The paper investigates the expression and translation of the author's textual persona in the popular science text Packing for Mars (Roach 2011). One chapter from this book is translated into Swedish and compared to a parallel translation of another text by Roach, as well as a translation of the novel Shantaram (Roberts 2003; 2007). The specific features under investigation are Roach's use of appositional constructions, first and second person pronouns, and unstandardised direct quotation. The paper argues for the contribution of these features to the expressive, personal and humorous nature of the text, and draws parallels to the genres of journalism and literary fiction. Translation choices are then discussed with reference to Ingo, Newmark, Venuti and others, with an emphasis on furthering the textual persona through an equivalent effect on the reader. The possibility of equivalent effect is questioned, and strategies such as compensation and consistency suggested as solutions when formal equivalents are lacking in the target language.

Si la parodie est loin d'être une pratique nouvelle, la première occurrence connue du terme remontant à l'Antiquité, elle a été jusqu'alors principalement envisagée comme un genre ou comme une figure littéraires. Et pourtant ses formes, ses connotations et ses procédés sont exploités par de nombreux artistes plasticiens. Dans les années 1960, l'avènement de la société de consommation et ses effets sur la reproductibilité de l'œuvre d'art donnent à la parodie un essor nouveau. Transformant l'histoire de l'art en un répertoire accessible dans lequel puiser à loisir pour créer à partir de, la reproductibilité offre des conditions idéales au jeu parodique. Comprendre comment et pourquoi des artistes d'horizons fort divers, des années 1960 à nos jours, se saisissent de la parodie, à des fins aussi bien personnelles que contextuelles, est l'objet de cette étude. État des lieux de la notion, la première partie s'attache à définir le terme et se penche sur les parodies réalisées depuis le milieu du XIXe siècle, des Salons caricaturaux au postmodernisme en passant par les avant-gardes historiques. La deuxième partie se construit autour du ludique, du comique et du satirique, compris comme autant de couleurs et de régimes. Enfin, la troisième partie est consacrée à la part réflexive de la parodie. Art sur l'art, cette dernière participe à une mise en cause institutionnelle et aspire à la dénudation du faire artistique lui-même. Tout au long de cette étude, la parodie apparaît comme une pratique essentiellement ambivalente, entre mauvais genre et pratique cultivée, gaminerie et jeu élitiste, dégénérescence de l'art et sursaut de créativité, destitution et aveu d'admiration, outrage et hommage. / The word parody has been coined during classical antiquity and has since been considered mostly as a literary genre or figure. Nevertheless, numerous plastic artists are making use of its forms, processes and connotations. During the 1960s decade, the advent of consumerism and its effects on the work of art duplicability gave a new rise to parody. Reproducibility allowed the transformation of history of arts into a vast repertoire in which one may draw to create from and thus, offered a fertile ground for parodic creation. This study focuses on understanding why and how such a wide range of artists are taking advantage of parody for personal or contextual ends from the 1960s to nowadays. The first part of this study is articulated around the precise definition of the term and a chronological view of the parodic art since the middle of the 19th century, from the Salons caricaturaux to postmodernism including historical avant- gardes. The notions of playfulness, comic and satiric will be discussed in the second part, in order to grasp the multiple shades of parody. The third and last part is devoted to the specular aspect of parody that leads to a questioning of the artistic institutions and aims to unveil the artistic practices themselves. Across these pages, parody appears as an ambivalent process, oscillating between mauvais genre and sophistication, childishness and elitism, barrenness and creative rebirth, destitution and admiration, outrage and tribute.

The motif of “the Prophet like Moses” plays an important role in John’s Gospel. This motif is from the promise of God about the eschatological Prophet who will disclose God’s will to the people in Dt 18:15, 18. The background of this motif is basically to be found in Dt 18:15, 18. The promise of God about this Prophet has a deep relationship with the Word of God. The reason, firstly, is that Dt 18:15, 18 indicates it. Secondly, the definition of a prophet is not a miracle worker or a soothsayer, but the deliverer of the Word of God. It is also used in the OT. Various people (Elijah, Jeremiah, Isaiah and Ezekiel) used the prophetic fomula of Dt 18:15, 18. The next step to study this motif is to find allustions to Dt 18:15, 18 in John’s Gospel. It can be divided into two groups. The one group is concerned with the word “prophet” that might presume “the Prophet like Moses” (Jn 1:21, 25, 45, 5:46, 6:14, 7:40, and 52). The other is concerned with the prophetic formula that was related to the Word of God (Jn 3:34, 5:19, 30, 8:26, 28, 40, 12:49, 14:10, 31, 16:13, 17:8, and 17:14). These allusions indicate that this motif is related to several Christological titles (the Christ, the Logos, the Son of God). The Christ was used in juxtaposition with the Prophet in John’s Gospel. The concept of the Christ is joined to the concept of the Prophet. In the case of the Logos, Jesus is the perfect “Prophet like Moses”, because he is a deliverer of the Word of God as well as the Word of God himself. In the case of the Son of God, Jesus knows the Father face to face like Moses, but perfectly, because the Son and the Father is one in John’s Gospel. John uses the motif of “the Prophet like Moses” in Dt 18:15, 18 as the connecting link between the Christological titles. The reason is firstly that it is the Prophet promised by God. Secondly, in the history of redemption, many people expected this Prophet. Lastly in Jesus’ era, this Prophet was considered to be the eschatological figure who would clarify the Son’s coming into the world as the Word of God. / Dissertation (MTh)--University of Pretoria, 2009. / New Testament Studies / unrestricted

This dissertation examines to what extent the transmission history of Codex Bezae’s Greek text of Acts shows awareness of the explicit quotations’ Old Testament origin, and to what extent this awareness played a role in the final formation of this manuscript’s text. The dissertation limits itself to explicit quotations from the Psalms, Isaiah and the Minor Prophets. Each explicit Old Testament quotation of these three books is discussed in the order of their appearance in Codex Bezae. In these discussions, special attention is paid to the layout of the text of the manuscript, the introductory formula of each explicit quotation and the text of each quotation as it appears in the codex. The aim of this discussion is to discern whether the variant readings and layout of the manuscript (i.e., variant as opposed to other Greek New Testament manuscripts) show Old Testament awareness or possible influence from the OT as opposed to the “initial” text of the New Testament. The variant readings of Codex Bezae are therefore measured against the pertinent Old Testament traditions (Hebrew, Greek and Latin). The aim of this investigation is to determine whether Old Testament awareness played any role in the formation of the text of Codex Bezae, not necessarily to solve textual difficulties in the given explicit quotations. By paying close attention to the awareness of the Old Testament in the Bezan tradition, an opportunity is afforded to glimpse into the stages of the transmission history of this text, to learn more about its users and the users of the text of previous manuscripts in its tradition, and to discover more about how the Old Testament was perceived in the early stages of Christianity. / Thesis (DD)--University of Pretoria, 2013. / gm2014 / New Testament Studies / unrestricted

Christopher Rouse (b. 1949), winner of the Pulitzer Prize for his Trombone Concerto (1993) and a Grammy award for his Concerto de Gaudi (1999), has come to the forefront as one of America's most prominent orchestral composers. Several of Rouse's works feature quotations of and strong allusions to other composers' works that are used both rhetorically and structurally. These borrowings range from a variety of different genres and styles of works, from Claudio Monteverdi's L'incoronazione di Poppea to Jay Ferguson's "Thunder Island." Due to the more accessible filtering and funneling methods of musical borrowings (proliferation of mass media), the weighty discourses attached to them, and their variety of functions (critiquing canons, engaging in an allusive tradition, etc.), quotation has become elevated to the most prominent of musical actors that trigger narrative listening strategies, which in turn have a stronger role in the formation of narratives about music as well as narratives of music. The primary aim of this study is to adapt and apply more recent methodological narrativity frameworks to selected instrumental compositions by Rouse containing quotations, suggesting that their manner of insertion, their method of disclosure, and their referential potential can benefit from being examined through various narrative lenses as well as reveal their participation in certain roles of narrative functions. For this study, I have chosen six instrumental works by Rouse for examination - the Violoncello Concerto, Symphony No. 1, Iscariot, String Quartet No. 2, Seeing, and Thunderstuck. On a more specific level, the aim of this study is to investigate the manner, meaning, and motive of the quoted material in a select group of Rouse's compositions through various narratological lenses. To accomplish this, I intend 1) to establish a context for understanding the musical borrowing procedures of Rouse; 2) to explore how works containing quotations can be examined through various narrativity frameworks; 3) to inspect the ways in which borrowings can enhance or clarify the structural design and stylistic musical features for which he is known; 4) to investigate the various meanings that are generated from his borrowings; 5) to consider the extent to which Rouse's musical borrowings comment on various discourses, and 6) to examine the psychological needs of certain narratives triggered by quotation and the various questions they pose. This study does not attempt to systematically unify the works of Rouse that contain borrowings under a kind of "grand theory" in narrativity or borrowing studies, but rather to examine each work individually, noting the particular roles that borrowings play in regards to narratives of and about music. Fundamentally, I claim that narrativizing about music is a foundational psychological and social impulse, aiding to serve our curiosities about music's otherness qualities. Using both narratives of and about music to frame analyses, I hope to make a small contribution to the growing methodological frameworks of narrativity by featuring works containing borrowings by one individual composer, suggesting that other comprehensive approaches in borrowing studies can used for future composers.

»Schreiben Sie Musik wie Wagner, nur lauter«, soll Samuel Goldwyn, Gründer der Filmproduktionsfirma Metro-Goldwyn-Mayer, einst von einem Filmkomponisten gefordert haben. Die Musik der klassisch-romantischen Epoche diente Filmkomponist_innen seit der frühen Stummfilmära als Fundgrube für ihre Scores, und die Beherrschung verschiedenster Stilistiken gehörte zu ihrem selbstverständlichen Handwerkszeug. Auch der deutsche Filmkomponist Rolf Wilhelm (1927–2013) knüpft in seiner Musik zu den beiden Loriot-Spielfilmen Ödipussi (1988) und Pappa ante portas (1991) an diese Tradition an. Wilhelm reichert seine Filmmusiken mit unzähligen motivischen Zitaten an, vornehmlich aus den Werken Richard Wagners, und setzt vielfältige Stilkopien ein. In diesem Artikel werden Wilhelms Vertonungsstrategien anhand ausgewählter Beispiele vorgestellt und deren charakteristische Wirkung beschrieben. / »Write music like Wagner, only louder,« Samuel Goldwyn, the founder of the film production company Metro-Goldwyn-Mayer, once demanded of a film composer. Film composers have used the music of the classical-romantic era as a quarry for their scores since the early days of silent film. The ability to compose in various styles was one of their basic skills. The German film composer Rolf Wilhelm (1927–2013) also draws on this tradition in his music for the two motion pictures by Loriot, Ödipussi (1988) and Pappa ante portas (1991). Wilhelm enriches his soundtracks with countless motivic quotations, primarily from Richard Wagner’s works, and uses a variety of stylistic copies. This essay presents selected examples of Wilhelm’s compositional strategies and describes their characteristic effects.

Problemformulering: Jämställdheten i bolagsstyrelser debatteras flitigt och företag jobbar aktivt med att öka andelen kvinnor. Inflödet av nya bolag och utflödet av bolag från Stockholmsbörsen påverkar andelen kvinnor i styrelserna totalt och denna effekt är inte tidigare analyserad. Outforskat är även hur fördelningen av oberoende och ägarberoende styrelseledamöter ser ut i de nylistade och avlistade bolagen. Vad dessa två parametrar har för effekter, vad jämställdhetsarbetet har för ursprung och vad som kan påverka könsfördelningen är aspekter som genom analys skulle kunna bidra med värdefulla insikter för det framtida arbetet för ökad jämställdhet i bolagsstyrelser. Syfte: Att studera in- och utflödet av bolag på Stockholmsbörsen för att se hur det påverkar det totala snittet när det gäller könsfördelningen i bolagsstyrelser. Genom intervjuer ämnar studien ge en djupare förståelse för frågans uppkomst samt att utifrån detta försöka ge relevanta rekommendationer gällande åtgärder och framtida forskning. Metod: I studien används både kvantitativ och kvalitativ metod för att uppfylla syftet. Detta innebär att både kvalitativ och kvantitativ metod har använts för datainsamlingen. Studien har en abduktiv ansats och tre olika designer för att nå en slutsats. Åtta semi-strukturerade intervjuer har genomförts för att komplettera den kvantitativa datainsamling som genomförts för nylistade och avlistade bolagen på Stockholmsbörsen. Slutsats: Både nylistade och avlistade bolag har en lägre andel kvinnor än de befintliga, vilket gör att effekterna i princip tar ut varandra. Andelen ägarberoende kvinnor i de nylistade bolagen är väldigt låg. Huvudägaren i ett bolag har stort inflytande på styrelsesammansättningen och att få kvinnor äger och grundar börsnoterade bolag förklarar delvis varför det ser ut som det gör. / Problem discussion: A question that is frequently discussed is the gender equality among board of directors in listed companies and how companies actively try to increase the average share of women. The newly listed and unlisted companies on Nasdaq’s Stockholm Exchange affects the total average share of women but the actual effect has never been analyzed before. The difference in gender allocation between independent and owner dependent board of directors in newly listed and unlisted companies are unexplored. The effect of these two categories of board of directors, the origin of the development in gender equality among the board of directors and what effects that can increase the gender equality are interesting to research. By analyzing these aspects, the study can contribute with valuable knowledge for the future development of more gender equal boards. Purpose: By researching the board of directors gender in the newly listed and unlisted companies on Nasdaq’s Stockholm Exchange the result can be compared to the gender of the existing board of directors. The study also analyzes the background to the average gender equality among the board of directors as well as potential recommendations to increase the average. Methodology: A mixed methods research has been used in order to fulfill the study’s purpose. This means that a mix of a quantative and a qualitative study has been used to collect data. The study has an abdutive approach as well as three different designs in order to accomplish the study’s purpose. Eight semi-structured interviews have been conducted to complement the data of the average gender equality among the board of directors gathered from the inflow and outflow of companies Nasdaq’s Stockholm Exchange. Conclusion: The study concludes that the newly listed and unlisted companies decrease the total average share of women on Nasdaq’s Stockholm Exchange, also the newly listed companies’ owner dependent directors is under represented among women. The majority share holders’ influence on the combination of board members is high and there are very few women who own and start listed companies which partly explains the underlying reason why the average gender equality is what it is today.

Esta tese reflete sobre as inquietações decorrentes da entrada e da presença, no ensino superior, de estudantes indígenas Tenetehara/Guajajara, povo Tupi-Guarani localizado na Amazônia Oriental no estado do Maranhão. É pela via etnográfica que este trabalho se constitui, através da observação participante, conversas informais e entrevistas, documentos, leis, portarias e resoluções referentes ao ensino superior para indígenas. A tese analisa duas experiências vivenciadas pelos índios: a primeira, na Universidade Federal do Maranhão(UFMA), e a segunda vivenciada no curso de Licenciatura Intercultural para Professores Indígenas da Educação Básica pela Universidade Estadual do Maranhão (UEMA). A partir dessas experiências, reflexões sobre indianidade, guerra, cultura com aspas são realizadas no presente trabalho. / This thesis reflects on the concerns about the entrance and presence in higher education of Tenetehara / Guajajara indigenous students, Tupi-Guarani people located in the Eastern Amazon in the state of Maranhão. It is through the ethnographic way that this work constitutes, through participant observation, informal conversations and interviews, documents, laws, ordinances and resolutions concerning higher education for indigenous people. The thesis analyzes two experiences lived by the Indians: the first, at the Federal University of Maranhão (UFMA), and the second one experienced in the Intercultural Licentiate course for Indigenous Teachers of Basic Education by the State University of Maranhão (UEMA). From these experiences, reflections on indianity, war, culture with quotation marks are carried out in the present work.

Esta tese reflete sobre as inquietações decorrentes da entrada e da presença, no ensino superior, de estudantes indígenas Tenetehara/Guajajara, povo Tupi-Guarani localizado na Amazônia Oriental no estado do Maranhão. É pela via etnográfica que este trabalho se constitui, através da observação participante, conversas informais e entrevistas, documentos, leis, portarias e resoluções referentes ao ensino superior para indígenas. A tese analisa duas experiências vivenciadas pelos índios: a primeira, na Universidade Federal do Maranhão(UFMA), e a segunda vivenciada no curso de Licenciatura Intercultural para Professores Indígenas da Educação Básica pela Universidade Estadual do Maranhão (UEMA). A partir dessas experiências, reflexões sobre indianidade, guerra, cultura com aspas são realizadas no presente trabalho. / This thesis reflects on the concerns about the entrance and presence in higher education of Tenetehara / Guajajara indigenous students, Tupi-Guarani people located in the Eastern Amazon in the state of Maranhão. It is through the ethnographic way that this work constitutes, through participant observation, informal conversations and interviews, documents, laws, ordinances and resolutions concerning higher education for indigenous people. The thesis analyzes two experiences lived by the Indians: the first, at the Federal University of Maranhão (UFMA), and the second one experienced in the Intercultural Licentiate course for Indigenous Teachers of Basic Education by the State University of Maranhão (UEMA). From these experiences, reflections on indianity, war, culture with quotation marks are carried out in the present work.

Made available in DSpace on 2016-03-15T19:48:37Z (GMT). No. of bitstreams: 1 Mario Sergio Batista.pdf: 720915 bytes, checksum: 988df68cb07cdee44ee8754d08f28bb4 (MD5) Previous issue date: 2007-08-13 / Fundo Mackenzie de Pesquisa / The aim of this thesis is analyzing the theme: The doctrine of justification by faith in John Calvin and in St. Bernard of Clairvaux: an approach from the perspective of Speech Analysis. It is based on principles of Speech Analysis and Argumentative Semantics as well, according to their principal theoretic thinkers, e.g., Dominique Maingueneau, Eni P. Orlandi, Ingedore G. Villaça Koch and José Luiz Fiorin. The main text used is John Calvin s Institutes of the Christian Religion, specially the Book III, where Calvin speaks about Justification by Faith. The point of this research was to discover the meaning and the effects of sense which come from the construction and reconstruction of argumentative force in the use of St. Bernard of Clairvaux s quotations made by John Calvin in his texts, acknowledging that in doing so, Calvin was trying to validate his teachings to his addressers. In order to get this point I ve worked with the discursive formation expressing the ideology of the speaker and the ideas of places of both the speaker and the addresser as well. / Este trabalho pretende analisar o tema: A doutrina da justificação pela fé em João Calvino e São Bernardo de Claraval: uma abordagem na perspectiva da Análise do Discurso, baseando-se nos princípios metodológicos da Análise do Discurso e aspectos da Semântica Argumentativa, de acordo com alguns teóricos da área, como: Dominique Maingueneau, Eni P. Orlandi, Ingedore G. Villaça Koch, e José Luiz Fiorin. Os textos que serviram de base estão registrados na obra Institutas da Religião Cristã, de João Calvino, especificamente no Livro III, com destaque à doutrina da justificação pela fé. O objetivo desta pesquisa foi o de descobrir a significação e os efeitos de sentido que surgem a partir da construção e reconstrução da força argumentativa no uso das citações que João Calvino faz de São Bernardo de Claraval em seus textos, reconhecendo que ao recorrer a tal prática a intenção argumentativa de Calvino era a de validar o seu ensino diante dos seus enunciatários. Por isso, se trabalhou com a formação discursiva que expressa à ideologia do falante e as idéias de lugares tanto do sujeito-enunciador como do enunciatário.