The aim of the thesis is to theoretically and empirically describe and explain the phenomenon of place-name adaptation which does not necessarily end with the borrowing or replication of place-names but can continue further. 48 Wendish place-names in Knýtlinga saga, including their attestations and variants in a selection of the saga’s text carriers and corresponding text witnesses, constitute the primary material for the investigation. The thesis seeks to combine place-name research, contact linguistics and philology with the theory of name adaptation in contact onomastics as its overall framework. The most important contribution of the thesis is the proposed demarcation between place-name replication and adaptation. In discussing the factors that can influence adaptation and its results, the focus is on the decisive role of the language user in contact-induced change. It is argued that the choice of adaptation strategy is primarily dependent upon the needs, competence and attitudes of the name user. The resulting form of adaptation is in most cases governed by the linguistic system of the target language, which is reflected in the model employed in the thesis to describe the results of the adaptation process. Two studies, one etymological and one philological, have been undertaken. Phonological, morphological, lexical, onomastic and semantic adaptations with and without epexegetic additions can be discerned in the toponymic material, which comprises 29 names of Slavic origin. Phonological adaptation dominates, which confirms the observations on place-name adaptation in previous research. Further adaptation of the replicated names in the post-medieval copies of Knýtlinga saga is admittedly insignificant; nevertheless scribes here make greatest use of lexical and onomastic adaptation in copying. The lack of transparency, which has been pointed out as the trigger for these types of adaptation, seems to create only the possibility of adaptation, but it is the name user who determines whether adaptation will occur and which strategy should then be employed.

Syftet med denna uppsats har varit att studera vad som har hänt med diktverket Frithiofs Saga av Esaias Tegnérs, när det har omarbetats till fullängdsoperan Fritiofs Saga av Elfrida Andrée och Selma Lagerlöf, vilken i sin tur komprimerats till ett konsertframträdande på en timme, som gavs i Karlstad av Wermland Opera 2013. Här har det undersökts vilka olika narrativ som har skapats i dessa två bearbetningar, där en huvudfråga har varit att undersöka om representationen av kvinnligt och manligt har förändrats längs med vägen. Undersökningen har skett genom närläsning av Tegnérs diktverk, vilka sedan jämförts med notmaterialet till Fritiofs Saga, samt den direktupptagning som Sveriges radio gjorde av Wermland Operas framförande. Materialet har därefter sammanställts i tabellformat och analyserats enligt Vladimir Propps systematisering för sagor, samt genom Ingrid Åkessons teori om återskapande, omskapande och nyskapande. Undersökningen visar att bearbetningar av ett litterärt material, skapar om inte nya så åtminstone andra typer av berättelser, än den litterära förlagan, samt att representationen av kvinnligt och manligt skiljer sig åt i de tre undersökta materialen.

La Maríu saga est une saga hagiographique anonyme d’origine monastique faisant le récit de la vie de Marie, de sa conception à son Assomption, rédigée en langue vernaculaire et composée entre le dernier tiers du XIIIe siècle et la seconde moitié du XIVe siècle en Islande. Assortie d’une traduction inédite du texte, la présente étude se propose comme une nouvelle approche de la Maríu saga que nous inscrivons dans la longue tradition littéraire et théologique des Vies de la Vierge, des biographies homilétiques mariales tributaires des évangiles apocryphes composées par des moines et théologiens du VIIe au Xe siècle dans l’Empire Byzantin, et que nous situons dans le contexte littéraire et culturel européen médiéval afin de mettre en lumière les enjeux poétiques et doctrinaux que soulève l’acte d’écrire et de réécrire la vie de la Vierge en Islande au Moyen Âge. Pour ce faire, nous envisageons l’œuvre de différents points de vue, d’abord de l’histoire de la réception des textes bibliques et parabibliques, ensuite contextuel et philologique, puis littéraire et enfin théologique. Nous nous employons à montrer à travers son étude poétique et doctrinale que, à l’exemple des vies de Marie médiévales ecclésiastiques, la Maríu saga manifeste des spécificités propres au foyer culturel de son époque : medium entre la littérature et la théologie, l’œuvre est un texte hagiographique narratif qui présente le double intérêt d’être à la fois un témoin de la pratique de la réécriture hagiographique en langue vernaculaire et le reflet du développement dogmatique et de l’évolution de la réflexion théologique sur Marie, et de fait sur le Christ, en Islande médiévale. / Maríu saga is an anonymous hagiographic saga relating the story of Mary’s life, from her Conception to her Assumption, written in the vernacular and composed in the monastic milieu between the last third of the thirteenth century and the second half of the fourteenth century in Iceland. Coupled with an unprecedented translation of the text, this dissertation offers a new approach to Maríu saga that I situate within the long literary and theological tradition of the Lives of the Virgin – these Marian biographic homilies which draw on apocryphal gospels were composed by monks and theologians from the seventh to the tenth century in the Byzantine Empire –, and that I put into the European medieval literary and cultural context in order to examine the literary and doctrinal issues raised by the act of writing and rewriting the life of the Virgin in Iceland in the Middle Ages. I successively consider Maríu saga from different perspectives: in a first part, from the history of the reception of biblical and parabiblical texts; in a second part, from an historical and a philological aspect; in a third part, from a literary point of view; and in a fourth part, from a theological angle. My aim is to demonstrate through the study of its poetics and its doctrine that, like the medieval ecclesiastical lives of Mary, Maríu saga bears specific features of its cultural area of its time: medium between literature and theology, this work is a narrative hagiographic text that presents the double interest of being the witness both to the practice of hagiographic rewriting in the vernacular and to the doctrinal development and the evolution of the theological reflection on Mary, and in fact on Christ, in medieval Iceland.

Submitted by Maicon Juliano Schmidt (maicons) on 2015-03-21T17:17:07Z No. of bitstreams: 1 Elisabeth Santos Natel.pdf: 2672672 bytes, checksum: 6f1a0d7a13b28332cdba0e0c9e4a241d (MD5) / Made available in DSpace on 2015-03-21T17:17:07Z (GMT). No. of bitstreams: 1 Elisabeth Santos Natel.pdf: 2672672 bytes, checksum: 6f1a0d7a13b28332cdba0e0c9e4a241d (MD5) Previous issue date: 2014-08-29 / Nenhuma / O objetivo desta dissertação é compreender e analisar como se dá a ascensão ou não ao protagonismo das profissionais negras, em três ambientes universitários. Observa-se, conforme estudos realizados por pesquisadores brasileiros como: Sueli Carneiro (2011), John Land Carth (2011) e Nilma Lino Gomes (1995), pesquisas estatísticas e outras, ao longo dos últimos anos, que as mulheres negras e as mulheres brancas ascendem socialmente, por meio de suas certificações universitárias. Entretanto, mulheres negras e brancas estão alocadas nas empresas e instituições acadêmicas, sendo que a mulher negra não ascende, na mesma proporcionalidade, a cargos diretivos que a mulher branca. Tentando situar a trajetória da mulher negra, por exemplo, abre-se um leque além da etnicidade e da feminilidade, porque ser mulher e negra é viver uma história de sagas e resiliências. A presença da mulher negra na educação e no trabalho justifica-se ao provocar a problematização acerca das sagas e resiliências das mulheres negras estereotipadas muitas vezes como incapazes, incompetentes, despreparadas possibilitando uma reflexão e uma melhor compreensão das práticas preconceituosas na sociedade, as quais acabam marcando e aprisionando as mulheres negras, de modo a deixá-las permanentemente à margem, em todos os sentidos. A desproporcionalidade entre mulheres negras e brancas alocadas nos estabelecimentos universitários será uma forma de discriminação institucional, em que a raça e o gênero estão funcionando como alavanca para esse tipo de racismo? / This paper aims at understanding and analysing how professional black women pursue and reach or not the position of protagonists in three university environments. According to studies made by Sueli Carneiro (2011), John Land Carth (2011), Nilma Lino Gomes (1995), statistics and others, throughout the last years, black and white women have been rising socially due to their university qualifications. Although black and white women are allocated in companies and higher education institutions, and the black women does not rise to higher positions at the same proportion as white women. By trying to express the tracking of black women, for instance, it is noticeable a range of aspects that go beyond ethnicity and femininity because besides being a woman, to be black means living a saga and resilience. The existence of black women in education and in the marke in general is justified by provoking the problem about their saga and resilience, having black women stereotyped several times as unable, incompetent and unprepared. This leads us to a reflection and a better understanding of prejudiced attitudes in the society, which end up imprisoning black women in a way that let them marginalized in every single sense.

<p>Utgangspunktet for denne avhandlingen er at folk deler kunnskap og erfaring gjennom å fortelle historier til hverandre. Kjernematerialet i avhandlingen består av samtaler / dybdeintervjuer med utvalgte ansatte og ledere på ulike nivåer i finanskonsernet Gjensidige NORs organisasjon. De fortellingene det fokuseres på handler om gjennomføring av planlagte endringer i organisasjonen.</p><p>Resultatene i avhandlingen handler om at de konkrete erfaringene spres og gir opphav til kollektive fortolknings-rammer for hvordan en forstår endringsprosesser. Slik viser avhandlingen hvordan endringsprosessene fra fortida gir grunnlag for folks forventninger og handlinger i forhold til nye endringer som skal gjennomføres. </p><p>En av konklusjonene i arbeidet er at det vil være en fordel å ta i bruk mer av den kunnskapen som organisasjons-medlemmene besitter om endringsarbeid. Dette handler bl.a. om å lære av erfaring. En bredere kunnskapsinnhenting og involvering vil dessuten forankre prosesser og beslutninger (gi eierskap) – på en måte som øker muligheten for at gjennomføringen av endringsprosjekter lykkes. </p>

Utgangspunktet for denne avhandlingen er at folk deler kunnskap og erfaring gjennom å fortelle historier til hverandre. Kjernematerialet i avhandlingen består av samtaler / dybdeintervjuer med utvalgte ansatte og ledere på ulike nivåer i finanskonsernet Gjensidige NORs organisasjon. De fortellingene det fokuseres på handler om gjennomføring av planlagte endringer i organisasjonen. Resultatene i avhandlingen handler om at de konkrete erfaringene spres og gir opphav til kollektive fortolknings-rammer for hvordan en forstår endringsprosesser. Slik viser avhandlingen hvordan endringsprosessene fra fortida gir grunnlag for folks forventninger og handlinger i forhold til nye endringer som skal gjennomføres. En av konklusjonene i arbeidet er at det vil være en fordel å ta i bruk mer av den kunnskapen som organisasjons-medlemmene besitter om endringsarbeid. Dette handler bl.a. om å lære av erfaring. En bredere kunnskapsinnhenting og involvering vil dessuten forankre prosesser og beslutninger (gi eierskap) – på en måte som øker muligheten for at gjennomføringen av endringsprosjekter lykkes.

從浪漫愛的概念出發，本研究聚焦於青少女觀賞《暮光之城》系列文本的詮釋歷程，以理解《暮光之城》作為一種文學、影視文本類型，如何藉由吸血鬼愛德華與浪漫愛概念之呈現，促使青少女在與文本互動的過程中，對浪漫愛進行反思與想像。 　　「校園生活環境」是青少女接觸《暮光之城》的主要脈絡，透過對12位「暮光迷」進行深度訪談，研究者觀察到青少女主動「選擇」《暮光之城》文本，藉由文本的「使用」滿足個人心理與情感上的需求，此過程具有兩項意義：一來突顯「閱讀」是一主動行為，在青少女的生活中占有重要地位；二來帶出《暮光之城》具有之「補救性青少年次文化」概念，使青少女在幻想與想像層次彌補了現實中的缺憾。 　　由接觸《暮光之城》到以「暮光迷」自居，展現的是青少女和《暮光之城》文本在一個時間向度上的互動過程：青少女由找尋《暮光之城》與自身生活脈絡、情感相契合處，演變為對《暮光之城》文本進行解讀與詮釋。以「浪漫愛」框架探究青少女作為「暮光迷」的真實樣貌，研究者嘗試描繪當代青少女浪漫愛想像之藍圖，並以之與「現代浪漫愛概念」、「《暮光之城》再現之浪漫愛概念」進行比較，發現其中呈現出的差異，不僅是青少女自主思考性的展現，更是對於現代男性、對於風險社會下的愛情所進行的反思與批判：吸血鬼愛德華保守的性，象徵著女性在幻想層次對男性的道德呼求；在風險社會的時空脈絡下看「永恆愛情」，部分青少女將「找到自己生命中的愛德華」作為一種神話的行動典型，部分青少女則將「永恆愛情」的意義，由永生相守扭轉為「片刻勝永恆」的概念；現代青少女強調自我「主體意識」，要求自我主體性，不希望被戀人當做保護「客體」而是希望在「被愛」的同時更主動「去愛」。 　　每一個時代都擁抱一種他們所需要的吸血鬼，而吸血鬼愛德華的出現，或許正象徵著這個時代的人們對於愛情、對於尋求真愛不可得的焦慮與恐慌。透過「浪漫愛」框架觀看「暮光迷」，可發現她們之所以擁抱「浪漫愛」，之所以擁抱吸血鬼愛德華，背後皆具特殊意義；而青少女對於浪漫愛所進行的想像與反思，足以打破他人對「暮光迷」的刻板印象，具體展現身為「暮光迷」豐富而多層次的樣貌：「暮光迷」不僅是對愛情懷抱憧憬的女孩，更是一群對於現代愛情觀及其背後彰顯之價值具有挑戰、顛覆能力的女孩們。 / Based on the concepts of romantic love, the research focuses on teenage girls’ inner interpretation experiences when they read the Twilight series so that better understand how do the vampire images of Edward Cullen and the concepts of romantic love represented by The Twilight Saga stimulate young girls’ introspection and imagination of romantic love within the process of interactions with texts. “The school life” is the main context for teenage girls to have contact with the Twilight series. In this study, the outcome of in-depth interviews with 12 “Twilighters” shows that teenage girls proactively “choose” and “use” The Twilight Saga to satisfy their mental and emotional demands. It reveals two crucial concepts: on the one hand, as far as teenage girls are concerned, “reading” is a voluntary action that plays an important role in their daily lives. On the other hand, The Twilight Saga symbolizes a “remedial subculture” that allows young girls to redeem their actual imperfection by means of daydream and imagination. From just reading the Twilight series to naming themselves as “Twilighters”, this process indicates a timeline-interaction between teenage girls and The Twilight Saga. To begin with, young girls try to find out if there is overlap amid their life context, emotion demands and the Twilight’s love romance; however, as time gone by, they start to interpret and make comments on the text. Using romantic love as a frame to explore “Twilighters”, this research tries to portray contemporary teenage girls’ imagination of romantic love and then compares it with the concepts of contemporary romantic love and that represented in The Twilight Saga. The differences not only display the independent deliberation of young girls, but also reveal their introspection and criticism on men of nowadays and notions of love in this risky society. On the first place, Vampire Edward Cullen’s conservative notion of sex symbolizes women’s moral appeals to men at the imaginative level. Secondly, judging “eternal love” under the context of risky society, some young girls regard “finding their own Edward” as an action paragon of fantasy, while some of them try to reverse the meaning of eternal love from “happy ever after” to “the precious one is the eternity for a moment”. Last but not least, young girls try to strengthen their demands for subjectivity, so that they would rather be the one who is loved and love others at the same time. Each era embraces one kind of vampire it lacks, and the appearance of Vampire Edward perhaps symbolizes the anxiety of modern people on their way of seeking true love. Through the frame of romantic love to observe the teenage “Twilighters”, the research finds out the reasons that young girls who embrace romantic love or Vampire Edward truly have some special meanings. Their imagination and introspection of romantic love, as well as their abundant images as “Twilighters”, both give them powers to reverse others’ stereotypes on “Twilighters”. “Twilighters” are not only the girls who long for love, but also the ones who have the ability to challenge and overthrow modern concepts of love and the value it manifests.

The contrast between the familiar social space and the world beyond has been widely recognised as an organising principle in medieval literature, in which the natural and the supernatural alike are set off against human society as alien and hostile. However, the study of this antithesis has typically been restricted to the spatial aspect whereas the literature often exhibits seasonal patterns as well. This dissertation modifies the existing paradigm to accommodate the temporal dimension, demonstrating that winter stands out as a season in which the autonomy of the human domain is drawn into question in both Anglo-Saxon and early Scandinavian literature. In Old English poetry, winter is invoked as a landscape category connoting personal affliction and hostility, but it is rarely used to evoke a cyclical chronology. Old Icelandic literature likewise employs winter as a spatial category, here closely associated with the dangerous supernatural. However, Old Icelandic prose furthermore give winter a place in the annual progression of the seasons, which structures all but the most legendary of the sagas. Accordingly, the winter halfyear stands out as the near-exclusive domain of revenant hauntings and prophecy. These findings stand in stark contrast to the state of affairs in Middle English poetry, which associates diverse kinds of adventure and supernatural interaction with florid landscapes of spring and summer, and Maytime forests in particular. Even so, the seasonal imagery in <em>Sir Gawain and the Green Knight</em> makes clear that Middle English poets could use the contrastive functions of winter to no less effect than authors in neighbouring corpora. In partial explanation of authorial choices in this regard, it is proposed that winter settings are employed especially where a strong empathic response is desired of the audience.

The contrast between the familiar social space and the world beyond has been widely recognised as an organising principle in medieval literature, in which the natural and the supernatural alike are set off against human society as alien and hostile. However, the study of this antithesis has typically been restricted to the spatial aspect whereas the literature often exhibits seasonal patterns as well. This dissertation modifies the existing paradigm to accommodate the temporal dimension, demonstrating that winter stands out as a season in which the autonomy of the human domain is drawn into question in both Anglo-Saxon and early Scandinavian literature. In Old English poetry, winter is invoked as a landscape category connoting personal affliction and hostility, but it is rarely used to evoke a cyclical chronology. Old Icelandic literature likewise employs winter as a spatial category, here closely associated with the dangerous supernatural. However, Old Icelandic prose furthermore give winter a place in the annual progression of the seasons, which structures all but the most legendary of the sagas. Accordingly, the winter halfyear stands out as the near-exclusive domain of revenant hauntings and prophecy. These findings stand in stark contrast to the state of affairs in Middle English poetry, which associates diverse kinds of adventure and supernatural interaction with florid landscapes of spring and summer, and Maytime forests in particular. Even so, the seasonal imagery in <em>Sir Gawain and the Green Knight</em> makes clear that Middle English poets could use the contrastive functions of winter to no less effect than authors in neighbouring corpora. In partial explanation of authorial choices in this regard, it is proposed that winter settings are employed especially where a strong empathic response is desired of the audience.

På Nationaldagen år 1992 utnämndes steelpan till Trinidad och Tobagos nationalinstrument. Världens yngsta akustiska instrument har på några få decennier gjort en klassresa. Syftet med denna uppsats är att utifrån de gällande teorierna om subkultur analysera steelbandkulturens ursprung och dess utveckling från en gräsrotskultur till en representant för en hel nation. Vilka faktorer bidrog till subkulturens uppkomst? Hur var det möjligt för steelbandkulturen att inta en så framträdande position i ett multikulturellt samhälle där den europeiska kulturen värdesattes högst av alla? Och vad händer med en subkultur som blir accepterad av resten av samhället?