Thesis (Ph. D.)--West Virginia University, 2008. / Title from document title page. Document formatted into pages; contains vii, 283 p. Vita. Includes abstract. Includes bibliographical references (p. 267-280).

Thesis (M. A.)--Ohio State University, 2008. / Title from first page of PDF file. Includes bibliographical references (p. 106-123).

Thesis (MEd)--University of Melbourne, Graduate School of Education, 2009. / Typescript. Includes bibliographical references (p. 183-202)

Thesis (Ph. D.)--Florida State University, 2005. / Advisor: Alejandro J. Gallard, Florida State University, College of Education, Dept. of Middle and Secondary Education. Title and description from dissertation home page (viewed Jan. 24, 2006). Document formatted into pages; contains xii, 178 pages. Includes bibliographical references.

Thesis (Ph. D.)--Illinois State University, 1998. / Title from title page screen, viewed July 6, 2006. Dissertation Committee: Maurice Scharton (chair), Bruce Hawkins, Janice Neuleib. Includes bibliographical references (leaves 251-260) and abstract. Also available in print.

Thesis (M.Des.)--Victoria University of Wellington, 2006. / Includes bibliographical references.

Thesis (Ph.D.)--York University, 2005. Graduate Programme in Political Science. / Typescript. Includes bibliographical references (leaves 190-206). Also available on the Internet. MODE OF ACCESS via web browser by entering the following URL: http://wwwlib.umi.com/cr/yorku/fullcit?pNR11627

Thesis (Ph.D.)--York University, 2005. Graduate Programme in Social and Political Thought. / Typescript. Includes bibliographical references (leaves 452-455). Also available on the Internet. MODE OF ACCESS via web browser by entering the following URL: http://wwwlib.umi.com/cr/yorku/fullcit?pNR11593

Orientador: Rosemary Arrojo / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem / Made available in DSpace on 2018-08-02T13:15:47Z (GMT). No. of bitstreams: 1 Siqueira_AnaMaria_M.pdf: 4243532 bytes, checksum: 6181e7874b6f463c303d5b4037d6d070 (MD5) Previous issue date: 2002 / Resumo: O objeto desta pesquisa é a noção de texto na reflexão do tradutor e teórico da tradução norte-americano Lawrence Venuti, cujo nome tomou-se uma referência nos estudos da tradução em virtude da repercussão de suas idéias sobre a (in)visibilidade do tradutor na cultura anglo-americana contemporânea (Estados Unidos e Reino Unido). Esta pesquisa procura mostrar que existem aspectos conflitantes, em relação à textualidade, na obra desse teórico que afIrma considerar o pensamento pós-estruturalista e a instabilidade textual ao refletir sobre a tradução. Partindo dessa mesma perspectiva - considerando principalmente a reflexão empreendida por Jacques Derrida - esta dissertação pretende mostrar que Venuti supõe a estabilidade do texto tanto ao descrever a sua visão particular sobre a tradução, quanto ao formular propostas com a intenção de modifIcar a prática tradutória dentro da cultura anglo-americana, e que, portanto, não assume uma postura pósestruturalista até as últimas conseqüências / Abstract: This is a study on the concept of text in Lawrence Venuti's thinking about translation. Venuti is both a translator and a translation theorist whose name has become widely known because of his ideas about the translator's "invisibility" in contemporary Anglo-American culture. He especially refers to the United Kingdom and the United States. From a poststructuralist perspective, particularly from Jacques Derrida' s thinking, this study intends to show that there are some conflicting textual aspects in Venuti' s thinking. Although he states that he follows the ideas of poststructuralist thinkers about textual instability to rethink translation, his 'theory" as well as his strategies to write translations seem to be based on textual stability. Thus it seems that this theorist does not follow poststructuralism to its ultimate consequences / Mestrado / Mestre em Linguística Aplicada

This dissertation analyzes the theory and practice of the Cuban postmodern writer Severo Sarduy (1937-1993) from his early adult years in Cuba to his exile period in Paris, France, where he lived until his death. By studying his narrative through the light of his theoretical essays, this paper demonstrates that the author created his own type of reading model –from and for Sarduy. His literary work is influenced by three major elements: (post)structuralism, psychoanalysis, and Buddhism, which combined form what Sarduy himself called the Neobarroque style. The Sarduyan writing is a transgressive exercise expressed through his concept of simulación. This style breaks with the traditional art concept of mimesis (the representation of reality in the western world), and therefore with the correspondence between the signifier and the signified. Sarduy does not intend to represent reality but to go beyond it, achieving, by his technique of signifying exhaustion, to represent absence itself. The Neobarroque of Severo Sarduy is an aesthetic of the empty signifier based on the reckless expenditure, and ultimately exhaustion, of the artifices of language that precipitates in a signifier chain towards the infinite. His language does not transmit a message but it signifies itself, that is, a means without an end. Paradoxically, this signifier chain produces an excess of metaphors beyond the material limits of language and its support, the page. The space beyond language is the hipertelic technique inherited by Sarduy from his literary master, José Lezama Lima. This is also the empty space of no signification or nonsense in which occurs the depersonalization of the speaking subject; in Buddhist terminology this becomes the dissolution of the ego. The Sarduyan language is determined by a Lacanian psychoanalytic erotic drive (pulsion) known as the Barroquean desire, a death drive which directly relates to the exile condition of the author. But the genesis of this desire lies in a primordial desire of encounter with his origin: mother, maternal language, paradise, God. That is the reason why Sarduy not only poses an aesthetic question but also an ontological one. This other dimension of the Sarduyan writing is based on a liberating drive that permeates all his work –an ontological liberation expressed through language. The empty space created in the text provides the subject with the possibility of fusion with the all. Ultimately, Sarduy strives for a language that goes beyond the symbolic limits towards a place of constant dissolution, evanesce, and death –horror vacui.