黃坤堯. / 手稿本, 複本影印手稿本. / Thesis (M.A.)--香港中文大學硏究院中國語文學部. / Shou gao ben, fu ben ying yin shou gao ben. / Includes bibliographical references (leaves 534-559). / Huang Kunyao. / Thesis (M.A.)--Xianggang Zhong wen da xue yan jiu yuan Zhongguo yu wen xue bu. / Chapter 第一章 --- 前言 --- p.5 / Chapter 第二章 --- 前人研究異讀的檢討 --- p.16 / Chapter 第一節 --- 古代的異讀研究 --- p.16 / Chapter j --- 《經典釋文》及其在訓詁學上承先啟後的學術地位 --- p.16 / Chapter k --- 《群經音辨》對異讀的綜合研究　 --- p.28 / Chapter l --- 宋元明清有關異讀的研究情況　 --- p.39 / Chapter 第二節 --- 當代的異讀研究 --- p.52 / Chapter j --- 西方語言學理論的影響　 --- p.52 / Chapter k --- 周祖謨、嚴學宭注意漢讀 --- p.59 / Chapter l --- 王力、Downer論詞的派生　 --- p.69 / Chapter m --- 周法高論音變　　　 --- p.80 / Chapter 第三節 --- 本文的研究方向 --- p.92 / Chapter 第三章 --- 《釋文》異讀的內容 --- p.100 / Chapter 第一節 --- 《序錄》所見的分類　 --- p.100 / Chapter j --- 意義相同 --- p.102 / Chapter k --- 區別兩字兩義或假借 --- p.105 / Chapter l --- 區別動詞和名詞 --- p.112 / Chapter m --- 虛詞異讀 --- p.118 / Chapter 第二節 --- 動詞異讀　 --- p.124 / Chapter 第四章 --- 《釋文》動詞異讀的分類研究　 --- p.151 / Chapter 第一節 --- 自敗敗他類：敗、壞、沈、解 --- p.156 / 〔辯證〕：折、斷　 --- p.185 / Chapter 第二節 --- 動詞是否後帶名詞類：雨、語、禁、足、昭（炤） --- p.189 / Chapter 第三節 --- 表示動作有目的或方向類：射、刺、走、趨　 --- p.211 / Chapter 第四節 --- 治國國治類：治、解、聞、繫　 --- p.229 / Chapter 第五節 --- 染人漁人類：染、漁、縫、凌 --- p.256 / 〔辯證〕：管（館） --- p.268 / Chapter 第六節 --- 相見請見類：見、告、觀、視（示） --- p.272 / Chapter 第七節 --- 區別致使類：食、飲、啖（啗）、趣　 --- p.298 / 〔辯證〕：出、去　 --- p.314 / Chapter 第八節 --- 區別動作方向類：借、假、藉、貸、乞、稟、學 --- p.321 / 〔辯證〕：糴糶、匄 --- p.346 / Chapter 第九節 --- 區別上下尊卑類：養、仰、風　 --- p.349 / Chapter 第十節 --- 形容詞好惡遠近類：好、惡、遠、近、先、後、前、難　 --- p.362 / 〔辯證〕：卑、空、善（繕）、齊、和、調、遲、陰 --- p.410 / Chapter 第十一節 --- 形容詞高深長廣厚類：高、深、長、廣、厚 --- p.420 / Chapter 第十二節 --- 勞苦勞之類：勞、從 --- p.442 / 〔辯證〕：聽、張 --- p.456 / Chapter 第十三節 --- 勞來供養類：來、供、毀　　 --- p.464 / Chapter 第五章 --- 結論 --- p.478 / Chapter 第一節 --- 動詞異讀統計表及有關說明 --- p.478 / Chapter 第二節 --- 陸德明對動詞的認識難與現代語法範疇吻合　　 --- p.488 / Chapter 第三節 --- 陸德明推廣異讀的目的 --- p.499 / 注釋 --- p.504 / 附錄：主要參考書目

Orientador: Veronica Fabrini Machado de Almeida / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-12T15:06:33Z (GMT). No. of bitstreams: 1 Lazzaratto_MarceloRamos_D.pdf: 2704771 bytes, checksum: 483b96b635aa09a98360c830e54e232e (MD5) Previous issue date: 2008 / Resumo: "Arqueologia do Ator: personagens e heterônimos" tem como premissa e objetivo investigar o ofício do ator. Não no que diz respeitos aos procedimentos técnicos de sua arte, mas, sim, de vasculhar a interioridade desse artista que traz em si a sua expressão artística tornando-a singular. Ao longo da trajetória de ator, diretor e professor de teatro, o autor dessa arqueologia poética chegou à seguinte afirmação: o ator não representa nem interpreta personagens, mas manifesta heterônimos. Para melhor esclarecer essa afirmação esse trabalho se debruçou sobre um sítio arqueológico-poético, o corpo do ator. Ali, investigou/escavou duas camadas sedimentares: a camada sedimentar da criatividade e a camada sedimentar da memória. Em um terceiro terreno, que também podemos chamar de território, geografia ou paisagem, interseccionando as reflexões extraídas das duas camadas anteriores, é construída a imagem heteronímica do trabalho do ator através de um jogo entre os conceitos singularidade, alteridade, memória individual e coletiva não fazendo a distinção entre sujeito e objeto, entre ator e personagem. Para isso contou-se com a ajuda de poetas, cineastas, filósofos e cientistas que em suas obras e estudos trouxeram em si a sensação de se perceberem múltiplos. Fernando Pessoa, Walt Whitman, Jorge Luis Borges, William Blake, Fellini, Tarkóvski e Spinoza foram os guias dessa jornada. / Abstract: The premise and purpose of "Archaeology of the Actor: characters and heteronyms" is to investigate the art of the actor. Not concerning the technical procedures of his art, but searching the inners of the artist that carries within himself his artistic expression transforming it in something singular. Alongside his trajectory of acting, directing and teaching, the author of this poetic archaeology came to this following affirmation: the actor does not play characters, he expresses heteronyms. To elucidate this affirmation this study leaned over a poetic-archaeologic soil: the actor's body. There he inquired/excavated two sedimentary strata: the sedimentary stratum of creativity and the sedimentary stratum of memory. In a third formation, that we can also name as territory, geography or landscape, by blending the considerations drown out of the two previews strata, the heteronymics images of the actor's work are constructed through an analogy between the concepts of singularity, otherness, individual and collective memory, not distinguishing subject from object, character from actor. This excavation was supported by poets, moviemakers, philosophers and scientists that in their creations and studies revealed the feeling of being multiples. Fernando Pessoa, Walt Whitman, Jorge Luis Borges, William Blake, Fellini, Tarkóvski e Spinoza were the guides of this journey. / Doutorado / Doutor em Artes

The purpose of this work is to show how the Portuguese poet Fernando Pessoa developed a pedagogical strategy based on his main heteronymous trilogy, which is made up of Ricardo Reis, Álvaro de Campos and Alberto Caeiro, in order to defend and establish the foundations for a Portuguese pagan School of thinking. The pedagogical approach used by Pessoa will be shown to be evolutionary, which starts with Reis, goes through Campos and ends up with Caeiro, who is considered the master of this School. The evolutionary aspect of this pedagogical strategy will be demonstrated to be related to the level of acceptance of Christianism and dualism for all three heteronyms. In addition, each heteronym will be identified as a different type of pedagogue and scrutinized in order to identify his main characteristics and role in Pessoa's main objective. A structural model will be proposed to explain the main differences among these three heteronyms regarding the main subject of this work, where a contrast between dualism and monism will be drawn to explain each heteronym's form of paganism, and the main characteristics of their poetry will be found to be related to this model. As a conclusion, we suggest a change in the traditional order in which the poetry of these three heteronyms is studied and presented in anthologies from the order most commonly used (Caeiro – Reis – Campos) to the evolutionary sequence demonstrated here (Reis – Campos – Caeiro), which takes in account the pedagogical purpose of Pessoa's poetry, in order to establish a sequence of study and reading that might achieve in a more efficient way a full appreciation of the work of this genius of poetry.

[pt] Esta pesquisa reflete sobre o pensamento acerca da linguagem que se pode depreender da poesia de Fernando Pessoa, enfatizando a questão heteronímica. Pretende-se investigar, no gesto heteronímico, uma relação com a palavra que, ultrapassando o seu uso como mero instrumento de expressão de uma subjetividade suposta, permite uma apreensão do fenômeno linguístico que se aproxima da noção wittgensteiniana de linguagem como forma de vida, lançando, contudo, uma nova luz sobre este conceito, potencializando-o. Explora-se, mais especificamente, a hipótese de que é possível reconhecer na estratégia heteronímica uma percepção da linguagem que, encontrando afinidade com a ideia wittgensteiniana de forma de vida, extrapola-a enquanto realização poética, em especial pelo modo como tensiona a ideia de performatividade na linguagem e pela forma como promete deslocar a própria noção de vida. Ao aproximar as escritas de Pessoa e Wittgenstein, a reflexão proposta contribui potencialmente para: (a) os estudos pessoanos, na medida em que considera o gesto heteronímico no âmbito de um diálogo pouco frequentado, privilegiando o papel da linguagem no centro da criação heteronímica; (b) os estudos wittgensteinianos, pois promete trazer aportes para a discussão de um aspecto sabidamente difícil de seu pensamento - a noção de forma de vida; (c) os estudos da linguagem e da literatura de um modo geral, uma vez que deseja contemplar o enlace intrínseco a esses dois campos do saber. / [en] This research reflects on the thought about the language that emerges from Fernando Pessoa s poetry, emphasizing the heteronymic aspect. We intend to investigate, in the heteronymic gesture, a relation with the word that, by surpassing its use as mere instrument of expression of a supposed subjectivity, allows an apprehension of the linguistic phenomenon which comes close to the wittgensteinian notion of language as form of life, bringing, though, new light to the concept, potentiating it. We explore, more specifically, the hypothesis that it is possible to recognize upon the heteronymic strategy a perception of language which extrapolates the wittgensteinian idea of form of life as poetical happening, especially through the way it articulates the idea of performativity in the language and promises to displace the notion of life itself. By putting together Pessoa and Wittgensteins writings, the reflection proposed potentially contributes to: (a) the studies on Fernando Pessoa, by considering the heteronymic gesture within a dialogue little explored, thus privileging the role of the language in the center of the heteronymic creation; (b) the wittgensteinian studies, for it promises to bring contributions to the discussion of a difficult aspect of his thought – the notion of form of life; (c) the literary and language studies in general, for it aims at contemplating the intrinsic links between both knowledge fields.

Made available in DSpace on 2016-08-10T11:06:57Z (GMT). No. of bitstreams: 1 IRACELA FERREIRA DO NASCIMENTO.pdf: 809755 bytes, checksum: 29ad004d7de883e19df6413d1321f607 (MD5) Previous issue date: 2014-03-14 / Neste trabalho, realizou-se uma pesquisa sobre a figura artística de Fernando Pessoa e seus outros eus, primeiramente, sob a perspectiva da lírica moderna, ressaltando a fala poética enigmática e obscura como elementos cruciais da intencionalmente criadora do artista da contemporaneidade, destacando o fato de essa lírica requerer uma leitura que supera a busca da mera compreensão, mergulhando na sensação e na experiência, quando rompe com os pressupostos que regiam a lírica tradicional. Em seguida, fez-se uma explanação sobre a diversidade da metáfora do discurso poético de Fernando Pessoa e seus principais heterônimos: Alberto Caeiro, Ricardo Reis e Álvaro de Campos, adotando como objetos de leitura textos poéticos produzidos por cada uma dessas instâncias pessoanas. Por último, verificaram-se as formas de realização da linguagem nas multiobras e multifaces pessoanas, pelas multilinguagens do poeta em pauta e seus outros eus, sob a visão de Martin Heidegger, salientando a premissa central de que a linguagem é a morada do ser , dentro da ideia de que o homem, como um ser-nomundo, único, não está só, uma vez que ele fala por diferentes vozes e por discursos diversos.

[pt] O objetivo principal deste trabalho é a releitura do pensamento crítico de Fernando Pessoa nos escritos que levam seu nome e naqueles aos quais chamamos de heteronímicos. A seleção dos escritos obedeceu, até certo ponto, a um recorte histórico. Analizamos o período da produção literária de Fernando Pessoa que se extende de seu artigo publicado na revista A Águia, em 1912, até o Ultimatum, este de Álvaro de Campos, publicado em 1917. Procuramos, com muito afinco, dialogar com algumas das correntes que compõem a fortuna crítica pessoana. Tentamos, neste diálogo, contribuir para o debate crítico dentro da universidade, politizando certas questões que há muito descançam sob o domínio do puramente estético. / [en] The purpose of this work is to reconconceptualize Fernando Pessoa`s critical thought, including those bodies of work associated with his name and the so-called heteronymic writings. The delimitation of the works examined, which to a certain extent follows a historical criterion, ranges from the articles published by Pessoa in 1912 up to Álvaro de Campos`s Ultimatum of 1917. A vigorous effort was made to evaluate the critical writings concerning Pessoa, in order to bring the critical dialogue from the dephts of the purely aesthetical thought to a political role within the university.

This thesis applies Søren Kierkegaard's understanding of irony as outlined in his master's thesis, The Concept of Irony, to the literary works of Fernando Pessoa. Recently Kierkegaardian scholarship has opened possibilities for non-traditional interpretation of Kierkegaard's dissertation and pseudonymous "aesthetic" texts by reading them in the ironic tone in which they were written. This paper offers a similar re-reading of the poetic and prose works Pessoa attributes to his heteronyms. Kierkegaard's presentation of Socrates as irony serves as a model for how Pessoa sustains the heteronymic project by balancing the use of rhetorical irony within the works of the heteronyms with simultaneous use of "Socratic" irony relating to both the heteronyms and their literary contributions. Pessoa "controls" irony by bringing his heteronyms into his historical reality whereby he posits subjectivities for them. The necessary element of eros as it is identified with Socrates and thereby with irony is defined negatively as the desire for that which one is lacking and is sustained by the distance inherent in desire. Irony-eros as desire is present in the works of each of Pessoa's poetic heteronyms, gains for them corporeality, and characterizes the relationship the reader has with those works. Pessoa, like Socrates, is unable to extend controlled irony to his personal life and remains in the negativity of desire. Bernardo Soares and O Livro do Desassossego challenge traditional notions of reality since Soares feels with equal intensity the reality of his actuality and that of his imagination. Kierkegaard holds that the imagination provides the thinker with various possibilities or ideals. The thinker must then actualize the ideal. Kierkegaard's pseudonyms offer possible life-views as do Pessoa's heteronyms. The distance of irony is essential, for in reflecting on the life-views, the reader must not be able to see the author in that reflection. Unlike Kierkegaard, Pessoa successfully distanced himself from his heteronyms by multiplying and deferring his identity. Adept in Socratic midwifery Pessoa establishes the subjectivity of other "Pessoas" through whom he offers his readers possibilities. Pessoa's ironic existence proves the self is indefinable and unassimilable to any System.

吳鳳平. / 據手稿本複印. / Thesis (M.A.)--香港中文大學硏究院敎育學院. / Ju shou gao ben fu yin. / Includes bibliographical references (leaves 114-117). / Wu Fengping. / Thesis (M.A.)--Xianggang Zhong wen da xue yan jiu yuan jiao yu xue yuan. / Chapter 一 --- 緒論 --- p.1-4 / Chapter 二 --- 本研究之意義與目的 --- p.5-7 / Chapter 三 --- 研究設計 / Chapter I --- 廣州話普通話中文常用異讀字表的編製 --- p.8-10 / Chapter II --- 香港教師對中學教材出現的廣州話同形多音多義字辯識之探討 --- p.10-11 / Chapter 四 --- 研究結果 / Chapter I --- 「廣州話、普通話中文常用異讀字表」 --- p.12-24 / Chapter II --- 錄音資料分析結果 --- p.75-89 / Chapter 五 --- 分析與討論 --- p.90-100 / Chapter 六 --- 總結與限制 --- p.101-105 / Chapter 七 --- 附錄 (咭片之統計結果) --- p.106-113 / Chapter 八 --- 參考書目 --- p.114-117

[pt] Este trabalho é uma reflexão sobre a teoria poética do Sensacionismo de Fernando Pessoa. Seu pressuposto inicial é a afirmação do autor: Nada existe, não existe a realidade, mas apenas sensações. A análise textual mostrou-se, assim, um procedimento decisivo, permitindo apontar de que modo a heteronímia, como forma de salvar as limitações que a individualidade impõe, contribuiu para ampliar a consciência e percepção do poeta oferendo várias possibilidades de se experimentar a realidade ou a sensação desta. A arte em Pessoa representa sua busca incansável, e, perscrutando todos os caminhos possíveis, conjugados em antíteses fundamentais do conhecimento - subjetivo e o objetivo, o espiritual e o material, o interior e o exterior, assume em seu discurso poético de índole investigativa, o distanciamento de soluções apaziguadoras, consubstanciando-se assim em o próprio poetar pensante. / [en] This work is a reflection on the poetic theory of the Sensationism of Fernando Pessoa. Its initial presupposition is the author s statement: There is nothing, no reality, but sensation. The textual analysis has shown a decisive procedure, making possible to stress in which way the heteronomity contributed to enlarge the conscience and the poet s perception, offering several possibilities to experience the reality or its sensation as a form of saving the limitations that the individuality imposes. Art in Pessoa represents his untiring search, and scanning all the possible ways, jointed in the fundamental antithesis of knowledge - subjective and objective, spiritual and material, inside and outside, takes on in his poetic speech with and investigative character, the aloofness of conciliating solutions, turning Pessoa himself into the thinking poeting.

Ecrivaine bolivienne des années 30 - oubliée jusqu'aux années 90- Hilda Mundy s'est fait connaître notamment à la fin de la guerre du Chaco (1932-1935) et dans l'immédiat après-Guerre comme chroniqueuse humoristique à Oruro, sa ville natale. Ses chroniques sont autant d'exemples d'une écriture des moeurs, critique et satirique de la bonne société de son temps et notamment à l'égard d'une morale hypocrite et bigote. Satire des puissants, les écrits d'Hilda Mundy viseront également les travers et les scandales de la vie politique de l'époque ainsi que la montée du militarisme qui se profilait à la fin de la guerre ; ceci marquera le destin de l'écrivaine sous le signe de la censure. Son seul livre Pirotecnia, ensayo miedoso de literatura ultraista, publié à La Paz en 1936, est la suite de cette écriture des formes brèves, centrée sur la désacralisation des symboles du pouvoir. Les thèmes de la ville moderne, de la technique, du jeu et de l'attaque contre la tradition, présents aussi dans ses écrits parus dans la presse, constituent l'univers avant-Gardiste de Pirotecnia. Mouvement et méfiance sont au coeur de cette littérature moderne qui dit moi. Le moi de l'écriture mundyenne, riche de son hétéronymie, est porteur d'un projet poétique propre à une esthétique des arts scéniques où le masque dont on parle le plus est celui de la parole. / A Bolivian writer in the thirty's - forgotten until the 90's - Hilda Mundy became known especially at the end of the Chaco War (1932-1935) and in the immediate post-War period as a humouristic columnist in Oruro, the town where she was born. All her columns are instances of a literature of manners, on which she turns a critical and satirical eye. Her remarks on hypocritical and sanctimonious moral standards of her time are particularly scathing. Hilda Mundy's texts satirize the powerful and target the faults and scandals of political life, and the rise of militarism which was looming at the end of the war. This marked the destiny of the writer under the sign of censure. Her only book, Pirotecnia, ensayo miedoso de literatura ultraista, published in La Paz in 1936 remains loyal to this type of writing, favouring short texts and focused on deconsecration of power symbols. The themes of the modern city, of technology, games and gambling and the attack on tradition, which are also present in her press articles, made up the avant-Garde universe of Pirotecnia. Movement and mistrust are at the heart of this modern literature, which is written in the first person. The self of Hilda Mundy's writing is enriched by its heteronymy and continues a poetic project related to an aesthetics of scenic arts, where the most important mask is that of language.