Plurilinguismus oder „English only“? Als politische Institution, in der es nur sprachliche und kulturelle Minderheiten gibt und geben wird, folgt die Europäische Union einer plurilinguistischen Orientierung, womit ein erheblicher Bedarf an Sprach- und Kulturkenntnissen (und deren Erwerb) verbunden ist. Grosso modo umfasst die EU drei große indoeuropäische Sprachfamilien: die romanische, slawische und germanische. Innerhalb jeder dieser Sprachgruppen gibt es etymologisch bedingte Gemeinsamkeiten, die v.a. die Phonologie, Morphologie, Lexik und Syntax betreffen. Die Kenntnis dieser synchron erkennbaren gemeinsamen Elemente bzw. ihrer einzelsprachlich äquivalenten Varianten ermöglicht transferhaftes Lernen im Sinne der Interkomprehension in Sprachfamilien. Grundlage der romanischen Interkomprehension ist das „Vulgärlatein“, dessen Spezifik v.a. gegenüber den heutigen Sprachen der Romania herausgestellt wird. Den lerntheoretischen Hintergrund der Interkomprehension bilden die Interlanguage-Hypothese, die Annahme mentaler Netzwerke sowie die verschiedenen Verarbeitungsstadien des interkomprehensiven Spracherwerbs: Spontangrammatik, Mehrsprachenspeicher und didaktischer Monitor. Zudem wird die Rolle mutter- und fremdsprachlicher Transferbasen sowie die der einzelnen Transferdomänen (Form, Inhalt, Funktion, Pragmatik, Didaktik) erläutert. Schwerpunkte der vorliegenden Arbeit bilden die Motivation und die einzelnen Verarbeitungsstadien beim interkomprehensiven Lesen, wobei dem sprachlichen Vorwissen der Lesenden besondere Bedeutung zukommt. Der vorgeschlagene Leitfaden für das erschließende Lesen umfasst drei Gesamtlektüren und berücksichtigt dabei sowohl sprachsystematische als auch textlinguistische Kriterien. Zur Illustration dient ein aktueller Text in Nissart, der auch verschiedenen Probanden vorgelegt wurde. Die Analyse ergab, dass ein globales Textverständnis durch die Kenntnis einer romanischen Sprache spontan gegeben ist, dieses Globalverständnis im Einzelnen jedoch deutlich differieren kann. Am Ende der Arbeit werden mit der Darstellung der strukturellen Besonderheiten des Rumänischen die Grenzen interkomprehensiven Leseverständnisses gezeigt, aber auch der erleichterte Einstieg in die Sprachproduktion dargelegt. / Plurilinguism or “English only”? As a political institution consisting of linguistic and cultural minorities only, the European Union prefers plurilinguism creating a significant need for specific cultural and language knowledge (and acquisition). The EU is divided into three big Indoeuropean language families: the Romance, the Slavic and the German. Within each of them there are etymological based equivalences concerning e.g. phonological, morphological, lexical and syntactic characteristics. Knowing these synchronic discernible elements and their specific equivalences enables language acquisition by transfer-based learning. The basis of Romance intercomprehension is “Vulgarlatin”, whose characteristics are compared to those of the modern romance languages. The theoretical background of intercomprehension is formed by the Interlanguage-Hypothesis, concepts of mental networks and several processes of intercomprehensive language-acquisition: spontaneous grammar, multilingual memory and didactic monitor. The role of transfer-bases (mother-tongue and foreign language(s)) and of each one of the transfer-domains (form, content, function, pragmatic, didactic) is explained. The focus in this paper is on motivation and the specific steps of the intercomprehensive reading process, whereby special emphasis is placed on the reader´s previous knowledge. The suggested guide to “reading by intellectual guessing” encompasses three readings and takes into consideration not only criteria of the language-system, but also those of textual linguistics. To illustrate the whole process, a contemporary text in Nissart is analysed. This text also was analysed by several test-persons. Result: By knowing one romance language a spontaneous global comprehension of another one is possible, but there can be significant differences in the details of this global comprehension. The paper concludes by using the structural characteristics of Romanian to illustrate the limits of spontaneous intercomprehensive reading comprehension on the one hand, but the facilitation of language production on the other.

Renaissance Error proposes that the formal key to early modern literature is digression. In the sixteenth and seventeenth centuries, writers compose works that persistently imitate moral and cognitive wandering, often in an attempt to remedy such wandering. Their powerful sense of human error springs from the humanist and reformist view of the Middle Ages as a gigantic detour from classical civilisation and from the apostolic Church. This sense deepens as the intellectual disciplines and religious paths of the Renaissance divide. And it culminates in a radical picture of all human desire, thought, and history as continually digressive from beginning to end.

Thesis (Ph. D.)--University of Washington, 2007. / Vita. Includes bibliographical references (leaves 235-247).

Thesis--Marburg. / Includes bibliographical references (p. 220-253) and index.

Thesis (doctoral)--Rijksuniversiteit Groningen, 1996. / "Stellingen" laid in. Includes bibliographical references (p. 213-221).

As an output of the HERA Travelling Texts project, created with the aim of uncovering the realities of women’s literary culture on the fringes of Europe during the long nineteenth century, this study was conceptualised to find out more about the networks of women writers in Spain around 1900, using the digitised corpuses of contemporaneous periodicals as the primary source material. Each chapter of the study centres on a particular periodical, which is used as the starting point for the community of writers and readers, both real and imagined. This thesis looks at the realities of the literary culture for creative women in the late nineteenth century-early twentieth century, exploring the strategies used by women (and men) to support each other in their literary endeavours, how they took inspiration and courage from each other, how they promoted their own names, and how they were received by wider society. The study will also focus on the transnational nature of this literary culture, looking at how women of different nations influenced each other’s work, with a view to understanding more about how cultural change takes place. Finally, this thesis hopes to persuade the reader that the periodical is a rich and under-utilised resource for discovering more about the lives of women writers and their network of relationships.

Esta dissertação consiste na aproximação entre as obras O menino de Burma (2009), do nigeriano Biyi Bandele, e A pornografia (1986), do polonês Witold Gombrowicz, com a intenção de analisar os personagens adolescentes trazidos por cada uma. Além destas, a obra Guerra dentro da Gente (1991) de Leminski iluminará uma aproximação entre O menino de Burma e A pornografia por oferecer tanto uma aproximação estética quanto um suporte teórico para as obras principais. As noções de infância/maturidade bem como de inocência/malícia permeiam o universo de ambas as narrativas, tendo como pano de fundo a Segunda Guerra Mundial, que, nas narrativas, é a responsável por alterações comportamentais nos personagens. Este conjunto oferece uma estetização ambígua da adolescência, onde, por vezes, percebe-se uma inocência atribuída à ingenuidade e, por outras, uma maldade que é fruto do contexto violento em que estão inseridos os personagens. No plano teórico, a Literatura Comparada fornece o suporte que possibilita um diálogo entre os textos literários e também uma abordagem das relações desses textos com a Literatura de Testemunho, Autobiografia, Romance de Formação e elementos de Historiografia literária e Psicanálise. Por fim, ao observarmos os enredos, e a vida de Bandele e Gombrowicz, percebe-se que muito do que foi escrito fez parte de um contexto vivido pelos próprios autores, e não apenas imaginada para fins de composição das obras. Ao utilizar essas diversas abordagens para dar conta de uma leitura possível de O menino de Burma e A pornografia, percebo que estas são obras não acomodáveis em um gênero ou vertente literária específicos, mas, dotadas de uma estética que movimenta a realidade, e se preocupa com ela. / This dissertation is a comparison between the books O menino de Burma (2009), by the Nigerian Biyi Bandele, and A pornografia (1986), by the Polish Witold Gombrowicz, and it intends to examine the teenage characters found in each one. Besides that, Guerra dentro da gente (1991) by Leminski will be considered a theoretical tool in order to elucidade a relation between these books. Furthermore, Guerra dentro da gente suggests an aesthetic relation between the books. Notions of childhood/maturity as well as innocence/evil pervade the universe of both narratives, having the Second World War as a backdrop, which produces changes in the characters. Considering these factors, readers are inclined to notice an ambiguous representation where, sometimes it is noticed innocence and other times, malice, influenced by the severe and violent context where the characters are living. The Comparative Literature theory provides support that enables a dialogue between literary texts and also an approach to the relationship among these texts and Testimony Literature, Autobiography, Bildungsroman and elements of Literary Historiography and Psychoanalysis. Finally, by examining History and Bandele and Gombrowicz’s life, one realizes that much of what was written was part of a context experienced by the authors themselves, and not just imagined aiming the composition of these stories. By using these different approaches, in order to guarantee a possible reading of these works, I realize that these works are fickle, not accommodate in a specific literary genre or aspect, and, endowed with an aesthetic that moves the reality around, and is worried about it.

This thesis investigates the origins and behaviour of the non-canonical morphological phenomenon of heteroclisis in the verb paradigms of Latin and the Romance languages. Heteroclisis is the coexistence, within a single paradigm, of forms which pattern according to different inflectional classes existing otherwise in the language: a heteroclite lexeme can thus be seen as 'mixed' or 'undecided' as to its inflectional identity. I begin by examining the development of the theoretical concept of heteroclisis and approaches to the idea of inflectional class in general, before situating heteroclisis in typological space in comparison with better-known instances of non-canonical morphology such as deponency and suppletion; heteroclisis exists at a different level of generalization from these, because its identification presupposes the existence of inflectional classes, themselves generalizations over the behaviour of individual lexemes. I also consider two recent theoretical treatments of the phenomenon and survey recent linguistic studies making use of the notion. I then look at the synchronic and diachronic behaviour of heteroclisis in Latin and Romance verbs: the great time depth of our attestations of these languages gives us the chance to witness the development of successive examples of heteroclisis, and their subsequent treatment within the morphological system, in the history of a single family. Focusing chiefly on data from Latin, Romanian and Romansh, I find that the principal (though not the only) source for new instances of heteroclisis in Latin/Romance lies in regular sound change, and find that speakers can treat these synchronically anomalous patterns as robust models of inflectional behaviour to be extended over the lexicon or brought into line with pre-existing types of paradigm-internal alternation. These findings concur with previous demonstrations that speakers make use of non-canonical phenomena as markers of the internal structure of inflectional paradigms.

Em perspectiva diacrônica, envolvendo dois séculos, o XIX e o XX, a dissertação tem por objetivo traçar um panorama da situação de quatro personagens femininas na Literatura Brasileira, em relação à opressão e à violência, não a partir de uma abordagem meramente sociológica, pois este seria o trabalho de outras áreas de conhecimento como a Sociologia e a Antropologia, mas sob a ótica de um viés literário como representação da história cultural de nosso país, destacando características dessas mulheres e suas reações à desqualificação feminina pela dominação patriarcal e machista da sociedade brasileira, principalmente em grupos sociais mais vulneráveis, no meio rural e urbano. Com tal propósito, as personagens selecionadas, emblemáticas em sua construção, servirão de suporte para análise: Lucíola, de José de Alencar no romance homônimo; Sinhá Vitória, de Graciliano Ramos, em Vidas secas; Leniza, de Marques Rebelo, em A estrela sobe; e Macabéa, de Clarice Lispector, em A hora da estrela. Para isso, o trabalho propõe-se, de início, a discorrer sobre a questão do feminismo no Brasil e no mundo, através de autores como Simone de Beauvoir e Elisabeth Badinter. Além disso, objetivarei discorrer sobre a visão histórica e cultural da formação da sociedade brasileira, a fim de que os meandros do papel da mulher e a questão feminina sejam entendidos dentro de uma perspectiva mais objetiva e factual / In diachronic view , involving two centuries, the XIX and XX, a dissertation aims to draw a picture of the situation of four female characters in Brazilian Literature, in relation to oppression and violence, not from a purely sociological approach, because this is the work of other areas of knowledge such as Sociology and Anthropology, but from the perspective of a literary bias as a representation of the cultural history of our country, highlighting characteristics of these women and their reactions to the disqualification by female and male patriarchal domination of Brazilian society, mainly on the most vulnerable social groups, in rural and urban areas. In this regard, the characters selected, emblematic in its construction, will support for analysis: Lucíola, José de Alencar in the novel homonym; Sinhá Victoria, Graciliano Ramos, in Vidas secas; Leniza, Marques Rebelo, in A estrela sobe and Macabéa, Clarice Lispector, at the A hora da estrela. Therefore, the work it is proposed, first, to talk about the issue of feminism in Brazil and the world through writers such as Simone de Beauvoir and Elisabeth Badinter. Moreover, I intend to speech on the historical and cultural vision of the formation of Brazilian society, so that the intricacies of the role of women and the question women are perceived in a more objective and factual

Made available in DSpace on 2014-06-11T19:32:48Z (GMT). No. of bitstreams: 0 Previous issue date: 2006Bitstream added on 2014-06-13T19:03:24Z : No. of bitstreams: 1 cardoso_al_dr_arafcl.pdf: 882251 bytes, checksum: 38dba17eb5226a4c5822d9bf0ad1eb22 (MD5) / O tema desta tese é o medo em Grande sertão: veredas, na perspectiva do discurso narrativo - que traz a representaçào do estabelecimento e da manutenção do poder glorioso que controla o medo - e no plano da enunciação que apresenta o medo como um dos impulsionadores da narração de Riobaldo que tem dúvida sobre a realização do pacto, motivo de medo, e teme a morte. Examinando-se a luta do narrador com as palavras, assume-se a linha interpretativa filosófica aliada à análise de orientação política, tnedo o sertão como símbolo de uma realidade mais ampla, que estrapola as fronteiras da região e do período histórico compreendido no romance. Tem-se o objetivo de mostrar que a preciptação e o andamentamento da narração, que influem no modo como Riobaldo a tece, relacionam-se com a consciência do medo primordial e do inventado. O embasamento teórico da pesquisa é constituído por três grupos de estudos. Primeiro, os que tratam do medo e poder como: Ética e Tratado político de Espinosa e Arte retórica e Arte poética de Aristóteles. Segundo, ensaios críticos sobre Guimarães Rosa como: grandesertão.br: o romance de formação do Brasil de Willi Bolle, O homem dos avessos e Jagunços mineiros de Cláudio a Guimarães Rosa de Antonio Candido, Trilhas no Grande sertãode Proença; As formas do falso de Walnice Galvão; Os descaminhos do demo: tradição e ruptura em Grande sertão: veredas de Rosenfield, Guimarães Rosa: a revolução rosiana de Oliveira, entre outros. Terceiro, estudos sobre a criação literária como: Discurso da narrativa de Genette e O tempo na narrativa de Benedito Nunes que examinam o tempo, a perspectiv, avoz e as visões narrativas. / The theme of this thesis is the fear in Grande sertão: veredas in the perspective of the narrative speech - that brings the representation of the establishment and maintenance of the glorious power that controls the fear - and in the plan of the enunciation that presents the fear as one of the propellers of the narration of Riobaldo that has doubt about the accomplishment of the pact, reason of the fear, and feras the death. As we analyze the narrator's figth with the words, the philosophical interpretative line allied is assumed to the analysis of political orientation, having the sertão as symbol of a wrider reality that exceeds the borders of the region and of the historical period comprehended in the romance. The purpose is to show that the precipitation and the course of narration, that influence the way Riobaldo weaves it, arelinked with the conscience of the primordial fear and of the invented one. The theoretical basis of the research is constituted by three groups of studies. First, the ones that deal with fear and power as: Espinosa's Ética and Tratado político and Aristóteles' Arte retórica and Arte poética. Second, critical assays on Guimarães Rosa such as: Willi Bolle's grandesertão.br: o romance de formação do Brasil, Antonio Candido's O homem dos avessos and Jagunços mineiros de Cláudio a Guimarães Rosa; Proenças' Trilhas no Grande sertão; Walnice Galvão's As formas do falso; Rosenfield's Os descaminhos do demo: tradição e ruptura em Grande sertão: veredas; Oliveira's Guimarães Rosa: a revolução rosiana, among others. Third, studies about the literary creation such as: Ganette's Discurso da narrativa and Benito Nunes' O tempo na narrativa that examine the time, the perspective, the voice and the narrative visions.