Orientador: Maria de Lourdes Ortiz Gandini Baldan / Banca: Maria Lúcia Outeiro Fernandes / Banca: Sheila Pelegri de Sá / Resumo: Este trabalho é o resultado do estudo das manifestações poéticas e intertextuais nas letras de canções de Renato Russo. Este autor, leitor declarado dos clássicos, propagou a poesia por meio do rock, fenômeno artístico de massa, compartilhando suas leituras através de suas composições. A intertextualidade se destaca como procedimento de criação em sua obra, repleta de referências explícitas e implícitas. Seguindo orientações de Bakhtin, Kristeva, Perrone-Moisés e Genette procuramos analisar de que maneira a literatura repercutiu na obra de Renato Russo, apontando e discutindo como ele usa a literatura em suas composições e que efeitos de sentido ela provoca em suas letras. O processo dialógico dos textos envolve buscas e retomadas de outros textos, o que nos fez buscar vestígios, indícios, pistas, que permitissem revelar a voz do outro. No entanto, o processo dialógico dos textos nos mostrou que cada novo texto não é mero re-conhecimento dos anteriores, mas ato diferenciado de elocução cuja forma, estrutura ou aparência se mostra modificada em relação à dos textos anteriores, dos quais se arrancam novas variações / Abstract: The aim of this paper is the result of poetic and intertextual manifestations' study in the lyrics of Renato Russo's songs. This author, declared classics' reader, spread poetry through the rock, mass artistic phenomenon, sharing his readings through his compositions. Intertextuality is notable as creation process in his work, full of explicit and implicit references. Following Bakhtin, Kristeva, Perrone-Moisés and Genette's guidelines, we aim to analyze how literature reflected in Renato Russo's work, pointing and arguing how does he use literature in his compositions and which meaning effects it brings to his lyrics. The dialogical process involves searches and revisits of other texts, which made us look for traces, indications, clues, that would allow revealing the voice of the other. However, the dialogic process of the texts showed us that each new text is not merely a re-cognition of the previous, but different speech act whose form, structure or appearance shown modified relative to previous texts, of which it takes off new variations / Mestre

Orientador: Antonio Roberto Esteves / Banca: Nerynei Meira Carneiro Bellini / Banca: Kátia Rodrigues Mello Miranda / Resumo: Este trabalho consiste numa leitura da obra Um tal Lucas (1979), de Julio Cortázar. Embora a produção cortazariana seja vasta e bastante explorada, o título em pauta não figura entre os mais abordados, fator que motivou a realização do presente estudo. Assim, o objetivo geral é discutir pontos importantes da construção narrativa, realizando uma leitura de forma a conjugar as várias partes do livro como sendo componentes de uma obra única, a partir da discussão de elementos como as configurações do narrador e suas vozes, a digressão como recurso literário, as referências intertextuais e a autorreferenciação, dentre outros aspectos. O aporte para as reflexões perpassa os trabalhos de Davi Arrigucci Jr. (1973), Saúl Yurkievich (1980), Roland Barthes (2012; 2017), Mikhail Bakhtin (2010; 2011), Oscar Tacca (1983) e Umberto Eco (1994), a fim de pensar a questão dos gêneros textuais e das vozes, e examinar como o corpus, de forma criativa, maneja os temas que apresenta. Como resultado, numa perspectiva mais ampla, o trabalho tenciona trazer a obra à luz, conferindo-lhe um lugar de maior evidência na bibliografia de Cortázar. Além disso, o estudo revela a engenhosidade na construção de Um tal Lucas descontruindo as barreiras convencionais dos gêneros, dos sujeitos e da escrita / Abstract: This paper consists of a reading of A certain Lucas (1979), of Julio Cortázar. Although the Cortazarian work is wide and has been vastly explored, this title does not figure among the most studied books, reason that has motivated the realization of this essay. Then, the general objective is to highlight some important points inside the narrative construction by reading in a way to combine the several parts as belonging to a unique work, based on a discussion of elements such as the narrator configurations and its voices, the digression as a literary process, the intertextual references and self-references, among other aspects. The theoretical support for these reflexions exceeds works of Davi Arrigucci Jr. (1973), Saúl Yurkievich (1980), Roland Barthes (2012; 2017), Mikhail Bakhtin (2010; 2011;2016), Oscar Tacca (1983), in order to think about textual genres and the voices and exanimate how the corpus, in a creative way, handle the themes. As a result, on the whole, the work intends to bring this book to the light, granting it as a mayor evidence place in Cortázar bibliography. Besides, this paper revels the ingenuity in A certain Lucas construction destroying the barriers of the genres, the subject and the writing / Mestre

This study explores the use of source texts in academic writing by postgraduate students from Arab backgrounds in three UK universities. The specific focus of the study is to develop an understanding of how Arab students in the UK use sources, how they adapt to UK academic expectations, as well as how their educational backgrounds may affect their source use and adaptation to UK academic expectations. The participants in this research included a group of 22 Arab postgraduate students from three UK universities. To respond to the research aims, the data generated included 40 (already assessed by their tutors) text-based assignments collected from the participants. The analysis used Pecorari and Shaw's (2012) typology as a starting point to explore the forms of intertextuality evident in the Arab students' writing. A second source of data was interviews with seven students from the same group of participants. The analysis made use of the MAXQDA data analysis software, including facilitating the textual analysis of intertextuality in the student texts and the thematic analysis of the interview transcripts. The findings suggest that unconventional use of sources does occur among this group of students, including over-reliance on sources, patchwriting, frequent use of direct quotation, and forms of paraphrasing that rely on synonym substitution. The study further suggests that unconventional use of sources may be explained by the students' past educational experiences in their Arab home contexts. This includes a lack of written culture, low readership in the region, culture of orality, acceptability of violations of copyright, and 'traditional' teaching practices in the educational systems of the region. The study also shows how the students' educational backgrounds created transition challenges for students when arriving in the academic setting in the UK. Finally, the study presents various strategies used by this group of students to adapt to the UK academic environment. The study contributes by presenting a four level framework of intertextuality, developed from the data in this study and extending on Pecorari and Shaw's typology. This includes intertextuality on the word, sentence, paragraph, and structure levels of the students' academic writing. This expanded view of intertextuality, including a level-based framework, enhances understanding of the forms of intertextuality prevalent in these students' texts, and highlights the specific challenges these Arab students have faced in their transition to become academic writers in the UK context. The thesis also concludes with what are the lessons, as evident from this study, for UK Universities in supporting Arab students.

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.

University of Technology, Sydney. Faculty of Education. / This thesis critically investigates how student writers cope with interdisciplinarity in business studies at postgraduate level. The corpus of knowledge student writers have to grapple with today seems to distance itself from the traditional mono-disciplinary contexts. Texts as well as the students who construct them are being continuously informed and conditioned by new values and imperatives of relatively new discursive practices. Hence, student academic writing(henceforward ‘student writing’) especially at postgraduate level can be regarded as a complex academic endeavour where students have to take up multiple writing positions. Analyzing student texts against the backdrop of the enormous intertextual and interdiscursive resources pertaining to interdisciplinarity is a major component of this thesis. Electivization of the curricula, on the other hand, while providing student writers with a wide range of choices, has created yawning gaps between what is commonly known as prior knowledge and what is yet to be learnt in the form of new knowledges. These epistemological considerations, i.e., how disciplinary knowledge is acquired, evaluated, contested, and strategically used also constitute an integral part of this research. Also of importance in the above contexts are the often lengthy and generically diverse assessment tasks students are required to accomplish within specific deadlines. The nature and structure of assignment topics and assessment tasks have in the past two decades or so undergone tremendous changes owing in large measure to disciplinary as well as socio-economic imperatives. Student writing has several dimensions in terms of the mode of assessment, egg. examination-based, presentation-based, research-based, observation-based. This thesis, however, will focus on research-based writing tasks. Based on the findings of this thesis, a paradigm called critical interdisciplinarity has been proposed in the concluding chapter of this thesis. Pedagogical and curricular considerations play a vital role in critical interdisciplinarity. By virtue of their encyclopaedic dimensions, knowledge domains relating to academic interdisciplinarity in student writing lend themselves to a wide range of future research projects. An attempt has been made here to critically explore only a tiny proportion of this inexhaustible repertoire of knowledge.

Thesis (Ph.D. (Afrikaans and Dutch))--North-West University, Potchefstroom Campus, 2007.

This dissertation attempts to research the construction of meaning through the analysis and interpretation of the multi-textual novel Memorandum: 'n verhaal met skilderve by Marlene van Niekerk and Adriaan van Zyl. Memorandum is an exceptionally multifaceted text in which various patterns overlap. Any adequate analysis and interpretation of the novel must pay due attention to the comprehensive and variegated processes of meaning generation that are simultaneously active in this very dense text. Given the fact that all themes and motives are kept relevant all the way through, there is a danger that the researcher might get lost and that the argument (s)he produces might become too vague. Therefore this study focuses on only four aspects, which will then also determine the structure of the dissertation: (1) the unusual and complex narrative structure of the text; (2) the wide variety of forms, spheres or dimensions of the representation of spaces; (3) the disseminating intertextual game; and (4) the textual manifestations of liminality, which include liminal persons, situations, processes and the innovative approach and style of the text with regard to the relation between text and paintings. The dissertation attempts to participate in and add to the ongoing conversation between word, image, structure and theory through utilising not only narrative theory and narrative methods (which include the basic theory for studying spaces in literary texts), but also intertextual and liminal theory, in order to add to accepted notions of textual boundaries. / Thesis (M.A. (Afrikaans and Dutch))--North-West University, Potchefstroom Campus, 2009.

Focusing on new-journalistic nonfiction novels by Truman Capote, Norman Mailer, and John Hersey, this dissertation conceptualizes the discursive practices of news-storytelling as a necessary matrix of storytelling and truthtelling activities. Despite the dominant postmodern emphasis on storytelling over truthtelling in such disciplines as literature, historiography, journalism, and legal studies, storytelling-in-the-discipline is also constrained by a set of assumptions and practices about what constitutes professional storytelling. Since news-stories report on events in a public arena where numerous competing stories abound, they are highly aware of other neighboring stories and so relate, compete, and negotiate with other stories to make their stories not merely repetitive but argumentative and re-tellable. As a socially regulated and conditioned discourse, news-storytelling in its enterprise is predicated upon different sets of discursive authorities, material conditions, and audience expectations, where various facts and interpretations are argued, tested, and judged. Chapter I briefly surveys the ways in which news-stories’ claim to referentiality is problematized and even stigmatized by the postmodern ethos of storytelling. Chapter II then explores the discursive dynamics of newsstories, which arise from the paradoxical status of being simultaneously news and a story. Particularly, this chapter highlights the discursive practice of “source marking” and “counter-storytelling” through which news-storytellers foreground their reliability as able researchers, analysts, and contenders. Chapter III discusses the issue of (inter-) textuality in the vectors of storyteller and the world, and examines how news-storytellers draw on, blend into, and counter competing and neighboring stories to situate their own stories in the web of intertextuality and to reinforce the competency, honesty, and quality of their news-stories. Chapter IV is a historical examination of a “transcript” mode, a particular discursive practice of news-storytellers, through which they try to uphold the empirical status of their news-stories. Chapter V concludes the dissertation by arguing that news-stories provide a clarifying vantage point from which to understand the transactions of historical discourse, where newsstorytelling replaces (story) knowledge with argument, poetics with rhetoric, and a story with a discourse.

published_or_final_version / abstract / Comparative Literature / Doctoral / Doctor of Philosophy

The volume of poetry Kleur kom nooit alleen nie (Colour never comes on its own) by Antjie Krog, is analysed extensively in this thesis. The main focus of the study is the way in which metaphors associated with boundaries, bordering, transgression and the crossing of boundaries are used to represent the struggle to come to terms with a traumatic past and to rethink new possibilities of co-existence in the future. In the poems the boundaries of the word, the text and the genre of poetry, as well as geographical and political boundaries and the boundaries of gender, especially the boundaries instituted by the patriarchal order, are challenged. The narration of alternative histories to supplement and correct documented history may also be considered as a boundary-crossing activity. Although colour is the most obvious metaphor of the divisions between people and is indeed used as the central metaphor throughout the volume, many other, sometimes more subtle examples of boundaries and bordering are explored and developed. There is for instance a strong focus on the psychological complexity of creativity and of writing poetry. The poet's withdrawal to a liminal zone which incorporates the almost spiritual dimension of her creative activities clearly forms a kind of leitmotiv in the collection. The text clearly suggests that the artist as a liminal figure achieves an enhanced ability to understand the forces at work in a community. Sharing the results of this insight from the liminal zone with the community implies that the artist can stimulate innovative processes which will obliterate boundaries and enable people to co-exist peacefully. Although the crossing of borders in most cases result in being wounded, there are also the possibilities of recovery and healing. The resultant scars are often regarded as strong identity-shaping features in people. Krog argues that language plays a decisive role in processes of reconciliation and that the text itself becomes a threshold area where different discourses interact and cross-fertilise one another. The structure of the thesis reflects the theoretical approach and is an attempt to present a balanced discussion of the aesthetic and the ideological aspects of Kleur kom nooit alleen nie as a poetic text. Appropriate theories are implemented to do justice to both the aesthetic qualities and the ideological undercurrents of single poems as well as the volume as such. Two discourses are therefore superimposed in order to present an adequate reading of this polyphonic and ambivalent text. 'The exploration of the varied manifestations of the boundary forms a continuous thematic line throughout the thesis but related themes such as identity, liminality and hybridity are also incorporated. On account of the postmodernistic nature of the text, the basic theoretical framework is that of literary postmodernism, with narrativity of the text, intertextuality, post-colonialism and feminism as its most significant manifestations. / Thesis (Ph.D. (Afrikaans and Dutch))--North-West University, Potchefstroom Campus, 2007.