Orientador: Rosemary Arrojo / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem / Made available in DSpace on 2018-07-18T18:28:43Z (GMT). No. of bitstreams: 1 Bonatti_NiciaAdan_M.pdf: 6961122 bytes, checksum: 1461cfd833609583f9a57954cc7c292e (MD5) Previous issue date: 1993 / Resumo: Tendo como abordagem teórica os pressupostos pos-estruturalistas sobre leitura e tradução, pretendo mostrar o processo daquilo que Rosemary Arrojo chama de "palimpsesto" no exame da teadução brasileira de A Brief History of Time: From the Big Bang to Black Holes, do físico inglês Stephen W. Hawking, como exemplo da maneira pela qual um texto é apagado em uma determinada comunidade cultural, dando lugar a outra leitura do "mesmo" texto. Com efeito, este livro, de teor especializado, recebeu uma tradução brasileira que não teve recepção unânime do público: parte deste não assinalou problemas, enquanto que outra parte, que aqui nomearemos de "comunidade científica", rejeitou-a, porque a tradução reflete a construção de sentidos feita a partir de uma ótica leiga, e estes não coincidem com os considerados corretos pelos especialistas no assunto. Pretendo então mostrar, neste trabalho, que a recepção da tradução brasileira, Uma Breve História do Tempo; do Big Bang aos Buracos Negros, não desfruta de consensó devido as diferentes possibilidades de interpretação que oferece. Disso decorre uma não-coincidência de leituras "corretas" das diferentes comunidades, cujos membt-os emitiram seu parecer sobre o livro: cada uma delas, excitada por expectativas de significados, determinara os sentidos cabíveis e, por exclusão, aquilo que é não-formulavel / Abstract: Not informed. / Mestrado / Mestre em Linguística Aplicada

Paul Grice's conversational implicature is a widely studied and commonly accepted theory in the field of linguistics, and Stephen Toulmin's model of argument is perhaps even more widely studied and accepted in the field of argument. I was struck by the great similarities between the two theories, particularly the leap of logic both are dependent upon, and surprised by the fact that it didn't seem that anyone had explored the similarities. In this thesis, I explore the similarities of the processes, of Grices's implicature and Toulmin's model of argument, and how looking at the two together increases the understanding of both.

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This dissertation is concerned with the paradox of revelatory deception a form of 'lying' which reveals truth instead of concealing it in four Shakespearean plays: Much Ado About Nothing, As You Like It, Hamlet, and King Lear. Through close analysis, I show that revelatory deceptions in these plays are metatheatrical, and read them as responding to contemporary writers who attacked the theatre for being inherently deceitful. This reading leads to the identification of parallels in the description of theatre in antitheatrical texts and the descriptions of revelatory deceptions in the plays. I suggest that correlations in phrasing and imagery might undermine antitheatrical rhetoric: for example, the plays portray certain theatrical, revelatory deceptions as traps which free their victims instead of killing them. Such 'lies' are differentiated from actual deceits by their potentially relational characteristics: deceptions which reveal the truth require audiences to put aside their self-interest and certainty to consider alternative realities which might reflect, reconfigure, and expand their understanding of the world and of themselves. The resulting truths lead either to the creation or renewal of relationships, as in Much Ado About Nothing and As You Like It, or offer glimpses at the possibility of renewal, which is ultimately denied, as in Hamlet and King Lear. In both cases the imperatives for truth and right action are underscored not obscured, as antitheatricalists would have argued through the audience's vicarious experience of either the gains or losses of characters within the plays. / Dissertation (MA)--University of Pretoria, 2017. / English / MA / Unrestricted

In 1943 occupied Yugoslavia became the scene of ferocious fighting on a large scale as axis forces launched two major anti-guerrilla operations, codenamed “Weiss” and “Schwartz”, in an all-out effort to put an end to the Yugoslav communist resistance. Despite the axis being massively superior in material terms, sometimes even outnumbering their opponents by six to one, both operations ended in failure as the partisans managed to fight their way out of the German trap. Scholarly research concerning these operations almost exclusively aims to explain their outcome by examining German mistakes, while far lessresearch has been conducted with the intent of examining the outcome of the operations from a partisan perspective. The purpose of this study is to investigate whether the partisan success during these operations can be explained by them using the set of methods of force employment which Stephen Biddle calls “the modern system”, and thereby make a first attempt at explaining the outcome of the operations on the tactical and operational level from a partisan point of view. The result of this study shows that the partisan success indeed can be explained by Biddles theory, at least to some extent, but that a more comprehensive study would need to be conducted to fully verify these claims. The study has thus fulfilled its purpose and provides a small but important contribution to the scholarly debate upon which further research can be conducted concerning the partisan successes during 1943.

Entre 2013 et 2017, le projet d’oléoduc Énergie Est a été l’un des plus importants enjeux économique, politique et environnemental des années 2010. Initié pendant le gouvernement conservateur de Stephen Harper et annulé sous le gouvernement libéral de Justin Trudeau, c’est le plus ambitieux projet d’oléoduc de l’histoire du Canada. S’il n’a jamais traversé les provinces d’ouest en est, il est passé au travers de deux gouvernements fédéraux différents ayant leur discours environnemental propre. Or, avec la croissance soutenue de l’exploitation des sables bitumineux et l’édification de nouveaux oléoducs au pays, c’est à se demander si leurs discours sont réellement distincts. Pour réaliser cette étude du discours environnemental fédéral, il a fallu combiner l’analyse du discours avec un cadre théorique permettant de rendre compte de l’impact de l’exploitation des sables bitumineux sur le gouvernement à Ottawa. C’est ainsi que nous en sommes venus à une élaboration conceptuelle combinant une analyse de l’espace, de l’État et de l’histoire canadienne jointes à l’approche de l’analyse du discours. Le résultat de cette thèse est qu’il existe à la fois des similitudes et des dissemblances entre les discours des deux gouvernements. Malgré qu’ils s’amenaient au Parlement en se présentant comme une alternative environnementale sérieuse, les libéraux ont été contraints par des facteurs économiques et politiques hérités du précédent gouvernement conservateur lui-même influencé par une histoire économique canadienne particulière. Énergie Est est un cas éclairant sur la problématique du développement économique au temps des changements climatiques.

In 1958 Stephen E. Toulmin wrote of inadequacies of formal logic and proposed a new field-dependent approach to the analysis of arguments. Despite a generally negative response to his proposal from formal logicians, Toulmin's model for the laying out of arguments for analysis was subsequently appropriated by several speech communication textbook writers. In some textbooks, the Toulmin model has become successor to the syllogism as the paradigm of logical argument. Yet, perhaps due to their seemingly uncritical acceptance of Toulmin's approach there appears to be serious disagreement and confusion among speech communication professionals about the nature and applications of the Toulmin model. Towards a resolution of this problem, this study provides a descriptive analysis and assessment of the history of the Toulmin model and its proposed applications to speech communication.

Stephen crane's major irony in his art is produced by contrasting his characters' illusions with reality. In Maggie that reality is an environmental indifference that is very much like the deterministic environment of the Naturalistic Novelists. Maggie's perceptions and expectations contrast with this reality, seeming very ironic. In The Red Badge of Courage, "The Open Boat," and "The Blue Hotel,” each character's illusion is contrasted with a reality that is absolutely indifferent. It is in these works (as well as in his letters and poetry) that Crane affirms man's need to embrace those illusions which enable him to face reality. The contrast between illusion and reality still generates irony, yet, Crane accepts the irony as a fact of life in an ironic universe.

In the spring of 2023, Kungliga Operan in Stockholm, Sweden premiered their production of Stephen Sondheim's famous musical Sweeney Todd: The Demon Barber of Fleet Street. This study aims to analyze this production in regards to Mattias Fhyr's definition of the Gothic. It analyzes what gothic signs and themes are recognizable in the Kungliga Operan production of the musical and how they manifest on stage. The study applies the qualitative method of performance analysis, which uses a combination of semiotics and hermeneutics to analyze live performances. Semiotics is also used as the theoretical foundation of this essay. Fhyr's definition specifies that a gothic text depicts subjective worlds, that lack higher order and is characterized by an atmosphere of decay, destruction, and irresolvability, and that it contains labyrinthine qualities. Earlier research also shows that the Gothic can be found in almost all media, including theater. This study illustrates how this performance of Sweeney Todd contains and expresses the above mentioned themes. It also discusses the gothic genre's relationship with opera and comedy and how they are relevant in the performance. It explores the characters monstrous depictions, and examines different familial relations and themes in the musical, characteristic of the gothic genre. The study concludes that the Gothic can be found in the musical's set design and fictional locations, in the mood and atmosphere mostly created by the score, in the characters and their actions, as well as in the story itself.

The artist discusses her Master of Fine Arts exhibition at East Tennessee State University, Carroll Reece Museum, Johnson City, Tennessee, March 9 - 17, 2001. The exhibition marked her return to organic, gestural work. Works are figurative, ceramic, sculpture, made of paper clay, ranging from 8-inch, wall mounted, bas-relief to life sized, full round figures. Most are slab constructed, unglazed or lightly glazed with soda wash. Topics discussed: the artist's development, including the influences of Stephen De Staebler, in his treatment of the individual in mass culture, and of Mary Frank, in psychological content and in the use of negative space; similarities with sensuality in Georgia O'Keeffe's flower paintings; paper clay technique and the work of Rosette Gault; ceramic workshops in Appalachia; mythology and feminism as inspiration; the effect of nature and environment on art; and Georges Jeanclos. Includes images and discussion of seventeen works.