6 The result of my thesis is the finding that narrative analysis is an approach that allows understanding biblical text in a bigger scope. The better comprehension is particularly given by understanding of the deep narrative structures. This works also for the exegesis where the narrative-analytical frame serves as a sieve that separates statements burdened by theology. However these statements can be seen as the door through which we can enter the story and determine its fundamental message. On the other hand, narrative approach cannot be considered as an all-embracing approach for understanding the Old Testament text, because it does not help us neither to discover what exactly led the author to create the Absalom's cycle, nor to define what demands he places on the readers.

Thesis (Ph.D.)--University of Nebraska-Lincoln, 2007. / Title from title screen (site viewed May 20, 2008). PDF text: iii, 150 p. ; 617 K. UMI publication number: AAT 3284033. Includes bibliographical references. Also available in microfilm and microfiche formats.

L’écrivain chinois Mo Yan a mis en scène dans son œuvre romanesque des avatars de l’auteur, identifiés à lui par le nom dans deux romans et par le rôle de créateur du récit dans plusieurs récits. Ces représentants ne sauraient être identifiés à l’auteur empirique, mais peuvent être interprétés à l’aune de ce que représente pour nous l’auteur, au sens large, ou dans une visée individuelle, lorsque nous analysons leur caractérisation en fonction d’autres textes, fictifs ou référentiels, construisant la figure biographique, théorique et fantasmatique de l’auteur. Outre qu’elle joue sur l’aporie de sa présence dans la fiction, cette représentation métafictionnelle a des fonctions diverses. Dans Le Pays de l’alcool, elle souligne l’allégorie tout en déjouant la censure ; dans La Dure Loi du karma, elle brosse un portrait comique du romancier, reflétant ses différents rôles pour le lecteur et la société. La suite de l’étude porte sur des narrateurs révélant un statut de créateur du récit, de sorte qu’ils provoquent une distanciation et un doute sur leur situation diégétique, en les associant à une tendance métafictionnelle présente dans l’œuvre de Mo Yan depuis son premier roman long, Le Clan du sorgho rouge, où elle est l’effet d’un narrateur omniscient et présent dans l’univers de la fiction. Ces figures d’autorité thématisent l’imagination à l’œuvre, tout en signalant l’altérité de la figure de l’auteur que le lecteur infère de ses indices supposés. Elles représentent l’auteur en une logique non référentielle, comme produit d’un ensemble mouvant d’hypothèses, issues d’une interprétation des récits comme éléments constitutifs de l’œuvre. / In his fictional works, Chinese novelist Mo Yan created avatars of the author, who are either identified by their name such as the characters Mo Yan in The Republic of Wine and in Life and Death Are Wearing Me Out or by a creative role they reveal, in other narratives. Both doubles, Mo Yan’s fictional homonyms, cannot be considered as the empirical author, and yet may be interpreted in the light of what the author means to us, whether in a broad or individual sense, when their characteristics are confronted with the biographical, theoretical and fantasmatic figure of Mo Yan which other texts create. Drawing attention to the aporetical presence of the author in a universe he created, metafictional author representations have various functions. In The Republic of Wine, it enlights the allegorical value of the novel and, to the real author, is a means to deter censorship. In Life and Death Are Wearing Me Out, Mo Yan is a parody of a novelist, where the role he plays for the reader and in society appear in a nutshell. Next, the sign of the author is to be extended to other narrators who reveal, more or less explicitly, that they create the narrative, thus inducing readers to suspend belief and reconsider their diegetic posture. Beginning with his first long novel Red Sorghum, metafiction has been an obsessive tendency in Mo Yan’s novels, making imagination a theme of the novel while suggesting the figure of the author a reader infers from the text is but a shifting body of hypotheses, which envision narratives a part of the whole works that make the author.

Em Lucíola, José de Alencar assume uma posição peculiar de autor real, na medida em que contrasta com o Sr. Paulo Silva, autor designado na ficção. Narrador de seus conflitos, o moço espelha um herói confessional, examinando o próprio passado em busca da imagem de uma mulher. Senhora GM é sua interlocutora. Lúcia se circunscreve como modelo, pessoa retratada, namorada e cortesã. Esta análise está mais interessada em como as coisas são ditas e menos no que é dito, de sorte que se dedica à investigação dos mecanismos da enunciação. O estudo não focaliza a personagem feminina, ao contrário está voltado para o amante; e muito embora não seja contra o homem, ambiciona, através do primeiros capítulos, confrontar sua autoimagem e a interpretação que ele oferece para a história. O quinto segmento desta leitura questiona os modos através dos quais palavras e imagens dão forma ao sexo na intimidade do texto. O conjunto seguinte explora a questão da imitação como um tema recorrente no livro e como um fio que costura forma e conteúdo, palavra e ideia. A última seção investiga os nomes das personagens enquanto uma escolha de palavras, um procedimento no domínio do artifício. / In Lucíola, José de Alencar is the real author whereas Mr. Paulo Silva is the fictional one. The narrator is also a confessional hero examining his own past searching for the image of a woman. Mrs. GM is his interlocutor. Lúcia is the sitter, the one that is being portrayed, girlfriend and courtesan. This analysis is more interested in how things are said than in what is said; therefore it contemplates the mechanisms of enunciation. The study is not focused in the female character but dedicated to her lover; even though it is not against the man, it aims, throughout the first chapters, to confront his self-image and the interpretation he offers to the story. The fifth segment interrogates how words and imagery give a form to sex as a matter of speech. The following portion explores imitation as a recurrent theme in the book and as a thread that sews form and meaning, words and ideas. The last section investigates the names of the characters as a choice of words, under the domain of artifice.

Este trabalho tem como objetivo analisar a obra de Guimarães Rosa a partir do aproveitamento que o autor faz de elementos provenientes de uma cultura oral. Para tanto, são analisadas as estórias “Entremeio com o vaqueiro Mariano”, de Estas estórias, “Pé-duro, chapéu-de-couro”, de Ave, palavra, “Três homens e o boi dos três homens que inventaram um boi”, de Tutaméia, “Cara-de-Bronze” e “O recado do Morro”, de No Urubuquaquá, no Pinhém, e “Uma estória de amor”, de Manuelzão e Miguilim. A escolha dessas narrativas diz respeito ao fato de que as mesmas são ilustrativas do projeto do autor em recriar a literatura de tradição oral, mas também de recriar a situação de enunciação e de divulgação de narrativas que existem em um contexto de oralidade. Além da linguagem, que não é o foco desta pesquisa, o autor valoriza a importância da palavra proferida por seus porta-vozes e a maneira como ela é transmitida, bem como o efeito que ela causa em seus espectadores, através da performance. Para explorar uma espécie de “episteme do pensamento sertanejo”, Rosa constrói um discurso autoral que visa a reforçar seu engajamento com tudo aquilo que provém do sertão, dando credibilidade e verossimilhança ao que é ensinado através das narrativas. O autor apropria-se de um universo popular sem que o resultado disso seja uma produção “artificial” ou simplesmente descritiva, sob um ponto de vista intelectual, distanciado. Dada essa fusão entre popular e erudito e entre oral e escrito, optou-se por recorrer a teóricos preocupados em discutir tanto o comportamento das produções artísticas de caráter oral e as condições de sua produção (como Paul Zumthor, Walter Ong, Peter Burke, André Jolles, Câmara Cascudo) quanto as estratégias ficcionais utilizadas pelo autor para satisfazer seus propósitos (com base nas teorias e nos argumentos de Paul Ricouer, Walter Benjamin, Mikhail Bakhtin, Wolfgang Iser, entre outros). Assim, foi possível perceber que Guimarães Rosa transita entre o popular e o erudito, na medida em que recorre a ambos para compor suas narrativas. Muito mais do que diferenças, o autor demonstra que a fixação do texto na escrita não impede que as situações de oralidade (que privilegiam a troca de experiências entre grupos que compartilham valores, crenças e costumes) deixem suas marcas na leitura silenciosa e solitária que um livro exige. / This research is aimed at analyzing the work of Guimarães Rosa from the point of view of his incorporation of elements from the oral tradition. For this purpose, the following stories are analyzed: “Entremeio com o vaqueiro Mariano” from Estas estórias, “Pé-duro, chapéu-de-couro” from Ave, palavra, “Três homens e o boi dos três homens que inventaram um boi” from Tutaméia, “Cara-de-Bronze” and “O recado do Morro” from No Urubuquaquá, no Pinhém, and “Uma estória de amor” from Manuelzão e Miguilim. These narratives were chosen because they illustrate Rosa’s project to recreate not only traditional oral literature, but also the situation of telling and spreading narratives in an oral context. In addition to focusing on language, which is not dealt with in this research, Rosa highlights the importance of the character’s own voice and the means by which it is conveyed as well as the effect it has on the audience during the performance. In order to explore a kind of “episteme of the sertanejo thought”, Rosa presents an authorial discourse which reinforces his commitment to all that is related to the sertão, attaching credibility and veracity to lessons taught through oral narratives. Although the author incorporates a popular universe into his work, it does not result in an “artificial” or merely descriptive production presented from an intellectualized, distanced perspective. Due to this fusion between popular and scholarly discourses and between oral and written narratives, the support for the present research includes theoretical frameworks concerned with both discussing the characteristics of oral artistic productions and the conditions of their production (Paul Zumthor, Walter Ong, Peter Burke, André Jolles, Câmara Cascudo) and exploring the fictional strategies employed by the author to achieve his goals (based on theories and arguments by Paul Ricouer, Walter Benjamin, Mikhail Bakhtin, Wolfgang Iser, among others). In conclusion, it is evidenced that Guimarães Rosa traverses between the popular and the scholarly realms given that he embraces both in constructing his narratives. Beyond differences, the author demonstrates that the permanence of the story in written form does not prevent aspects related to its oral character (which reveal the exchange of experiences among groups that share values, beliefs and habits) from leaving their marks on the silent, solitary moment that reading a book requires.

<p>Abstract</p><p>Purpose/Aim: The aim is to investigate if there are any differences in the reporting from the Olympic games and the Paralympic games, according to different periodicals or magazines, with focus on Paralymics and sports for handicapped. If so, what are those differences?</p><p>Material/Method: The material consists of two periodicals, or magazines; Svensk idrott which is the official paper for the swedish Riksidrottsförbundet, and Handikappidrott, which is the official paper for the swedish Handikappidrottsförbundet. Articles considering the summer games in 1972 and 1976, 1984, 1996 and 2000 was studied with regard to models developed by Algirdas J. Greimas. The methods are both quantitative and qualitative.</p><p>Main results: The main results are that the biggest difference between the periodicals really lie in the selection of articles and also in the amount of articles published, considering the games. In Handikappidrott, the articles are aimed towards an initiated audience who are supposed to know much about handicapped people and their sports. Svensk idrott focuses a lot more on different aspects of the Olympic games, such as politics and economy. Also has the aspect of normalisation been of current interest – the problem is that the more of handicapped people and issues that are presented to the audience in order to pinpoint the normality of the issue, the more focus come to lie on what is different from the non-handicapped, and in that way enlarge the gap between handicapped an non-handicapped.</p><p>Keywords: Olympic games, Paralympics, actants, narrator, implied author, normalisation</p>

Abstract Purpose/Aim: The aim is to investigate if there are any differences in the reporting from the Olympic games and the Paralympic games, according to different periodicals or magazines, with focus on Paralymics and sports for handicapped. If so, what are those differences? Material/Method: The material consists of two periodicals, or magazines; Svensk idrott which is the official paper for the swedish Riksidrottsförbundet, and Handikappidrott, which is the official paper for the swedish Handikappidrottsförbundet. Articles considering the summer games in 1972 and 1976, 1984, 1996 and 2000 was studied with regard to models developed by Algirdas J. Greimas. The methods are both quantitative and qualitative. Main results: The main results are that the biggest difference between the periodicals really lie in the selection of articles and also in the amount of articles published, considering the games. In Handikappidrott, the articles are aimed towards an initiated audience who are supposed to know much about handicapped people and their sports. Svensk idrott focuses a lot more on different aspects of the Olympic games, such as politics and economy. Also has the aspect of normalisation been of current interest – the problem is that the more of handicapped people and issues that are presented to the audience in order to pinpoint the normality of the issue, the more focus come to lie on what is different from the non-handicapped, and in that way enlarge the gap between handicapped an non-handicapped. Keywords: Olympic games, Paralympics, actants, narrator, implied author, normalisation

The eyewitnessed reportage has a pronounced character of narrating. The imaginative power of the text helps the reader to empathise with the characters. That makes constructing empathy a necessary skill of reporters. But how can this be done? Despite a tradition of story telling among reporters, narratologists virtually have neglected the reportage genre. The purpose of this thesis is to examine how narrative strategies can be used in reportages and, at the same time, suggest methods for investigating those strategies. The main question is: How can empathy be constructed? Empathy is here defined as a function of presence, perspective, selection and disnarration. A screen of covert values is also added. The study applies a narratological and a media rhetorical approach to journalistic narratives, and focus is on basic discussions supported by analysis samples. Theories by Gérard Genette, Dorrit Cohn, Seymor Chatman, William C. Booth, Gerald Prince, Göran Rossholm, Bengt Nerman and others are discussed. Even though a reportage is about real events, it always represents a personal interpretation. It presents the readers with a represented reality. In a narratological model for the macro level of the reportage I identify the trait of construction as an interaction between three instances: the producer (i. e. the implied author), the narrator and the experiencing reporter. On a micro level this model helps me to explain, for example, how a homodiegetic narrator can be combined with external focalisation, and how another character than the experiencing reporter can be focalised. In the former case I examine the interplay between showing and telling relative to the narrator’s visibility. In the latter case I especially focus on a complex technique for shifting perspectives, both those concerning thoughts, like Free, Indirect Discourse (FID), and those concerning perception. At the same time I study different degrees of perspectivity.

Este trabalho tem como objetivo analisar a obra de Guimarães Rosa a partir do aproveitamento que o autor faz de elementos provenientes de uma cultura oral. Para tanto, são analisadas as estórias “Entremeio com o vaqueiro Mariano”, de Estas estórias, “Pé-duro, chapéu-de-couro”, de Ave, palavra, “Três homens e o boi dos três homens que inventaram um boi”, de Tutaméia, “Cara-de-Bronze” e “O recado do Morro”, de No Urubuquaquá, no Pinhém, e “Uma estória de amor”, de Manuelzão e Miguilim. A escolha dessas narrativas diz respeito ao fato de que as mesmas são ilustrativas do projeto do autor em recriar a literatura de tradição oral, mas também de recriar a situação de enunciação e de divulgação de narrativas que existem em um contexto de oralidade. Além da linguagem, que não é o foco desta pesquisa, o autor valoriza a importância da palavra proferida por seus porta-vozes e a maneira como ela é transmitida, bem como o efeito que ela causa em seus espectadores, através da performance. Para explorar uma espécie de “episteme do pensamento sertanejo”, Rosa constrói um discurso autoral que visa a reforçar seu engajamento com tudo aquilo que provém do sertão, dando credibilidade e verossimilhança ao que é ensinado através das narrativas. O autor apropria-se de um universo popular sem que o resultado disso seja uma produção “artificial” ou simplesmente descritiva, sob um ponto de vista intelectual, distanciado. Dada essa fusão entre popular e erudito e entre oral e escrito, optou-se por recorrer a teóricos preocupados em discutir tanto o comportamento das produções artísticas de caráter oral e as condições de sua produção (como Paul Zumthor, Walter Ong, Peter Burke, André Jolles, Câmara Cascudo) quanto as estratégias ficcionais utilizadas pelo autor para satisfazer seus propósitos (com base nas teorias e nos argumentos de Paul Ricouer, Walter Benjamin, Mikhail Bakhtin, Wolfgang Iser, entre outros). Assim, foi possível perceber que Guimarães Rosa transita entre o popular e o erudito, na medida em que recorre a ambos para compor suas narrativas. Muito mais do que diferenças, o autor demonstra que a fixação do texto na escrita não impede que as situações de oralidade (que privilegiam a troca de experiências entre grupos que compartilham valores, crenças e costumes) deixem suas marcas na leitura silenciosa e solitária que um livro exige. / This research is aimed at analyzing the work of Guimarães Rosa from the point of view of his incorporation of elements from the oral tradition. For this purpose, the following stories are analyzed: “Entremeio com o vaqueiro Mariano” from Estas estórias, “Pé-duro, chapéu-de-couro” from Ave, palavra, “Três homens e o boi dos três homens que inventaram um boi” from Tutaméia, “Cara-de-Bronze” and “O recado do Morro” from No Urubuquaquá, no Pinhém, and “Uma estória de amor” from Manuelzão e Miguilim. These narratives were chosen because they illustrate Rosa’s project to recreate not only traditional oral literature, but also the situation of telling and spreading narratives in an oral context. In addition to focusing on language, which is not dealt with in this research, Rosa highlights the importance of the character’s own voice and the means by which it is conveyed as well as the effect it has on the audience during the performance. In order to explore a kind of “episteme of the sertanejo thought”, Rosa presents an authorial discourse which reinforces his commitment to all that is related to the sertão, attaching credibility and veracity to lessons taught through oral narratives. Although the author incorporates a popular universe into his work, it does not result in an “artificial” or merely descriptive production presented from an intellectualized, distanced perspective. Due to this fusion between popular and scholarly discourses and between oral and written narratives, the support for the present research includes theoretical frameworks concerned with both discussing the characteristics of oral artistic productions and the conditions of their production (Paul Zumthor, Walter Ong, Peter Burke, André Jolles, Câmara Cascudo) and exploring the fictional strategies employed by the author to achieve his goals (based on theories and arguments by Paul Ricouer, Walter Benjamin, Mikhail Bakhtin, Wolfgang Iser, among others). In conclusion, it is evidenced that Guimarães Rosa traverses between the popular and the scholarly realms given that he embraces both in constructing his narratives. Beyond differences, the author demonstrates that the permanence of the story in written form does not prevent aspects related to its oral character (which reveal the exchange of experiences among groups that share values, beliefs and habits) from leaving their marks on the silent, solitary moment that reading a book requires.

Este trabalho tem como objetivo analisar a obra de Guimarães Rosa a partir do aproveitamento que o autor faz de elementos provenientes de uma cultura oral. Para tanto, são analisadas as estórias “Entremeio com o vaqueiro Mariano”, de Estas estórias, “Pé-duro, chapéu-de-couro”, de Ave, palavra, “Três homens e o boi dos três homens que inventaram um boi”, de Tutaméia, “Cara-de-Bronze” e “O recado do Morro”, de No Urubuquaquá, no Pinhém, e “Uma estória de amor”, de Manuelzão e Miguilim. A escolha dessas narrativas diz respeito ao fato de que as mesmas são ilustrativas do projeto do autor em recriar a literatura de tradição oral, mas também de recriar a situação de enunciação e de divulgação de narrativas que existem em um contexto de oralidade. Além da linguagem, que não é o foco desta pesquisa, o autor valoriza a importância da palavra proferida por seus porta-vozes e a maneira como ela é transmitida, bem como o efeito que ela causa em seus espectadores, através da performance. Para explorar uma espécie de “episteme do pensamento sertanejo”, Rosa constrói um discurso autoral que visa a reforçar seu engajamento com tudo aquilo que provém do sertão, dando credibilidade e verossimilhança ao que é ensinado através das narrativas. O autor apropria-se de um universo popular sem que o resultado disso seja uma produção “artificial” ou simplesmente descritiva, sob um ponto de vista intelectual, distanciado. Dada essa fusão entre popular e erudito e entre oral e escrito, optou-se por recorrer a teóricos preocupados em discutir tanto o comportamento das produções artísticas de caráter oral e as condições de sua produção (como Paul Zumthor, Walter Ong, Peter Burke, André Jolles, Câmara Cascudo) quanto as estratégias ficcionais utilizadas pelo autor para satisfazer seus propósitos (com base nas teorias e nos argumentos de Paul Ricouer, Walter Benjamin, Mikhail Bakhtin, Wolfgang Iser, entre outros). Assim, foi possível perceber que Guimarães Rosa transita entre o popular e o erudito, na medida em que recorre a ambos para compor suas narrativas. Muito mais do que diferenças, o autor demonstra que a fixação do texto na escrita não impede que as situações de oralidade (que privilegiam a troca de experiências entre grupos que compartilham valores, crenças e costumes) deixem suas marcas na leitura silenciosa e solitária que um livro exige. / This research is aimed at analyzing the work of Guimarães Rosa from the point of view of his incorporation of elements from the oral tradition. For this purpose, the following stories are analyzed: “Entremeio com o vaqueiro Mariano” from Estas estórias, “Pé-duro, chapéu-de-couro” from Ave, palavra, “Três homens e o boi dos três homens que inventaram um boi” from Tutaméia, “Cara-de-Bronze” and “O recado do Morro” from No Urubuquaquá, no Pinhém, and “Uma estória de amor” from Manuelzão e Miguilim. These narratives were chosen because they illustrate Rosa’s project to recreate not only traditional oral literature, but also the situation of telling and spreading narratives in an oral context. In addition to focusing on language, which is not dealt with in this research, Rosa highlights the importance of the character’s own voice and the means by which it is conveyed as well as the effect it has on the audience during the performance. In order to explore a kind of “episteme of the sertanejo thought”, Rosa presents an authorial discourse which reinforces his commitment to all that is related to the sertão, attaching credibility and veracity to lessons taught through oral narratives. Although the author incorporates a popular universe into his work, it does not result in an “artificial” or merely descriptive production presented from an intellectualized, distanced perspective. Due to this fusion between popular and scholarly discourses and between oral and written narratives, the support for the present research includes theoretical frameworks concerned with both discussing the characteristics of oral artistic productions and the conditions of their production (Paul Zumthor, Walter Ong, Peter Burke, André Jolles, Câmara Cascudo) and exploring the fictional strategies employed by the author to achieve his goals (based on theories and arguments by Paul Ricouer, Walter Benjamin, Mikhail Bakhtin, Wolfgang Iser, among others). In conclusion, it is evidenced that Guimarães Rosa traverses between the popular and the scholarly realms given that he embraces both in constructing his narratives. Beyond differences, the author demonstrates that the permanence of the story in written form does not prevent aspects related to its oral character (which reveal the exchange of experiences among groups that share values, beliefs and habits) from leaving their marks on the silent, solitary moment that reading a book requires.