Undergraduate honors paper--Mount Holyoke College, 2008. Dept. of English. / Includes bibliographical references (leaves 130-131).

Thesis (Ph. D.)--University of Washington, 1996. / Vita. Includes bibliographical references (leaves [236]-248).

To date, semiotics has not concerned itself with a systematic theorization of dialogue structures within narrative prose. Per- ceived as microtextual phenomena, deprived, therefore, of their own particular structure and function on the underlying syntactico-semantic structure of narrative logic, the linguistic activities of characters have generally been considered as more or less perfect copies of real speech, responsible for elements of characterization, pittoresque and narrative detente. In this paper, an attempt is made to reinstate narrative dialogue within the problematic relations to which it gives rise, that is, the relations it maintains with real speech and with other narrative components, so as to discern not only its specific written structure, which leads to numerous mimetic effects, but also its differential structures, distributions and functions within the narrative framework, which corroborate its specificity as a text- ual sign and confirm its semiotic status.

No description available.

My critical essay maps out the relationship between verbal and non-verbal information in contemporary theatrical writing. It uses Lehmann's theory of a post-dramatic theatre and Pfister's analytical input to investigate different configurations of the information given by the characters' speech and the information given by their physical actions. The ways in which these variables interrelate define the type of affiliation between theatre and drama in any given text. My essay contends that the verbal and the non-verbal represent the two ends of the spectrum of possibilities of any written theatre text. The predominance of one over the other will determine the extent to which the 'presence' of the dramatist intervenes in the staging of the work. Using Old Times as a case study, I examine the way in which Pinter stretches the gap between the verbal and the non-verbal; by using his knowledge of the stage, he confronts the remoteness of the literary in theatrical writing. My play Southern Quest recognizes the minds of the readers and of the spectators as the place where the closure of the gap occurs. Its stage directions make of the stage, the properties and actions a creation that is parallel to the fictional one (only present in the dialogue of the characters). There is a permanent discrepancy, not a contradiction, between what is said and what and where it is done that demands that the actual assembly of the possible fiction takes place in the receiver's mind. The creative component draws on numerous elements analysed in the critical work, such as the discordance between the verbal and the non-verbal and the use of narrative monologues in theatrical writing. The lack of agreement between the verbal and the non-verbal-a heightened discordance at the beginning and the end of the play, with a minimal discrepancy towards the centre-mirrors the characters' journey throughout the play: from existential doubt to physical agony and back. The theoretical concerns addressed in the essay are explored in the writing of the play and my main formal drive in the creative piece is to explore the division between theatre and drama from within the text.

My critical essay maps out the relationship between verbal and non-verbal information in contemporary theatrical writing. It uses Lehmann's theory of a post-dramatic theatre and Pfister's analytical input to investigate different configurations of the information given by the characters' speech and the information given by their physical actions. The ways in which these variables interrelate define the type of affiliation between theatre and drama in any given text. My essay contends that the verbal and the non-verbal represent the two ends of the spectrum of possibilities of any written theatre text. The predominance of one over the other will determine the extent to which the 'presence' of the dramatist intervenes in the staging of the work. Using Old Times as a case study, I examine the way in which Pinter stretches the gap between the verbal and the non-verbal; by using his knowledge of the stage, he confronts the remoteness of the literary in theatrical writing. My play Southern Quest recognizes the minds of the readers and of the spectators as the place where the closure of the gap occurs. Its stage directions make of the stage, the properties and actions a creation that is parallel to the fictional one (only present in the dialogue of the characters). There is a permanent discrepancy, not a contradiction, between what is said and what and where it is done that demands that the actual assembly of the possible fiction takes place in the receiver's mind. The creative component draws on numerous elements analysed in the critical work, such as the discordance between the verbal and the non-verbal and the use of narrative monologues in theatrical writing. The lack of agreement between the verbal and the non-verbal-a heightened discordance at the beginning and the end of the play, with a minimal discrepancy towards the centre-mirrors the characters' journey throughout the play: from existential doubt to physical agony and back. The theoretical concerns addressed in the essay are explored in the writing of the play and my main formal drive in the creative piece is to explore the division between theatre and drama from within the text.

Thesis (Ph.D.)--Ohio University, June, 2005. / Title from PDF t.p. Includes bibliographical references (p. 327-345)

No description available.

Thesis (Ph. D.)--University of California, San Diego, 2000. / Vita. Includes bibliographical references (leaves 259-274).

Orientador: Sandra Aparecida Ferreira / Banca: Márcia Valéria Zamboni Gobbi / Banca: Márcio Roberto Pereira / Resumo: A dissertação analisará construções imagéticas e estilísticas do escritor português José Saramago nas obras Os Poemas Possíveis (1966), Provavelmente Alegria (1970) e O Ano de 1993(1975), procurando estabelecer as diferenças e semelhanças entre as três obras mencionadas, tendo como foco o percurso figurativo e temático dos poemas, por meio da atenção ao rigor da construção, à tipologia dos versos e seus padrões rítmicos, aos campos semânticos e efeitos estilísticos. A dissertação também procurou estabelecer as relações entre lirismo e descrição; contenção irônica e fixação pelo problema limiar da arte e da poesia apresentadas pelo eu-lírico; uso de recursos retórico-poéticos; relação com arquétipos e mitos da memória coletiva; recortes epigramáticos; atributos simbólicos de conceitos chave (por exemplo: mar, terra, pedra, silêncio, palavra); construção da paisagem e seus componentes recorrentes (luz, sombra, água, terra, árvores, corpo), com vistas a compor o rol de motivos característicos à obra em análise. A análise, portanto, procurou realizar uma leitura que apreendeu as figuras de linguagem, a criação de imagens oníricas e a presença de conteúdos temáticos que atualizam assuntos de um repertório universal, com vistas a compor uma síntese das formas, imagens e temas recorrentes responsáveis pela configuração da linha poética do autor nas três obras consideradas, apontando nelas linhas convergentes e variantes / Abstract: The dissertation analyzed the imagery and stylistic construction of José Saramago in Os Poemas Possíveis, Provavelmente Alegria and O Ano de 1993, aiming to establish differences and similarities between the three poetic works of José Saramago apart from focusing on the figurative and thematic itinerary of the poems through the attention given to rigor of construction, typology of the verses and its rhythmical patterns, semantic field and stylistic effects. The present dissertation sought to draw a parallel between lirism and description, ironic contention, fixation by the problem of threshold of art and poetry suggested by self-lyric; use of rhetorical-poetic resources; relationships with archetypes and myths of collective memory, epigrams; symbolic attributes to key concepts (sea, earth, rock, silence, word) the construction of landscape and its components (light, shadow, water, earth, trees, body), with the objective of showing the range of motives typical of the works mentioned. Therefore, the dissertation also analyzed the language, the creation of oniric images and the presence of thematic contents which may refer to subjects of a universal repertoire, aiming to compose a synthesis of forms, images and recurrent themes responsible for the poetic trait of Saramago in his three poetic works, pointing out convergent and variant characteristics / Mestre