Este trabalho se propõe a analisar um grupo de oito obras de minha trajetória artística que se constroem enquanto respostas autorais a leituras de obras de outros artistas e autores. As concepções de leitura e autoria tanto se chocam, produzindo o termo leitoria, quanto se afastam, explorando os diversos matizes entre as duas tarefas. A reunião das obras no solo conceitual proposto é posterior às suas realizações em situações e tempos distintos. Desvinculadas de seus contextos originais, fundam uma nova vizinhança que salienta os seus aspectos comuns, já que se agregam aqui por afinidade. Não se pretende, com isso, reduzir as obras à narrativa desenhada, mas multiplicar as possibilidades de leitura que compreendem, evidenciando assim a singularidade com que cada uma se relaciona com o discurso produzido. Para tratar os múltiplos deslocamentos traçados entre obras, autores, textos e contextos, a tese lança mão de diferentes concepções de tradução, entendida como uma ação complexa e que reivindica visibilidade. Finalmente, o texto busca demonstrar a relação problemática com o ambiente acadêmico onde se inscreve ao abordar a ideia de pesquisa artística e as contradições que o tema abriga no cenário da arte contemporânea. / This thesis analyses a group of eight works of my artistic career which were thought of as authorial responses to readings of works by other artists and authors. The conceptions of reading and authorship colapse, creating the expression leitoria (reawriting); as well as expand the space between them, exploring several hues of that distance. Gathering these works on this conceptual ground is posterior to the specific times and situations for which they were designed. Dettached from their original contexts, they structure a new propinquity which emphasises what they share in common, since they are here joined by affinity. The intention is not to reduce the works to the given narrative, but multiply the possibilities of readings they comprehend, bringing light to the singularities with which they relate to the discourse created. To approach the multiple relations drawn among works, authors, texts and contexts, the thesis uses different conceptions of translation, understood as a complex task which claims visibility. Finally, the text brings about the problematic relation between artistic research and the academic field where this work is inscribed, approaching the contradictions this issue hosts in the contemporary art scene.

Este trabalho se propõe a analisar um grupo de oito obras de minha trajetória artística que se constroem enquanto respostas autorais a leituras de obras de outros artistas e autores. As concepções de leitura e autoria tanto se chocam, produzindo o termo leitoria, quanto se afastam, explorando os diversos matizes entre as duas tarefas. A reunião das obras no solo conceitual proposto é posterior às suas realizações em situações e tempos distintos. Desvinculadas de seus contextos originais, fundam uma nova vizinhança que salienta os seus aspectos comuns, já que se agregam aqui por afinidade. Não se pretende, com isso, reduzir as obras à narrativa desenhada, mas multiplicar as possibilidades de leitura que compreendem, evidenciando assim a singularidade com que cada uma se relaciona com o discurso produzido. Para tratar os múltiplos deslocamentos traçados entre obras, autores, textos e contextos, a tese lança mão de diferentes concepções de tradução, entendida como uma ação complexa e que reivindica visibilidade. Finalmente, o texto busca demonstrar a relação problemática com o ambiente acadêmico onde se inscreve ao abordar a ideia de pesquisa artística e as contradições que o tema abriga no cenário da arte contemporânea. / This thesis analyses a group of eight works of my artistic career which were thought of as authorial responses to readings of works by other artists and authors. The conceptions of reading and authorship colapse, creating the expression leitoria (reawriting); as well as expand the space between them, exploring several hues of that distance. Gathering these works on this conceptual ground is posterior to the specific times and situations for which they were designed. Dettached from their original contexts, they structure a new propinquity which emphasises what they share in common, since they are here joined by affinity. The intention is not to reduce the works to the given narrative, but multiply the possibilities of readings they comprehend, bringing light to the singularities with which they relate to the discourse created. To approach the multiple relations drawn among works, authors, texts and contexts, the thesis uses different conceptions of translation, understood as a complex task which claims visibility. Finally, the text brings about the problematic relation between artistic research and the academic field where this work is inscribed, approaching the contradictions this issue hosts in the contemporary art scene.

Reading of messenger RNA (mRNA) by aminoacyl-tRNAs (aa-tRNAs) on the ribosomes in the bacterial cell occurs with high accuracy. It follows from the physical chemistry of enzymatic reactions that there must be a trade-off between rate and accuracy of initial tRNA selection in protein synthesis: when the current accuracy, the A-value, approaches its maximal possible value, the d-value, the kinetic efficiency of the reaction approaches zero. We have used an in vitro system for mRNA translation with purified E. coli components to estimate the d- and A-values by which aa-tRNAs discriminate between their cognate and near cognate codons displayed in the ribosomal A site. In the case of tRNALys, we verified the prediction of a linear trade-off between kinetic efficiency of cognate codon reading and the accuracy of codon selection. These experiments have been extended to a larger set of tRNAs, including tRNAPhe, tRNAGlu, tRNAHis, tRNACys, tRNAAsp and tRNATyr, and linear efficiency-accuracy trade-off was observed in all cases. Similar to tRNALys, tRNAPhe discriminated with higher accuracy against a particular mismatch in the second than in the first codon position. Remarkably high d-values were observed for tRNAGlu discrimination against a C-C mismatch in the first codon position (70 000) and for tRNAPhe discrimination against an A-G mismatch in the second codon position (79 000). At the same time, we have found a remarkably small d-value (200) for tRNAGlu misreading G in the middle position of the codon (U-G mismatch). Aminoglycoside antibiotics induce large codon reading errors by tRNAs. We have studied the mechanism of aminoglycoside action and found that the drug stabilized aminoacyl-tRNA in a codon selective in relation to a codon non-selective state. This greatly enhanced the probability of near cognate aminoacyl-tRNAs to successfully transcend the initial selection step of the translating ribosome. We showed that Mg2+ ions, in contrast, favour codon non-selective states and thus induce errors in a principally different way than aminoglycosides.  We also designed experiments to estimate the overall accuracy of peptide bond formation with, including initial selection accuracy and proofreading of tRNAs after GTP hydrolysis on EF-Tu. Our experiments have now made it possible to calibrate the accuracy of tRNA selection in the test tube to that in the living cells. We will now also be able to investigate the degree to which the accuracy of tRNA selection has been optimized for maximal fitness.

Evidence of systematic misreading has been taken to argue that language processing is noisy, and that readers take noise into consideration and therefore sometimes interpret sentences non-literally (rational inference over a noisy channel). The present study investigates one specific misreading phenomenon: failure to notice word transpositions in a sentence. While this phenomenon can be explained by rational inference, it also has been argued to arise due to parallel lexical processing. The study explored these two accounts. Visual, lexical, and syntactic properties of the two transposed words were manipulated in three experiments. Failure to notice the transposition was more likely when both words were short, and when readers' eyes skipped, rather than directly fixated, one of the two words. Failure to notice the transposition also occurred when one word was long. The position of ungrammaticality elicited by transposition (the first vs. second transposed word) influenced tendency to miss the error; the direction of the effect, however, depended on word classes of the transposed words. Failure of detection was not more likely when the second transposed word was easier to recognize than the first transposed word. Finally, readers’ eye movements on the transposed words revealed no disruption in those trials when they ultimately accepted the sentence to be grammatical. We consider the findings to be only partially supportive of parallel lexical processing and instead propose that word recognition is serial, but integration is not perfectly incremental, and that rational inference may take place before an ungrammatical representation is constructed.

nÃo hà / Este trabalho propÃe-se a investigar a presenÃa do Hamlet (1600-01), de William Shakespeare (1564-1616), em alguns textos de Machado de Assis (1839-1908). Procuramos compreender como o escritor brasileiro (des)leu a peÃa do dramaturgo inglÃs e a usou em sua criaÃÃo individual. Intentamos expor a pertinÃncia da leitura de Hamlet feita por Machado para a construÃÃo de alguns de seus textos, a saber, a DedicatÃria e o prefÃcio âAo leitorâ, de MemÃrias pÃstumas de BrÃs Cubas (1881), os contos âTo be or not to beâ (1876) e âA cartomanteâ (1896) e a crÃnica âA cena do cemitÃrioâ (1894). TraÃamos o percurso da obra shakespeariana â principalmente Hamlet â atravÃs da sua recepÃÃo elisabetana, neoclassicista e romÃntica. Sob o influxo do Romantismo, Shakespeare ficou conhecido no nosso paÃs. Machado de Assis foi leitor das obras do dramaturgo inglÃs e expectador de apresentaÃÃes teatrais de peÃas shakespearianas. Conforme sua literatura e crÃtica literÃria revelam, o escritor carioca foi entusiasta das criaÃÃes de Shakespeare. Acreditamos que poemas, contos, romances e peÃas nasceram como uma resposta a poemas, contos, romances e peÃas anteriores, e essa resposta dependeu de atos de leitura e interpretaÃÃo por escritores posteriores. Defendemos a tese de que a escritura de Machado de Assis à resposta à leitura de Shakespeare, destacadamente a peÃa Hamlet. Procuramos demonstrar que Machado de Assis apropria-se da obra shakespeariana, com a convicÃÃo de que o romancista brasileiro deslà a obra de seu precursor, Shakespeare, em sua prÃpria escrita. Utilizamos o conceito de desleitura segundo Harold Bloom (1991), ou seja, como apropriaÃÃo de uma obra anterior por meio de uma correÃÃo criativa, ou uma interpretaÃÃo distorcida. Analisaremos os textos machadianos acima listados, em que Shakespeare mostra-se evidente, e os compararemos ao Hamlet do autor inglÃs, partindo da ideia de que esses textos nÃo existiriam se Machado de Assis nÃo tivesse lido a obra shakespeariana.

Submitted by Renata Lopes (renatasil82@gmail.com) on 2016-09-08T14:41:50Z No. of bitstreams: 1 joaofelipealvesdeoliveira.pdf: 577829 bytes, checksum: b2de9e03bdd11958736e04bbb62d0b29 (MD5) / Approved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2016-10-04T12:32:17Z (GMT) No. of bitstreams: 1 joaofelipealvesdeoliveira.pdf: 577829 bytes, checksum: b2de9e03bdd11958736e04bbb62d0b29 (MD5) / Approved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2016-10-04T12:32:32Z (GMT) No. of bitstreams: 1 joaofelipealvesdeoliveira.pdf: 577829 bytes, checksum: b2de9e03bdd11958736e04bbb62d0b29 (MD5) / Made available in DSpace on 2016-10-04T12:32:32Z (GMT). No. of bitstreams: 1 joaofelipealvesdeoliveira.pdf: 577829 bytes, checksum: b2de9e03bdd11958736e04bbb62d0b29 (MD5) Previous issue date: 2011-12-07 / CAPES - Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / A presente dissertação intenciona abordar o livro de contos Inquieta Companhia (2004), do escritor mexicano Carlos Fuentes, sob o prisma da literatura fantástica. No entanto, ao invés de simplesmente tentar enquadrar tais relatos no gênero em foco, e assim obedecer a critérios de filiação, optaremos por trabalhar com a noção de diálogo literário, postura que o próprio autor incentiva na percepção crítica de suas obras. Tendo isso em vista, analisaremos o estatuto do conto fantástico na contemporaneidade, esclarecendo como essa modalidade narrativa se transformou e se reconfigurou na transição do séc. XIX para o séc. XX, gerando representações literárias diferenciadas. Portanto, desvelando as potencialidades do fantástico hoje, tentaremos estabelecer como o livro de Fuentes se constitui como uma manifestação revitalizadora da tipologia literária em questão, articulada através do diálogo literário e do jogo ficcional. A leitura dos contos será alicerçada em três preceitos teóricos principais: as noções de herança literária e de tradição, segundo o escritor argentino Jorge Luis Borges, e o conceito de desleitura, do crítico norte-americano Harold Bloom. / This dissertation aims to approach the collection of short stories Disturbing Company (2004), by the Mexican writer Carlos Fuentes, analyzing it through the prism of the fantastic literature. However, rather than simply trying to affiliate the stories to the genre in question, and thus obeying affiliation criteria, we choose to work with the notion of literary dialogue, which is the point of view the author himself encourages to the critical perception of his work. From this reason, we will analyze the position of the fantastic short story in contemporaneity, clarifying its reconfiguration during the transition of the nineteenth century to the twentieth, which generated atypical literary representations. Therefore, unveiling the potentiality of the fantastic genre in the present days, we will try to establish how the book of Fuentes is a revitalizing manifestation of fantastic literature, and how it is articulated through the literary dialogue and the fictional game. The reading of the stories will be based on three main concepts: the notions of literary heritage and of tradition, according to the Argentine writer Jorge Luis Borges, and the concept of Misreading, conceived by the North-American critic Harold Bloom.

No description available.

In this essay I study the intertextual connections between The Line of Beauty by Alan Hollinghurst and The Spoils of Poynton by Henry James. Using the critic Harold Bloom’s theories about misreading, as well as other theories on intertextuality by Roland Barthes, I examine how the intertextual connections between Hollinghurst’s protagonist Nick Guest and James’s main character Fleda Vetch present themselves. I discuss allusion, especially focusing on how the disappointments of the principal characters in both works mirror one another. Furthermore, using Bloom’s framework, I examine how Henry James is a precursor to Hollinghurst, and how Hollinghurst becomes an ephebe to James. I follow this idea, and I support it by exploring the many references to James’s writing in the Line of Beauty. Ultimately, I argue that Hollinghurst’s misreading of James leads to his supplanting him through the process named kenosis by Bloom.

This dissertation challenges the standard view that fifteenth-century poets wrote irregular meters in artless imitation of Chaucer. On the contrary, I argue that Chaucer’s followers deliberately misread his meter in order to challenge his authority as a laureate. Rather than reproduce that meter, they reformed it, creating three distinct meters that vied for dominance in the first decades of the fifteenth century. In my analysis of 40,655 decasyllables written by poets other than Chaucer, I show that the fifteenth century was not the metrical wasteland so often depicted by editors and critics but an age of radical experimentation, nuance, and prosodic cunning. In Chapter One I present evidence against the two standard explanations for a fifteenth-century metrical collapse: cultural depression and linguistic instability. Chapter Two outlines an alternative framework to the statistical and linguistic methods that have come to dominate metrical studies. In their place I propose an interdisciplinary approach that combines the two techniques with cognitive science, using a reader-oriented, brain-based model of metrical competence to reframe irregular rhythms as problems that readers solve. Chapter Three applies this framework to Chaucer’s meter to show that the poets who inherited his long line exploited its soft structure in order to build competing meters; in that chapter I also argue that Chaucer did not write in iambic pentameter, as is generally assumed, but in a “footless” decasyllabic line modeled on the Italian endecasillibo. Chapter Four explores metrical reception; by probing scribal responses to Chaucer’s meter we can gain insight into how fifteenth-century readers heard it. Chapters Five through Seven investigate three specific acts of reception by poets: those of John Walton, Thomas Hoccleve, and John Lydgate. I conclude the dissertation by tracing the influence of Hoccleve and Lydgate on the later fifteenth-century poets George Ashby, Osbern Bokenham, and John Metham, and by identifying the eclipse of fifteenth-century meter with the Tudor poets Stephen Hawes and Alexander Barclay, who replaced a misreading of Chaucer’s meter with a misreading of Lydgate’s, inadvertently returning sixteenth-century poets to an alternating decasyllable reminiscent of Chaucer’s own meter. / text

Title from first page of PDF document. Includes bibliographical references (p. 58).