Psicólogo / El siguiente artículo propone una aproximación teórica al fenómeno de los autocortes desde una perspectiva sistémico relacional. En primer lugar, se presenta una revisión de las investigaciones existentes en torno a autocortes y con ello se sitúa este artículo y su contribución. En segundo lugar, se plantea cómo los modelos sistémico-relacionales han tenido dificultades para otorgar un status ontológico al individuo y su corporalidad. Tercero, se introduce el concepto de mente corporizada como propuesta teórica que permite considerar al cuerpo como campo de sentido. En cuarto lugar, se plantea el concepto de lo no dicho como asedio al sentido que elicita la continuidad de la identidad. Por último, se plantea la hipótesis de este trabajo y se presenta una viñeta clínica revisada a la luz de la propuesta teórica. The following article propose a theoretical approximation to the phenomenon of self-cut from a systemic-relational perspective. In first place, a revision of the investigations present around self-cut is showed and with that this article is located and its contribution. In second place, it arises as the systemic-relational models have had difficulties to give an ontological status to the individual and his corporality. Third, it is introduced the concept of Embodied Mind as a theoretical proposal that can considerate the body as a sense-making field. In fourth place, it arises the concept of the unsaid as siege to the sense-making that arouse the continuity of the identity. To finish, the hypothesis of this work is raised and a clinical vignette is presented under the light of the theoretical proposal

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Aborder la rhétorique du silence chez Pinter revient à examiner à la fois ce qui se passe sur scène, dans le texte poétique, et à jeter un regard sur les différents média dont son théâtre se sert pour aborder des thèmes liés à la guerre, à la menace, à l'existence, à la philosophie et à la métaphysique. Il y est aussi question de voir le rapport de cette modalité du langage à l'outil linguistique. L'ontologie du silence à permis de comprendre, qu'il s'agisse dans la communication ou dans la représentation, que cette réalité ne peut être compréhensible qu'à l'ombre de l'élément verbal. Le silence peut être perçu comme ce qui se dérobe à toute tentative de mise à mots. Pour nous imprégner du contenu de ce que Pinter cherche à nous faire parvenir, nous devons considérer ce sous-territoire verbal constitués de non-dits, d'allusions, de sous-entendus, mais également des espaces de l’indétermination. Et comme le langage n'est pas toujours téléologiquement motivé par l'expressivité, son caractère ambivalent, elliptique, fragmentaire, minimaliste et ésotérique constitue un défi pour le public. Cependant, l'étude étiologique (causes) du silence montre que tout ne peut s'expliquer par les limites, les failles et les impossibilités du langage et par le refus de l'engagement du locuteur ou de son capital cognitif et épistémologique. Le temps représente un obstacle majeur dans les efforts de l'homme d'expliquer des événements, faits antérieurs. S'il est difficile de parler précisément et objectivement du passé et du futur, nommer ou désigner ce qui se passe sous les yeux semble l'être également. En plus de la labilité et de l'oubli, la complexité des choses à dire peut aussi signifier l'arrêt définitif ou temporaire de tout discours. Avant l'échéance eschatologique, le silence n'est absolument pas un vide, un néant, même si des pesanteurs d'ordre encratique, idéologique et social rendent compte de la contrainte à laquelle sur tout sujet parlant est appelé à faire face. LE silence qui traverse le théâtre de Pinter est différent de cette absence de parole qu'impose la mort. Il n'est donc pas néontique, parce qu'il se justifie, d'une part, par une option artistique, et d'autre part, par le désir de nous rappeler qui nous sommes. Ce sont nos mots et nos silences qui font de nous ce que nous sommes dans ou sans interaction subjective : une entité sonore et une autre silencieuse. Tout être langagier est fait de ce qui s'énonce clairement et de ce qui ne cesse de s'échapper à toute expression verbale.Le choix porté sur l'adaptation cinématographique des pièces de Pinter obéit à l'effort de montrer que, quand les mots n'arrivent plus à dire, il faut se tourner vers des données sémiologiques, sémiotiques et somatico-gestuelles. Le genre poétique est un autre moyen par lequel les voix du silence nous parviennent à travers les allusions, les images et les symboles. Dans l’œuvre artistique de Pinter, le silence n'a pas qu'une signification mais aussi un rôle, une nature et des limites. Le silence n'est pas exclusivement dans le tacite ou le caché : il se trouve également dans ce qui se montre ou ce qui s'entend. Ce théâtre rappelle qu'à l'image du langage, le silence est une forme d'expression qui exige du spectateur une profonde attention pour comprendre le message qu'il entend lui faire passer. Par ailleurs, la protologie du silence révèle que d'autres arts de la scène tels que le praxis orchésale et la pratique musicale doivent leur existence à la réalité silencieuse. Vu que le silence sous-tend les moyens d'expression et de communication humaines, cela révèle du bon sens de lui reconnaître comme forme vivante. Le silence est à la fois une force centrifuge et centripète, car tout part de lui et retourne à son sein. Il est à l'origine de toute chose, et il survivra toute existence. / The main purpose of this research is not only to try to grasp the meaning of the unsaid and the hidden in the artistic work of Harold Pinter, but first and foresmost to show that language can neither have a meaning nor be made out if we do not consider what is lying underneath or if we disregard any reading between the lines. Even if it's obvious that the stage is more often than not under the yoke of words, the gist of any play is to be looked for in silence. In Pinter's dramatic world, silence can be understood as what cannot be said, what is not thoroughly said, what is not clearly expressed, what is not yet said, what will never be said. It can be due to many reasons, a silence may be observed under duress, as it may be made purposefully. The body language is more than important, for what is displayed through it can urge any shrewd spectator to muse upon what is beyond his eyes. Since words and images are not often reliable, the work of any spectator is to ponder over what is shown or said to him. And like any tool of communication, silence requires a text and a context to yield the substance emnodied in it. Any attempt to sever the language of words from that of silence is doomed to failure. Silence per se is the realm of silent words. Before being uttered, any word was first kept in silence. All discourses stem from silence, and whilst some can reach the listener, others need a particular attention, whence our interest in Pinter's early poems. The silence we'redealing with is not a void. It's pregnant with meaning and cannot be avoided as long as we're able to speak or we're potential locutors.

Submitted by Odilio Hilario Moreira Júnior (odilio@espm.br) on 2016-11-28T16:16:45Z No. of bitstreams: 1 Marcelo Eduardo Ribaric.pdf: 6983024 bytes, checksum: fe42ec15d0fdfe66820e17b122374fb4 (MD5) / Approved for entry into archive by Odilio Hilario Moreira Júnior (odilio@espm.br) on 2016-11-28T16:16:57Z (GMT) No. of bitstreams: 1 Marcelo Eduardo Ribaric.pdf: 6983024 bytes, checksum: fe42ec15d0fdfe66820e17b122374fb4 (MD5) / Approved for entry into archive by Debora Cristina Bonfim Aquarone (deborabonfim@espm.br) on 2016-11-28T16:25:05Z (GMT) No. of bitstreams: 1 Marcelo Eduardo Ribaric.pdf: 6983024 bytes, checksum: fe42ec15d0fdfe66820e17b122374fb4 (MD5) / Made available in DSpace on 2016-11-28T16:25:48Z (GMT). No. of bitstreams: 1 Marcelo Eduardo Ribaric.pdf: 6983024 bytes, checksum: fe42ec15d0fdfe66820e17b122374fb4 (MD5) Previous issue date: 2009-03-23 / The dialogue between cinema and audiovisual publicity dates back to the origins of cinema itself, when Thomas Edison produced the first known publicity film in 1897, a little over a year after the presentation of the Lumiére Brothers cinematograph. In addition to making use of cinematographic language, audiovisual publicity – due to its mimetic character – uses cinema intertextually by imitating it, citing it, saluting it, or parodying it. In contemporary society, audiovisual publicity has converted itself into a consumer object, the so-called advertainment – an entertainment product created as a vehicle for promoting specific advertisers. Starting with the eight-installment short film series titled “The Hire”, produced for German automaker BMW, this study aims to disclose the publicity discourse of advertainment, by listening for the unsaid in these movies, using French discourse analysis / O diálogo entre o cinema e a publicidade audiovisual remonta às origens do próprio cinema, quando, em 1897, Thomas Edison produz o primeiro filme publicitário de que se tem notícia, pouco mais de um ano após a exibição do cinematógrafo dos irmãos Lumiére. Além de utilizar-se da linguagem cinematográfica, a publicidade audiovisual, graças ao seu caráter mimético, tem o cinema como intertexto, imitando-o, citando-o, homenageando-o ou parodiando-o. Na sociedade contemporânea, a publicidade audiovisual converteu-se, ela mesma, em objeto de consumo, no chamado advertainment, produto de entretenimento criado como um veículo para promover anunciantes específicos. A partir da série de oito filmes de curta-metragem intitulada “The Hire”, produzida para a indústria automobilística alemã BMW, este estudo pretende desvelar o discurso publicitário do advertainment, ouvindo os não-ditos contidos nestes filmes, através da análise do discurso da escola francesa

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This diploma thesis deals with explicitness and semantic explicitations in translation. Its goal is to confirm or disprove the explicitation hypothesis of S. Blum-Kulka, according to which translated texts are more explicit than their originals, regardless of the language of translation. The thesis is divided into two parts. The theoretical part focuses on the definition of explicitness and explicitation, presents explicitation from the point of view of terminology, translation universals, the cognitive process of translating and the contribution of corpus linguistics to the research of different forms of explicitation. The theoretical part also contains division of explicitation into different types and its classification among other translation procedures. The empirical part is based on a detailed analysis of excerpts obtained from French and Czech belletristic originals and their translations through which the semantic explicitations are researched. The analysis is concluded by a summary of all obtained results and by their confrontation with the explicitation hypothesis.

The study provides a theoretical account for the representation of apartheid in South African fiction. Narrative strategies employed in the post-apartheid novels The innocence of roast chicken (Richards, 1996), The smell of apples (Behr, 1996), All we have left unsaid (Case, 2006) and Thirteen cents (Duiker, 2011) reveal that depictions of the past contribute to narrative structure and the production of meaning. Genettean temporal relations, namely narrative order, duration and frequency are a systematic method to analyse the selected novels, since it enables a contrast between the narrative past as the histoire, and the narrative present as the récit. Retrospective events are constructed as memories, thereby are complemented by Bergson’s psychological and philosophical theory in the analysis and interpretation of the dualistic interaction between the apartheid and post-apartheid temporal centres adopted within the novels. The representation of apartheid may be seen as sub-themes and time as configurations of temporal zones. / Afrikaans & Theory of Literature / M.A. (Theory of Literature)

The study provides a theoretical account for the representation of apartheid in South African fiction. Narrative strategies employed in the post-apartheid novels The innocence of roast chicken (Richards, 1996), The smell of apples (Behr, 1996), All we have left unsaid (Case, 2006) and Thirteen cents (Duiker, 2011) reveal that depictions of the past contribute to narrative structure and the production of meaning. Genettean temporal relations, namely narrative order, duration and frequency are a systematic method to analyse the selected novels, since it enables a contrast between the narrative past as the histoire, and the narrative present as the récit. Retrospective events are constructed as memories, thereby are complemented by Bergson’s psychological and philosophical theory in the analysis and interpretation of the dualistic interaction between the apartheid and post-apartheid temporal centres adopted within the novels. The representation of apartheid may be seen as sub-themes and time as configurations of temporal zones. / Afrikaans and Theory of Literature / M. A. (Theory of Literature)