means of the novel analysis that Dostoevsky creates a Christ and a Gospel with The Idiot. The thesis is that Dostoevsky build a literary gospel with Myshkin: a mixture of a Russian Christ, divine and human at the same time, but also stupid and quixotic. Literature and the sacred are revealed as a divine presence in the intertextual dynamics between the biblical gospels and The Idiot. Christ manifests Himself in Myshkin actions, showing up his light and beauty by the scenes and structure of the plot that com-pounds the novel, but also in the tragedy of a displaced and antinomian trajectory. The love and compassion take shape and life in the prince presence, in his own emptiness, servant of everyone. / No romance O Idiota, Dostoiévski cria, por meio do príncipe Míchkin, uma personagem com as características do Cristo. Sabe-se que a Bíblia, principalmente o Novo Testamento, acompanhou o escritor desde sua infância até o momento de sua morte. O primeiro capítulo, dedicado ao referencial teórico da pesquisa, lida com o universo da linguagem. Tanto o texto literário quanto a literatura bíblica procedem do mito. Neste sen-tido, religião e literatura se tocam e se aproximam. O segundo capítulo foi escrito na intenção de mostrar como o Cristo e os Evangelhos são temas, motivos e imagens recorrentes na obra de Dostoiévski. A literatura bíblica está presente, com mais ou menos intensidade, em diversas das principais obras do escritor russo e não somente em O Idiota. A hipótese de que Dostoiévski cria um Cristo e um Evangelho por meio de O Idiota é demonstrada na análise do romance, no terceiro capítulo. A tese proposta é: Dostoiévski desenvolve um evangelho literário, por meio de Míchkin, misto de um Cristo russo, ao mesmo tempo divino e humano, mas também idiota e quixotesco. Na dinâmica intertextual entre os Evangelhos bíblicos e O Idiota, entre Cristo e Míchkin, a literatura e o sagrado se revelam, como uma presença divina. Nas cenas e na estruturação do enredo que compõe o romance, Cristo se manifesta nas ações de Míchkin, na luz, na beleza, mas também na tragicidade de uma trajetória deslocada e antinômica. O amor e a compaixão ganham forma e vida na presen-ça do príncipe, vazio de si, servo de todos.

Parmi les nombreuses apocalypses composées durant l’Antiquité judéo-chrétienne, seules l’Apocalypse de Jean et l’Apocalypse de Paul (par l’intermédiaire de la Vision de saint Paul) ont bénéficié de traductions en ancien français. Leur réception textuelle fait l’objet dans ce travail d’un classement exhaustif et d’une étude détaillée. En raison de leur succès, ces deux apocalypses ont laissé une empreinte durable dans les mentalités médiévales, car elles répondaient à deux préoccupations majeures : le Jugement collectif (Apocalypse johannique) et le Jugement individuel (apocalypse paulinienne). Elles ont donné naissance à un imaginaire dont on peut déceler la trace dans la littérature française du Moyen Âge grâce à une approche intertextuelle. Plusieurs pans de la littérature médiévale recourent à cet imaginaire, qu’il s’agisse de la littérature visionnaire (avec La Vision de Tondale et Le Purgatoire de saint Patrick), de la littérature allégorique (dans La Tournoi de l’Antéchrist et Le Roman de la Rose) ou de la littérature didactique et religieuse (dans La Somme le roi, les sermons ou les épîtres farcies). L’imaginaire apocalyptique imprègne ainsi une part considérable de la littérature de cette époque, de telle sorte qu’on peut l’envisager comme un univers mental autonome, riche de motifs, de lieux, de créatures, et parfois d’inquiétudes. De texte en texte, cet imaginaire s’est propagé au gré de strates intertextuelles que la philologie est en mesure de distinguer. Mais ce réseau complexe d’interférences ne doit pas nous faire oublier que la réception de l’imaginaire apocalyptique ne s’appréhende pas uniquement à une échelle textuelle. Elle met aussi en jeu des mécanismes cognitifs comme la compréhension, la représentation ou l’imagination. / Among the numerous apocalypses written during the Judeo-Christian Antiquity, only the Revelation of John and the Apocalypse of Paul (through the Vision of Paul) got old french translations. In this work, their textual reception is the subject of a complete inventory and a detailed study. Because of their success, both left a durable trace in the medieval mindset, as they solved two major concerns : collective judgement (Johannine Apocalypse) and individual jugdement (paulinian apocalypse). They gave birth to an imaginary world which can be detected in medieval french literature thanks to an intertextual approach. Many parts of the medieval literature use this imagination : the visionary literature (in the Vision of Tondale and St Patrick’s Purgatory), the allegoric literature (in the Tournoi de l’Antéchrist and the Roman de la Rose) or the didactic and religious literature (in the Somme le roi, the homilies and the “épîtres farcies”). The apocalyptic imagination thus spreads through a considerable part of this literature, and therefore we can consider it as an independent world of the mind, full of motives, places, creatures, and sometimes fears. From a text to another, this imagination has disseminated according to intertextual levels which can be distinguished by philology. But this complex web of correlations must not make us forget that the reception of the apocalyptic imagination is not only accessible from a textual viewpoint. It also employs cognitive mechanisms like understanding, representation and imagination.

This thesis explores the generic interaction between Virgilian pastoral and Ovidian epic. My primary goal is to bring pastoral, substantially enriched by important critical work thereupon in recent decades, more energetically into the scholarly discussion of the Metamorphoses, whose multifaceted generic interplay is often limited to the study of its interaction with elegy. Secondarily, I hope to show how the Metamorphoses plays a pivotal role in the re-reading of the Eclogues. The fact that both epic and pastoral are written in hexameters facilitates the interaction between the two and enables the Metamorphoses’ repeated short-term transformations into pastoral poetry, which often end abruptly. I will try to show that although the engagement with pastoral occasionally appears to threaten the epic code of the poem, pastoral is ultimately integrated in the Metamorphoses’ generic self-definition as epic and partakes in Ovid’s dynamic recreation of the genre. My primary method is that of intertextuality, resting on the premise that all readings of textual relationships, as the one suggested here, are acts of interpretation. I also explore pastoral in the Metamorphoses intratextually by joining together various pastoral episodes of the Metamorphoses and arguing how similar thematics are replayed and rewritten throughout the poem. The main perspectives from which I examine pastoral in the Ovidian epic are those of fiction and the development of the thematics of the Golden Age. In the first part, I explore instances of song performances in the Metamorphoses, i) musical contests, ii) solo performances and iii) laments, in which I argue that pastoral is extensively at work. I suggest that the Metamorphoses employs pastoral’s overriding generic self-obsession and its tendency to create its own fiction internally, significantly through the means of singing performance and repetition. I argue that the mythopoetic means of pastoral are applied and reworked in the Metamorphoses for the creation of its epic world and heroes. In the second part, I explore the repeated occurrences of the Golden Age theme in the Metamorphoses and suggest that the remarkable engagement with pastoral is employed both to invite a political reading of the Golden Age, as set by Eclogue 4 and its post-Eclogues occurrences, and to recap the introversion of the pastoral enclosure and its seclusion from politics.

Orientador: Maria Augusta Hermengarda Wurthmann Ribeiro / Banca: Norma Sandra de Almeida Ferreira / Banca: Romualdo Dias / Resumo: Esta pesquisa agrega algumas de minhas inquietações desde a graduação e outras, decorrentes da experiência docente, sobre a escuta como prática de leitura. Estas inquietações geraram o presente trabalho, que tem como objeto de estudo o processo de escuta de um texto literário como prática cultural de aprendizagem pela oralidade. Tem como objetivo geral experienciar este referido processo, com alunos de uma segunda série da E. M. "Profª Diva Marques Gouvêa", localizada em Rio Claro (SP). Para tanto, tracei como metodologia um percurso que agregou algumas características da observação participante e da pesquisa-ação, tais como a questão da observação constante, do registro e da postura metodológica de "escuta", além da abordagem da história cultural, no que diz respeito ao estudo do cotidiano, da comunidade de leitores e das práticas culturais de leitura e escuta. Privilegiamos leituras diárias do livro As aventuras de Pinóquio, de Carlo Collodi (2002). Os registros das falas dos alunos sobre a leitura do dia foram feitos por mim, em um Diário de Campo, com o auxílio de câmeras fotográfica e filmadora. O percurso teórico foi construído com base nas formulações sobre: a leitura de mundo (FREIRE, 2003); a experiência de leitura (LARROSA, 2002a; 2005); a formação da comunidade de leitores (CHARTIER, 1999); a importância da leitura dos clássicos (CALVINO, 2004; MACHADO, 2002); e a importância de se realizar uma escolarização adequada da literatura (SOARES, 2003 e outros). Como considerações finais, apresento alguns apontamentos sobre os objetivos da pesquisa, os quais considero alcançados, haja vista a descrição das atividades com os alunos e suas conquistas como leitores. As pesquisas recentes sobre a formação do leitor literário (CEALE) apontam para um problema metodológico entre a matéria literária e o ensino de leitura na escola... (Resumo completo, clicar acesso eletrônico abaixo) / Abstract: This research includes some of my concerns since graduation, and others resulting from the teaching experience about listening as a reading practice. These concerns led to the present work, which has, as study subject, the listening process of a literary text as a cultural practice of learning by orality. Its general objective is to experience this process, with children about seven and eight years old, from "E. M. 'Profª Diva Marques Gouvêa'", located in Rio Claro (SP). For this, I plotted as methodology a route with some features of the participant observation and action research, such as the constant observation, the record and the methodological listening posture issues, as well as the cultural history approach in terms of the everyday life study, the readers' community and the cultural practices of reading and listening. We focused in daily readings of the book The Pinocchio's Adventures, by Carlo Collodi (2002). I made the records of the students' speech on the reading of the day, in a Field Diary, with the aid of a photographic camera and camcorder. The theoretical route was based on the formulations of: the reading of world (FREIRE, 2003), the reading experience (Larrosa, 2002, 2005), the formation of the readers' community (CHARTIER, 1999), the importance of classics reading (Calvino, 2004; MACHADO, 2002), and the importance of conducting a proper education literature (Soares, 2003 and others). As final comments, I show some notes on the research objectives, which I consider as accomplished, regarding the description of activities with students and their achievements as readers. The recent researches about the literary reader's formation (CEALE) point to a methodological problem between the literary field and the reading teach in school. My research reinforced a suggestion, also of methodological nature, which may help other people to think what would... (Complete abstract click electronic access below) / Mestre

A pesar de su aspiración por inscribirse dentro de una tradición poética de ascendencia moderna (romántica), la poesía de Luis Hernández revela una tensión interna producto de la fragmentación del sujeto posmoderno. El presente ensayo analiza el empleo de la parodia en la poesía de Luis Hernández como una estrategia discursiva que ejecuta un doble juego diseminador: por un lado, desmitifica las convenciones vigentes en su época acerca de la poesía (y la palabra) como un arte sublime y acerca del autor como reducto último del significado; y, por otro lado, abre el campo de sentido para incorporar referentes culturales e intertextuales que disuelven, en la praxis poética, la división entre alta cultura y cultura de masas. / Despite of his desire for inscribing himself into a Modern (Romantic) poetic tradition, Luis Hernandez’ poetry reveals an inner tension as a result of fragmentation of postmodern subject. This essay studies the use of parody in Luis Hernandez’ poetry as a discursive strategy that plays a double dissemination: on the one hand, parody demystifies the standard conventions of his time about poetry and poetic language as a belle art and about the notion of author as the ultimate redoubt of signification. On the other hand, in Hernandez’ poetry, parody opens the field of meaning ISSN 0254-9239256 Lexis  Vol. XXXIII (2) 2009just for including intertextual and cultural features that dissolve, in poetic praxis, the division between high and mass culture.

Magister Artium - MA / The controversial singing of the Shoot the Boer song by Julius Malema was a focus of media attention during the period of March 3, 2010 to September 12, 2011.This study aims to analyse the discourses participants draw on in the expression of their positions of race and identity in selected online texts, as well as the different meanings and interpretations the Shoot the Boer song has acquired over time. Using the data drawn from three court rulings, namely the South Gauteng High Court, North Gauteng High Court and the Equality Court and commentaries from various online websites, this project focuses on the various ways in which issues of race are realised through language by focusing on the construction and interpretation of Julius Malema and the Shoot the Boer song within different contextual spaces. This study uses a critical discourse analysis framework, as well as theories of intertextuality, resemiotization, contextand chronotope to analyse the texts which were generated in response to the song. Key findings include the ways in which participants who consider themselves as part of a minority group, construct themselves as 'victims‘ in relation to Malema and the singing of the song. Similarly, another key finding is that the broader discourse of fear exhibited in the various commentaries links to a general fear of 'black power‘ where Malema is a signifier of this 'black power.‘ Overall, the thesis argues that the meanings of the song are multiple and shift with the changing chronotopia of its performance. It therefore support Blommaert‘s (2005) emphasis on the importance of 'text trajectories‘ in establishing the meaning of texts, and argues that the historical meanings associated with the Shoot the Boer song form a complex set of frames on which different participants draw when interpreting the song in 2010.

A tradição escatológica cristã funda suas raízes em antigas concepções judaico-helenistas de perspectivas proféticas. A noção de dia final como julgamento de Deus sobre a vida do mundo habitado é uma das características dessa concepção religiosa, sendo a fé cristã marcadamente influenciada por este viés bíblico-teológico, haja vista a história de inclusividade presente na organização das comunidades do cristianismo primitivo, ainda que intermitentes períodos de exclusivismos identitários tenham sido presenciados ao longo da história da Igreja Cristã. Nesse diapasão é que o presente Trabalho Final de Mestrado Profissional (TFMP) busca analisar o discurso petrino de Atos 2.14-21, o qual estabelece sua textualidade numa intertextualidade presente no contexto linguístico do mundo contemporâneo ao apóstolo, tentando identificar aportes relevantes a uma atualização teológica que abarque elementos inclusivistas presentes na tradição profética joelina e nas práticas comunitárias. O trabalho está estruturado em três capítulos. O primeiro aborda o conceito da intertextualidade, sua origem, seus principais defensores, os diferentes aspectos e níveis da intertextualidade e seu uso no campo da teologia. No segundo capítulo far-se-á a análise dos textos de Joel e Atos dos Apóstolos, partindo da tradução interlinear do texto na língua original para o nosso vernáculo, sua contextualização histórica e abordagem de termos e temas chaves. Por fim, será visto as marcas da intertextualidade nos dois textos e abordado a importância do derramamento do Espírito e do fenômeno do empoderamento e sua importância para uma igreja inclusivista. / The Christian eschatological tradition finds its roots in ancient judeo-helenist conceptions of prophetic perspectives. The notion of the final day as the judgment of God on the life of the inhabited world is one of the characteristics of this religious conception, with the Christian faith being markedly influenced by this biblical theological point of view, considering the history of inclusivity present in the organization of the communities of primitive Christianity, albeit the presence of intermittent periods of identitarian exclusivisms occurring throughout the history of the Christian Church. It is within this understanding that this Final Paper of the Professional Masters Program seeks to analyze the Petrine discourse of Acts 2.14-21, which establishes its textuality within an intertextuality that is present in the linguistic context of the apostles contemporary world, trying to identify the relevant sources of support for a theological actualization which takes into account the inclusivist elements present in the Joeline prophetic tradition and in the community practices. The work is structured in three chapters. The first deals with the concept of intertextuality, its origin, its main defenders, the different aspects and levels of intertextuality and its use in the field of theology. In the second chapter, an analysis is made of the texts of Joel and the Acts of the Apostles, based on the interlinear translation of the text from the original language to our vernacular language, its historical contextualization and dealing with key terms and themes. Finally, the marks of intertextuality will be visualized in both texts and the importance of the pouring of the Spirit and the empowerment phenomenon and its importance for an inclusive church will be dealt with.