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A partir da noção sociocognitiva de língua, texto e gênero do discurso, bem como do processo de referenciação (KOCH, 2009b, CORTEZ, 2003; TEDESCO, 2002, RONCARATI, 2010), o presente trabalho tem por objeto de estudo o samba-enredo (ou samba de enredo), cuja origem é o samba, sendo este um ritmo trazido pelos negros africanos escravizados no Brasil. A partir de um corpus formado por 161 letras de samba-enredo (abrangendo um período que se estende de 1954 a 2010) que trazem como tema alguém ou algo relacionado ao universo africano e/ou afro-brasileiro, ou que pelo menos tangenciem a questão da negritude e afrodescendência, desejamos atingir três objetivos no decorrer dessa pesquisa, quais sejam: a) observar como ocorre o processo de referenciação, isto é, como o referente negro (ou outro termo semanticamente próximo) é ativado, reativado ou desativado em 129 cadeias referenciais, que é um construto linguístico-cognitivo relevante para a formação dos sentidos de um texto; b) quantificar a frequência da temática africana e/ou afrodescendente nos sambas selecionados; c) observar com que frequência um SN complexo é utilizado para introduzir uma cadeia referencial, de modo a imprimir uma marca argumentativa na forma de referir escolhida pelos autores do texto / Based on the sociocognitive notion of language, text and discourse gender, as well as the process of referentiation (KOCH, 2009b, CORTEZ, 2003; TEDESCO, 2002, RONCARATI, 2010), the present research focuses at samba-enredo (or samba de enredo, a kind of musical poem to be sung during the Samba Schools Parade, in Brazil), which is one of the variations of samba, a musical rhythm brought by African black people from different nations during the slavery centuries in Brazil. We gathered a corpus containing 161 samba-enredo compositions (covering a period that starts in 1954 and ends in 2010). These texts have someone or something that belongs to the African or Afro-Brazilian world, or, at least, they should mention these issues. Thus, it is our aim to achieve three objectives throughout this research: a) to observe how the process of referentiation is unfolded, that is, how the referent negro (black), or any other semantically close word, is activated, reactivated or desactivated in 129 referential chains, which are a relevant linguistic and cognitive construct to the meaning of a text; b) to quantify the frequency of African and/or Afro-Brazilian issues in the selected lyrics; c) to observe how often a complex NP (noun phrase) is used to introduce a referential chain, so that an argumentative mood is impressed on the lexical selection carried out by the writers of the songs

A partir da noção sociocognitiva de língua, texto e gênero do discurso, bem como do processo de referenciação (KOCH, 2009b, CORTEZ, 2003; TEDESCO, 2002, RONCARATI, 2010), o presente trabalho tem por objeto de estudo o samba-enredo (ou samba de enredo), cuja origem é o samba, sendo este um ritmo trazido pelos negros africanos escravizados no Brasil. A partir de um corpus formado por 161 letras de samba-enredo (abrangendo um período que se estende de 1954 a 2010) que trazem como tema alguém ou algo relacionado ao universo africano e/ou afro-brasileiro, ou que pelo menos tangenciem a questão da negritude e afrodescendência, desejamos atingir três objetivos no decorrer dessa pesquisa, quais sejam: a) observar como ocorre o processo de referenciação, isto é, como o referente negro (ou outro termo semanticamente próximo) é ativado, reativado ou desativado em 129 cadeias referenciais, que é um construto linguístico-cognitivo relevante para a formação dos sentidos de um texto; b) quantificar a frequência da temática africana e/ou afrodescendente nos sambas selecionados; c) observar com que frequência um SN complexo é utilizado para introduzir uma cadeia referencial, de modo a imprimir uma marca argumentativa na forma de referir escolhida pelos autores do texto / Based on the sociocognitive notion of language, text and discourse gender, as well as the process of referentiation (KOCH, 2009b, CORTEZ, 2003; TEDESCO, 2002, RONCARATI, 2010), the present research focuses at samba-enredo (or samba de enredo, a kind of musical poem to be sung during the Samba Schools Parade, in Brazil), which is one of the variations of samba, a musical rhythm brought by African black people from different nations during the slavery centuries in Brazil. We gathered a corpus containing 161 samba-enredo compositions (covering a period that starts in 1954 and ends in 2010). These texts have someone or something that belongs to the African or Afro-Brazilian world, or, at least, they should mention these issues. Thus, it is our aim to achieve three objectives throughout this research: a) to observe how the process of referentiation is unfolded, that is, how the referent negro (black), or any other semantically close word, is activated, reactivated or desactivated in 129 referential chains, which are a relevant linguistic and cognitive construct to the meaning of a text; b) to quantify the frequency of African and/or Afro-Brazilian issues in the selected lyrics; c) to observe how often a complex NP (noun phrase) is used to introduce a referential chain, so that an argumentative mood is impressed on the lexical selection carried out by the writers of the songs

A exposição ao ambiente social humano ofereceu aos cães um nicho especial para desenvolver habilidades socio-comunicativas para cooperar com o ser humano. Tem sido exaustivamente estudada a habilidade dos cães de usar sinais comunicativos do ser humano. O presente estudo levanta uma questão sobre a produção de sinais pelos cães para se comunicar com o ser humano: Os cães são capazes de se comunicar usando sinais direcionados a algum item de interesse no ambiente e com intenção de manipular seus tutores de tal forma a recebê-lo? Como intencionalidade não é possível de mensurar, alguns critérios operacionais podem ser considerados como requisitos para qualificar um sinal comunicativo como funcionalmente referencial e intencional: o sinal deve ser usado socialmente (para ser, antes de mais nada, considerado um sinal comunicativo) e influenciado pela direção da atenção visual do receptor; além disso o emissor do sinal deve apresentar alternância de olhares entre o receptor e o objeto ou evento a ser comunicado e comportamentos de chamar a atenção, e, finalmente, o emissor deve persistir e elaborar a comunicação quando a primeira tentativa de manipular o receptor falhar. Cães foram submetidos a um estudo experimental em que eles podiam ver uma comida desejável mas precisavam da cooperação de seus tutores para recebêla. Manipulando a presença/ausência do tutor/comida, a posição da comida (em dois possíveis lugares), a direção da atenção visual do tutor e o comportamento do tutor quanto ao resultado do pedido (dar a comida, metade da comida ou uma comida indesejável) após um período em que os cães comunicavam a comida, pudemos investigar se esses critérios de referencialidade xv e intencionalidade eram válidos para os cães. Foram encontradas evidências de que os cães usam comportamentos, especialmente a alternância de olhares entre o tutor e comida, como sinais comunicativos de uma maneira funcionalmente referencial e intencional. O presente e exaustivo estudo confirma e atualiza estudos anteriores; ele também enfatiza que diferentes cenários podem levar a diferenças nos comportamentos referenciais e intencionais dos cães. Assim como em outros estudos sobre cognição social em animais, esse estudo não permite separar se os comportamentos adaptativos dos cães baseiam-se em mecanismos simples ou em uma teoria da mente do seu tutor; ainda assim, ele mostra nos cães propriedades dos comportamentos comunicativos similares aos dos pongídeos que vivem em cativeiro / The exposure to the humans social environment provided a special niche for dogs to develop socio-communicative skills to cooperate with human. It has been exhaustive studied the ability of dogs to use humans communicative signals. The current study arises a question about the production of signals by dogs to communicate with humans: are dogs able to communicate by using directional signals toward some desirable entity in the environment and with intention to manipulate their owners behavior in order to receive it? Since intentionality is not possible to be measured, some operational criteria can be considered as a requirement to qualify a communicative signal as functionally referential and intentional: the signal should be used socially (to be, first of all, considered as a communicative signal) and influenced by the recipients visual direction of attention; moreover the sender of the signal should display gaze alternations between the recipient and the object or event to be communicated and getting-attention behaviors, and, finally, the sender should persist and elaborate the communication when the first attempt to manipulate the recipient failed. Dogs were submitted to an experimental study in which they could see a desirable food but they need their owners cooperation in order to receive it. By manipulating the presence/absence of the owner/food, the position of the food (in two possible places), the owners visual direction of attention and the owners behavior regarding the outcome of the request (providing the food, half food or undesirable food) after a period that dogs communicated about the food, we could investigate whether these criteria of referentiality and intentionally were validated for dogs. It was found evidences that dogs use behaviors, especially gaze alternation between the xiii owner and the food, as communicative signals in a functionally referential and intentional way. The present exhaustive work confirms and upgrades previous results; it also highlights that different set ups can lead to some differences of referential and intentional communicative behaviors in dogs. As for other studies of social cognition in animals, it does not allow disentangling whether the dogs adaptive behaviors are based on simple mechanisms or on a theory of mind of their owners; still, it shows in dogs similar properties of communicative behaviors than in captive apes

A exposição ao ambiente social humano ofereceu aos cães um nicho especial para desenvolver habilidades socio-comunicativas para cooperar com o ser humano. Tem sido exaustivamente estudada a habilidade dos cães de usar sinais comunicativos do ser humano. O presente estudo levanta uma questão sobre a produção de sinais pelos cães para se comunicar com o ser humano: Os cães são capazes de se comunicar usando sinais direcionados a algum item de interesse no ambiente e com intenção de manipular seus tutores de tal forma a recebê-lo? Como intencionalidade não é possível de mensurar, alguns critérios operacionais podem ser considerados como requisitos para qualificar um sinal comunicativo como funcionalmente referencial e intencional: o sinal deve ser usado socialmente (para ser, antes de mais nada, considerado um sinal comunicativo) e influenciado pela direção da atenção visual do receptor; além disso o emissor do sinal deve apresentar alternância de olhares entre o receptor e o objeto ou evento a ser comunicado e comportamentos de chamar a atenção, e, finalmente, o emissor deve persistir e elaborar a comunicação quando a primeira tentativa de manipular o receptor falhar. Cães foram submetidos a um estudo experimental em que eles podiam ver uma comida desejável mas precisavam da cooperação de seus tutores para recebêla. Manipulando a presença/ausência do tutor/comida, a posição da comida (em dois possíveis lugares), a direção da atenção visual do tutor e o comportamento do tutor quanto ao resultado do pedido (dar a comida, metade da comida ou uma comida indesejável) após um período em que os cães comunicavam a comida, pudemos investigar se esses critérios de referencialidade xv e intencionalidade eram válidos para os cães. Foram encontradas evidências de que os cães usam comportamentos, especialmente a alternância de olhares entre o tutor e comida, como sinais comunicativos de uma maneira funcionalmente referencial e intencional. O presente e exaustivo estudo confirma e atualiza estudos anteriores; ele também enfatiza que diferentes cenários podem levar a diferenças nos comportamentos referenciais e intencionais dos cães. Assim como em outros estudos sobre cognição social em animais, esse estudo não permite separar se os comportamentos adaptativos dos cães baseiam-se em mecanismos simples ou em uma teoria da mente do seu tutor; ainda assim, ele mostra nos cães propriedades dos comportamentos comunicativos similares aos dos pongídeos que vivem em cativeiro / The exposure to the humans social environment provided a special niche for dogs to develop socio-communicative skills to cooperate with human. It has been exhaustive studied the ability of dogs to use humans communicative signals. The current study arises a question about the production of signals by dogs to communicate with humans: are dogs able to communicate by using directional signals toward some desirable entity in the environment and with intention to manipulate their owners behavior in order to receive it? Since intentionality is not possible to be measured, some operational criteria can be considered as a requirement to qualify a communicative signal as functionally referential and intentional: the signal should be used socially (to be, first of all, considered as a communicative signal) and influenced by the recipients visual direction of attention; moreover the sender of the signal should display gaze alternations between the recipient and the object or event to be communicated and getting-attention behaviors, and, finally, the sender should persist and elaborate the communication when the first attempt to manipulate the recipient failed. Dogs were submitted to an experimental study in which they could see a desirable food but they need their owners cooperation in order to receive it. By manipulating the presence/absence of the owner/food, the position of the food (in two possible places), the owners visual direction of attention and the owners behavior regarding the outcome of the request (providing the food, half food or undesirable food) after a period that dogs communicated about the food, we could investigate whether these criteria of referentiality and intentionally were validated for dogs. It was found evidences that dogs use behaviors, especially gaze alternation between the xiii owner and the food, as communicative signals in a functionally referential and intentional way. The present exhaustive work confirms and upgrades previous results; it also highlights that different set ups can lead to some differences of referential and intentional communicative behaviors in dogs. As for other studies of social cognition in animals, it does not allow disentangling whether the dogs adaptive behaviors are based on simple mechanisms or on a theory of mind of their owners; still, it shows in dogs similar properties of communicative behaviors than in captive apes

Sous la catégorie de « fictions commentaires », cette thèse compare des romans au second degré, dont le processus fictionnel s’ancre dans la glose d’une œuvre première plus que dans la représentation référentielle. À rebours de l’intertexte destiné à s’intégrer et à nourrir la création, les fictions commentaires reposent plutôt sur une hypertextualité hétérogène, ainsi que sur des dispositifs enchâssés d’écriture, de lecture et d’édition. Avec les expérimentations de Mark Z. Danielewski (House of Leaves), les facéties de Pierre Senges (Fragments de Lichtenberg) ou les enquêtes de Roberto Bolaño (2666), l’écriture devient herméneutique, déchiffrement d’un manuscrit perdu, recherches bio-bibliographiques. Mais ces œuvres secondes ne sont pas nécessairement refermées sur elles-mêmes : en multipliant les références fragmentaires à leurs sources, que ce soit par l’annotation, l’allusion ou la représentation seconde, elles modifient en effet leur rapport à la référence, à la manière dont la fiction se construit sur un fondement implicite. Une figuration au second degré est en effet distincte de celle qui part d’un « cadre de référence », qu’il soit pensé comme le monde « tel qu’il est » ou considéré comme relevant de la perception, de constructions langagières ou de connaissances scientifiques. Les fictions commentaires interrogent donc les conditions de la représentation littéraire lorsqu’elle ne s’appuie plus seulement sur des figurations subjectives mais bien sur un objet qui obéit arbitrairement (mais sûrement) à ses propres règles. Elles substituent à la représentation mimétique d’un monde extralinguistique, la signification d’une œuvre déjà constituée. Ce déplacement ne constitue pourtant pas une simple abolition du référent. De cadre implicite et nécessairement dogmatique, la référence devient un substrat explicite, matériel et mobile, un point de départ contingent. Il devient possible de la soumettre à la variation, au doute, à la dés-illusion. Dans les fictions commentaires, le référent devient donc spéculatif. Notre travail voudrait penser ce transfert à l’aune des philosophies spéculatives contemporaines, telles qu’elles sont par exemple portées par Quentin Meillassoux, Graham Harman ou Tristan Garcia. En prenant le parti des choses, ces penseurs s’efforcent de débusquer l’absence de nécessité des lois physiques du monde. En effet, dans l’ontologie objet-orientée les choses hors de leurs représentations sont souvent pensées selon leur contingence. Les fictions commentaires réfèrent surtout à des objets – les œuvres premières – qu’elles commentent, glosent et modifient. Elles pourraient dès lors être conçues comme la figuration des virtualités présentes au cœur du réel et plus seulement comme l’image de possibles stipulés ou fantasmés. Dans cette perspective, il s’agira donc d’explorer le monde figuré par la littérature spéculative. / This dissertation intends to outline and study “commentary fictions,” or novels that comment on other works rather than represent a referential reality. Against intertextual assimilation, these fictions “of the second degree” rely on a hypertextual basis, and depict the writing, reading and editing processes. As demonstrated in Mark Z. Danielewski’s experimentations (House of Leaves), Pierre Senges’ wit (Fragments de Lichtenberg) and Roberto Bolaño’s investigations (2666), reading literary fiction becomes an act of hermeneutical or bio-bibliographical research. However, these secondary novels are not necessarily enclosed within a self-referential framework: their relationship with reference, i.e. the way fiction is built on the implicit, is amended by a multiplicity of fragmentary references to their sources. A second-degree representation is indeed different from one that follows a “frame of reference”, either considered as the world “itself” or as its perceptions, verbal constructions or scientific descriptions. Commentary fictions look into the conditions of a literary representation that is no longer a subjective depiction, but rather a mere object with its own random – but defined – rules. Mimetic representations of extralinguistic worlds are replaced by significations of already finished works. This shift does not yet lead to the end of referential reality. Formerly a dogmatic frame, the reference is converted into an explicit, concrete and movable layer: it is now a contingent background. In commentary fictions, variation, doubt and dis/illusion are bound to a reference that becomes, in short, speculative. One could easily associate this idea with certain contemporary philosophical trends, as found in the works of Quentin Meillassoux, Graham Harman or Tristan Garcia, amongst others. Indeed, their attempt to “think the thing outside the thought” leads to an absence of necessity. Their attention to things allows an object-oriented ontology which relies on a speculation of the world’s contingence. Commentary fictions could therefore be regarded as representations of a virtual reality more so than stipulations of possible worlds. This work, then, aims to explore the world’s figuration (or representation in the second degree) in speculative literature.

The three structural possibilities marking a noun with an English article are a, the, and Ø (the absence of an article). Although these structural possibilities are simple, they encode a multitude of semantic and pragmatic functions, and it is these complex form-function interactions that this study explores and explains using a semantic map model. The semantic map that is proposed contains three dimensions, which I refer to as Grammatical Number, Referentiality, and Discourse Mode. Each of these dimensions contains a number of further semantic values or pragmatic functions - which I will label "attributes" - that are implicated in English article choice. Various semantic map versions are tested and compared with a methodological approach that uses data collected in a controlled protocol from an elicited conversational discourse. The version that performed best is used as a basis for proposing a comprehensive semantic map that includes the following dimensions and dimensional attributes: a Number dimension with 3 attributes (singular, plural, and uncountable); a Referentiality dimension with 11 attributes, including 7 referential attributes that describe kinds of identifiability (proper names, shared lexis, shared speech situation, frame, current discourse, identifiable to speaker only ["new reference"], and identifiable to neither speaker nor listener [non-specific]) as well as 4 non-referential attributes (categorization, general non-referential expressions, finite verb [verb-object] "noun incorporation", and idioms); and a Discourse Mode dimension with 4 attributes (headline, immediacy, normal, and reintroducing). This model of English articles contributes to the field of research on articles as well as to the field of English language instruction and learning. In addition, it is suggested that the methodological paradigm used to test the semantic map model may be useful as an experimental paradigm for testing semantic maps of other constructions and languages.

Alguns estudiosos já apontaram fórmulas nos resquícios da obra de Safo e Alceu. O estudo das expressões tradicionais em Homero deu origem, no século XX, às investigações oralistas da épica grega. Ao analisar as conjunções de nome e epíteto nas epopeias homéricas, Milman Parry viu na linguagem épica dicção tradicional e herdada, destinada a facilitar a composição dos cantos. Mais tarde, em contato com outras tradições poéticas, Parry sugeriu que esse caráter tradicional se devia à oralidade da poesia homérica. Seu discípulo Albert Lord e outros estudiosos expandiram suas conclusões, descrevendo o funcionamento das fórmulas e de outras unidades tradicionais, como temas narrativos e tipos de canção. Estudar semelhantes elementos na poesia lésbia é mais difícil, devido a seu estado fragmentário. No entanto, os poucos resquícios mostram consideráveis reiterações de fórmulas, temas e tipos de canto, o que, junto ao caráter herdado e especializado do dialeto, sugere uma dicção oral-tradicional lésbia independente. Ao mesmo tempo, os poetas eólicos partilham as mesmas unidades com outros poetas arcaicos (jônicos ou dóricos), o que aponta para a existência de linguagem poética tradicional pan-helênica, apesar das diferenças genéricas e regionais. Essa semelhança permite que se comparem o emprego de elementos tradicionais ao longo de toda produção arcaica (e mesmo clássica). Por muito tempo, a dicção tradicional da epopeia foi encarada principalmente do ponto de vista da composição, mas sobretudo as investigações de John Miles Foley mostraram que ela também é um recurso de significação, que condicionava a recepção das canções pela audiência (tão fluente nessa linguagem especializada quanto o poeta). Foley nomeia o fenômeno referencialidade tradicional. Também se pode identificar semelhante referencialidade tradicional na poesia lésbia. Quatro fragmentos de Safo (frr. 1, 16, 31 e o Poema dos Irmãos) prestam-se à investigação, por sua extensão. Compostos no mesmo metro (a estrofe sáfica), também permitem observar a relação entre tradição, significação e versificação na canção eólica. Os fragmentos acabam por demonstrar vários paralelos formulares e temáticos, tanto com composições lésbias como com a mélica em geral, a elegia, o iambo e a epopeia. As proximidades sugerem que também a referencialidade tradicional é pan-helênica e, por outro lado, que a abordagem comparativa, sob esse viés teórico, é útil para elucidação da composição e do sentido dos cantos. Também se mostrou que a métrica parece importante elemento de significação tradicional, havendo estreita relação entre as expectativas métricas e a estrutura dos fragmentos. / Some scholars have identified formulae in the poetic remains of Sappho and Alcaeus. In the 20th Century, the study of traditional expressions in Homer originated the oralist approach to Greek epic. Analysing noun-epithet clusters in the Homeric poems, Milman Parry characterized epic language as traditional, inherited diction, which enabled composition. Later, studying other traditional poetries, Parry linked the traditonal character of epic diction to its oral nature. His disciple Albert Lord and other scholars built on his conclusions, describing how formulae and other traditional unities (such as narrative themes and song patterns) work. Analysing similar elements in Lesbian is conditioned by its fragmentary state. However, the few remains contain several repeated formulae, themes and song patterns. Like the inherited and specialized dialect, this repetition suggests an autonomous oral-traditional Lesbian diction. At the same time, Aeolic poets share the same traditional units as other archaic poets (Ionian or Dorian). This points to the existence of a Panhellenic poetic language, despite generic and regional differences. These similarities allow comparing traditional elements throughout the whole surviving archaic (and even classic) output. For a long time, traditional diction was considered to be a means of composition. Nonetheless, mainly John Miles Foley\'s studies have shown that it is also a way of meaning, which frames the audience\'s reception (who were as fluent in this specialized language as the singer). Foley names this phenomenon traditional referentiality. One could also ask whether this expedient is to be found in Lesbian poetry. Given their extent, four fragments of Sappho (frr. 1, 16, 31 and \"The Brothers\' Poem\") are useful to this investigation. Composed in the same metre (the Sapphic stanza), they also provide a case for the study of the interaction of tradition, meaning and versifying in Aeolic song. The poems have numerous formulaic and thematic parallels to both Lesbian compostions and general Greek lyric, elegiac, iambic and epic poetry. Traditional referentiality seems to be Pan- Hellenic and comparative approaches under this theoretical point of view appear to be useful to explain the songs\' composition and meaning. It has also been shown that metre seems to be an important element in Aeolic traditional meaning production. There is a close relationship between metrical expectations and the fragments\' structure.

This study deals with some of the recent theory of autobiography. Methodologically, it is based on literary narratology but, as part of interdisciplinary research, it also draws on insights provided by philosophy, psychology, and cognitive science. It shows that an autobiography does not reflect an author's identity but helps construct it by narrative means. As far as the truthfulness of an autobiography is concerned, the study takes into account the issues of autobiographical memory and its reliability; it also deals with collective memory in the context of genre norms. Drawing on positioning theory, the study offers a conception of autobiography as a formally and narratively complete work that, however, reflects the current situation and position of the author who is writing it. This master's thesis demonstrates its suggestions using autobiographical texts from Czech as well as world literatures. Keywords autobiography, memory, narrative identity, referentiality, positioning theory

This thesis examines five books by the American author Philip Roth commonly referred to as the “Roth Books,” which are The Facts: A Novelist’s Autobiography(1988), Deception (1990), Patrimony: A True Story (1991), Operation Shylock: A Confession (1993), and The Plot Against America (2004). These books, held together by the author’s proper name, are often viewed as texts that conflate fiction and nonfiction or demonstrate the “fictionality” of all factual narrative accounts in compliance with well-known postmodernist and poststructuralist theories. Contrary to this view, I argue that a valid understanding of the Roth Books demands that we acknowledge that these works represent a series of quite different ways for the author to transform his own life into written form, a creative act which is manifested in both fictional and nonfictional writing. In the attempt to argue this view, I turn to a field of study where the question about criteria for distinguishing fictional from nonfictional narrative literature has occupied a prominent place: narrative theory. However, my theoretical and methodological point of departure does not align itself with the “standard” paradigm in narrative theory with its origin in classical, structuralist narratology. Rather, the thesis promotes a pragmatic and rhetorical perspective which is argued to better account for how we read and make sense of different narrative texts. In opposition to standard narrative theory, where all narratives are considered to adhere to the same model of communication, I argue in favour of a view where narrative fiction and narrative nonfiction are conceived as distinct communicative practices. I open the thesis by showing that Roth’s books contribute to the discussion on how to distinguish fictional from nonfictional narrative texts (Chapter 1). I then continue by approaching the distinction between fiction and nonfiction in general theoretical terms (Chapter 2). And in what follows (Chapters 3-5), I present a reading where the Roth Books are juxtaposed against each other. This reading demonstrates how these texts, although in some sense related, because of their divergent qualities and differing intentions still communicate differently with their readers, inviting a readerly attention that is dissimilar from one work to the other.