Submitted by Luanna Matias (lua_matias@yahoo.com.br) on 2015-03-12T14:51:28Z No. of bitstreams: 2 Tese - Elizete Albina Ferreira de Freitas - 2014.pdf: 2649357 bytes, checksum: cbeddc76f52ad72de136dc4b6af5bd35 (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) / Approved for entry into archive by Luanna Matias (lua_matias@yahoo.com.br) on 2015-03-16T11:33:43Z (GMT) No. of bitstreams: 2 Tese - Elizete Albina Ferreira de Freitas - 2014.pdf: 2649357 bytes, checksum: cbeddc76f52ad72de136dc4b6af5bd35 (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) / Made available in DSpace on 2015-03-16T11:33:43Z (GMT). No. of bitstreams: 2 Tese - Elizete Albina Ferreira de Freitas - 2014.pdf: 2649357 bytes, checksum: cbeddc76f52ad72de136dc4b6af5bd35 (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) Previous issue date: 2014-10-31 / In this thesis, I pretend to analyze the literature route from the portuguese writer Lídia Jorge, undertaking a survey from the aspects which compose her esthetic project, considering the literature production’s characteristic from the 20’s, with an expressive actors participation, bringing public the feminine voice which does not content in being the history spectator anymore, but one of its subjects. The mean point is to demonstrate the reached maturity by the author in her writing, aiming to relate these aspects to her path in the contemporaneous portuguese prose. In this respect, I adopted a path which itself, firstly, will show more describable about the particularities from the new portuguese contemporary romance, to, later, convert it in more analytical, with the works presentation from Lídia Jorge, situating her among the contemporary portuguese authors who dedicate to this new model of prose. In this respect, and obeying the works’ ascending chronology, in the first chapter, titrated “THE HISTORIC ROMANCE AND ITS EVOLUTION”, I present the reasoning and the theoretical and critical assumptions about what was conventionalized to be called “the new historic romance”, and, in the specific Lídia Jorge’s case, “the new portuguese contemporary romance”. In the second chapter, “THE FICTIONAL CREATION FROM LÍDIA JORGE” I make an author presentation, situating her importance in the contemporaneous portuguese literature. In the third chapter, “LÍDIA JORGE AND THE DECADES OF HER WRITING” I analyze the romances The Day of the Prodigies and The Murmuring Coast; Limitless Garden and The Painter of Birds; and The Wind Whistling in the Cranes and The Night of the Singing Women, by promoting a dialogue between the works, one of the beginning and the other of the end of each decade, tracing an evaluated panorama of Lídia Jorge’s writing. As if it was testified, Lídia writes, and, when writes, goes leaving behind herself the subtle marks from History, tendency from the portuguese contemporary romance, to the implicit insertion of historical elements related to The Carnation Revolution. / Nesta tese, pretendo analisar o percurso literário da escritora portuguesa Lídia Jorge, empreendendo um levantamento dos aspectos que compõem seu projeto estético, considerando-se a característica da produção literária do século XX, com a expressiva participação de autoras, trazendo a público a voz feminina que não mais se contenta em ser espectadora da história, mas, sim, um de seus sujeitos. O objetivo é demonstrar o amadurecimento alcançado pela autora em sua escrita, a fim de relacionar tais aspectos a seu trajeto na prosa portuguesa contemporânea. Para tanto, adoto um percurso que, primeiramente, se mostrará mais descritivo acerca das particularidades do novo romance contemporâneo português, para, posteriormente, converter-se em mais analítico, com a apresentação das obras de Lídia Jorge, situando-a entre os autores portugueses contemporâneos que se dedicam a esse novo modelo de prosa. Para tanto, e obedecendo à cronologia ascendente das obras, no primeiro capítulo, intitulado “O ROMANCE HISTÓRICO E A SUA EVOLUÇÃO”, apresento a fundamentação e pressupostos teóricos e críticos acerca do que se convencionou denominar de “novo romance histórico”, e, no caso específico de Lídia Jorge, “o novo romance contemporâneo português”. No segundo capítulo, “A CRIAÇÃO FICCIONAL DE LÍDIA JORGE”, faço uma apresentação da autora, situando sua importância no contexto da literatura portuguesa contemporânea. No terceiro capítulo, “LÍDIA JORGE E AS DÉCADAS DE SUA ESCRITA”, analiso os romances O dia dos prodígios e A costa dos murmúrios; O jardim sem limites e O vale da paixão; e O vento assobiando nas gruas e A noite das mulheres cantoras, e promovo um diálogo entre as obras, uma do início e outra do final de cada década, traçando um panorama evolutivo da escrita de Lídia Jorge. Como se testemunhasse, Lídia escreve, e, ao escrever, vai deixando atrás de si as marcas sutis da História, tendência da literatura portuguesa contemporânea, pela inserção implícita de elementos históricos relacionados à Revolução dos Cravos.

MS Glasgow Hunter 252 is the sole surviving manuscript copy of the 'Cent Nouvelles Nouvelles'. The present PhD thesis, funded by a Glasgow University Scholarship and supervised by James Simpson and Peter Davies, explores the language of this collection of bawdy tales, attributed to the court of Philippe III de Bourgogne (1396-1467). Most existing studies on the language of the 'Cent Nouvelles Nouvelles' have offered a literary (e.g. stylistic, narratological) perspective, and very few have considered the document within the wider context of French historical linguistics. The present thesis aims to fill this gap by: •Presenting elements of linguistic interest within the document (dialectalisms, archaisms, rare features, cultural references, etc.), through a comprehensive survey of phonology, morphology, syntax and vocabulary. •Expanding and reassessing existing theories on orthographic standardisation and dialectal input in written and, more speculatively, spoken Middle French. •Providing scriptological evidence towards the localisation of other textual resources within the online 'Dictionnaire du moyen français (1330-1500)'. •Investigating the authenticity of the mise-en-scène of the 'Cent Nouvelles Nouvelles'; reflecting on linguistic practices and note-taking at the Court of Burgundy. •Exploring spoken language as rendered by direct speech passages, with special consideration of linguistic variation and stereotyping. •Publishing textual databases for future analysis (tables of main spelling variants, alphabetical list of words, etc.).

A pesquisa em foco propõe o estudo e a análise crítico-literária da obra A mãe de Máximo Górki, considerada geralmente como matriz do Realismo Socialista. Aborda-se o romance a partir de um viés estético, que entrelaça forma e conteúdo. Objetiva-se apreender a organização de idéias e seu conteúdo por meio do desvelamento de sua composição romanesca, esquadrinhando os procedimentos e mecanismos artísticos utilizados pelo autor na estruturação interna de sua obra. Dentre esses procedimentos, é de importância substancial o modo de construção narrativa, que entrelaça narrador, foco narrativo e o narrado, de maneira peculiar. Como sabemos, é o ponto de vista do narrador que organiza a narrativa, espacial e temporalmente. No romance de Górki, essa parece ser justamente a problemática central, chave de entrada para uma compreensão mais completa da obra. O romance possui um narrador em terceira pessoa, o que pressuporia um foco narrativo com o máximo de onisciência possível. Contudo, Górki na posição de criador optou por reduzir essa onisciência em favor de um foco narrativo que não é o do narrador neutro e onisciente, mas de uma personagem que participa do narrado a mãe. É exatamente nesse jogo e é nele que a análise penetra que se encontra a complexidade artística de A mãe, cuja aparência se apresenta em forma simples. Fosse apenas uma defesa apaixonada do movimento socialista substrato da obra , talvez Górki tivesse escolhido narrar tudo do ponto de vista do filho, enaltecendo ainda mais a figura de um herói. Todavia, seus objetivos tanto artísticos, quanto sociais estão para, além disso. A opção de foco narrativo realizada por Górki demonstra também uma intenção do autor de atingir uma camada popular de leitores, conclusão última a que a pesquisa chega. / The research proposes to focus the study and analysis of literary-critical work The mother by Maxim Gorky, generally regarded as the matrix of Socialist Realism. Addressing to the novel from a bias aesthetic form and content interweaving. The objective was to seize the organization of ideas and content through the unveiling of his novelistic composition, scanning the art procedures and mechanisms used by the author in the internal structure of his work. Among these procedures, is of substantial importance of how to construct narrative that interweaves the narrator, narrative focus and narrated in a peculiar way. As we know, is the narrator\'s point of view that organizes the narrative space and time. In Gorky\'s novel, this seems to be precisely the central issue, key input for a more complete understanding of the work. The novel has a narrator in third person, which imply a narrative focus of omniscience with the maximum possible. However, Gorky - on the creator - has opted to reduce the omniscience in favor of a narrative focus that is not neutral and the omniscient narrator, but a character who participates in the narrated the mother. This is exactly the game and that\'s where the penetrating analysis which is the complexity of artistic The mother, whose appearance is presented in a simple manner. It was just a passionate defense of the socialist movement the substrate of the work perhaps Gorky had chosen to recount everything from the point of view of the child, further enhances the figure of a hero. However, your goals - both artistic and social - are beyond that. The choice of narrative focus held by Gorky also demonstrates an author\'s intention to achieve a layer of popular readers, last conclusion to get that research.

Since the first definition of “italiano neostandard” appeared in the Eighties, more and more often “neostandard” forms, while already present in common speech, feature today in the written media, and even find their space in contemporary grammaticography. Through a corpus-based analysis, this dissertation aims at assessing the vitality of the neostandard as it appears in the written columns of three daily papers during a selected period of time in 2007. In particular, two phenomena are explored: the usage of the clitics ci, ne and lo in function of case marker (marca complementare); and the tendency to reduce the use of the subjunctive in epistemic modality. This contribution proposes the integration of different approaches into one interpretation of mechanism of cliticization as a continuum which goes from facultative usages of case markers to obligatory ones. In the second case the phenomenon of reduction of usage of epistemic subjunctive is described here as a reorganization (ristrutturazione). According to this study, within the category of epistemic subjunctive it is necessary to distinguish particular contexts after which the subjunctive preserves its status from the ones in which tends to be substituted by the indicative or the conditional.

Thesis (Ph. D.)--Massachusetts Institute of Technology, Dept. of Linguistics and Philosophy, 1977. / MICROFICHE COPY AVAILABLE IN ARCHIVES AND HUMANITIES / Bibliography : leaves 235-241. / Ph.D.

A pesquisa em foco propõe o estudo e a análise crítico-literária da obra A mãe de Máximo Górki, considerada geralmente como matriz do Realismo Socialista. Aborda-se o romance a partir de um viés estético, que entrelaça forma e conteúdo. Objetiva-se apreender a organização de idéias e seu conteúdo por meio do desvelamento de sua composição romanesca, esquadrinhando os procedimentos e mecanismos artísticos utilizados pelo autor na estruturação interna de sua obra. Dentre esses procedimentos, é de importância substancial o modo de construção narrativa, que entrelaça narrador, foco narrativo e o narrado, de maneira peculiar. Como sabemos, é o ponto de vista do narrador que organiza a narrativa, espacial e temporalmente. No romance de Górki, essa parece ser justamente a problemática central, chave de entrada para uma compreensão mais completa da obra. O romance possui um narrador em terceira pessoa, o que pressuporia um foco narrativo com o máximo de onisciência possível. Contudo, Górki na posição de criador optou por reduzir essa onisciência em favor de um foco narrativo que não é o do narrador neutro e onisciente, mas de uma personagem que participa do narrado a mãe. É exatamente nesse jogo e é nele que a análise penetra que se encontra a complexidade artística de A mãe, cuja aparência se apresenta em forma simples. Fosse apenas uma defesa apaixonada do movimento socialista substrato da obra , talvez Górki tivesse escolhido narrar tudo do ponto de vista do filho, enaltecendo ainda mais a figura de um herói. Todavia, seus objetivos tanto artísticos, quanto sociais estão para, além disso. A opção de foco narrativo realizada por Górki demonstra também uma intenção do autor de atingir uma camada popular de leitores, conclusão última a que a pesquisa chega. / The research proposes to focus the study and analysis of literary-critical work The mother by Maxim Gorky, generally regarded as the matrix of Socialist Realism. Addressing to the novel from a bias aesthetic form and content interweaving. The objective was to seize the organization of ideas and content through the unveiling of his novelistic composition, scanning the art procedures and mechanisms used by the author in the internal structure of his work. Among these procedures, is of substantial importance of how to construct narrative that interweaves the narrator, narrative focus and narrated in a peculiar way. As we know, is the narrator\'s point of view that organizes the narrative space and time. In Gorky\'s novel, this seems to be precisely the central issue, key input for a more complete understanding of the work. The novel has a narrator in third person, which imply a narrative focus of omniscience with the maximum possible. However, Gorky - on the creator - has opted to reduce the omniscience in favor of a narrative focus that is not neutral and the omniscient narrator, but a character who participates in the narrated the mother. This is exactly the game and that\'s where the penetrating analysis which is the complexity of artistic The mother, whose appearance is presented in a simple manner. It was just a passionate defense of the socialist movement the substrate of the work perhaps Gorky had chosen to recount everything from the point of view of the child, further enhances the figure of a hero. However, your goals - both artistic and social - are beyond that. The choice of narrative focus held by Gorky also demonstrates an author\'s intention to achieve a layer of popular readers, last conclusion to get that research.

Thesis (Ph.D.)--McMaster University, 2005. / Supervisor: Imre Szeman. Includes bibliographical references (leaves 207-214). Also available via World Wide Web.

To traverse the blinking, Transitar el parpadeo, is to consider six poetries that seem invisible or at least blurred in current Spanish poetic contexts: José-Miguel Ullán, Carlos Piera, Pedro Provencio, Ildefonso Rodríguez, Olvido García Valdés, Miguel Casado. All of these poets start writing in a period strongly marked by the endings of francoism, and the beginnings of the democracy. The blinking refers to their apparitions and disappearances in general panoramas of Spanish poetry, but it also refers to something that bothers the eyes of most Spanish critics: their criticism is only able to see generations, replacements, and poetic hegemonies. To traverse the blinking is, thus, a question about the reason that their vision is so obstructed, and, at the same time, an attempt to really see these poets, which implies finding a new way of reading them. Since these poetics resist any form of closure, and, at the same time, they offer themselves as an invitation to mobility; we need to find theoretical approaches to reading that do not betray those resistances and preserve the trace of that traversing. This is why I have chosen to organize my dissertation in six chapters, each of them dealing with a poet, and I have concluded without properly or formally closing, but formulating some premises on how to keep crossing through those poetic visions. My conclusion is that categories such as strangeness, the foreign, exodus, and the border, would necessarily need to be acknowledged in order to start to make visible the foundations of these writings. I maintain that they reveal a tradition, long repressed during francoism and also during the first stages of a democratic transition based in a pact of forgetting, a tradition that these poets claim as theirs and which considers the avant-garde as a lineage that, not only cannot be waived, but should be reconsidered. Traversing them, thus, offers new insights on theoretical issues such as subjectivity, poetry's relation to thought, its formal limits, and the question about reality, while believing that language, by retaining its restlessness, continues to offer itself as a powerful tool of resistance and memory. / Dissertation

Habilitationsschrift--Innsbruck, 1969. / Includes bibliographical references (p. 86-90).

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