Le Coran et la Sunna (la tradition du prophète Muḥammad) relatée dans les aḥâdîth (les traditions orales du Prophète) représentent la source éternelle d’inspiration et de savoir à laquelle les Musulmans se réfèrent pour agir, réagir et interagir. Par le fait même, tout au long de l’histoire musulmane, ces sources sacrées ont été à la base des relations des Musulmans avec autrui, incluant les Chrétiens. Les trois éléments majeurs de différenciation entre l’islam et le christianisme sont : la nature divine de Jésus, la trinité ainsi que la crucifixion et la mort de Jésus sur la croix. La position tranchée du Coran quant aux deux premiers points ne laisse place à aucun débat académique. Cependant, l’ambiguïté du texte coranique quant à la crucifixion de Jésus et sa mort a favorisé de nombreux débats entre mufassirûn (les exégètes du Coran). Cette thèse est une analyse textuelle des deux passages coraniques qui traitent de cette troisième différence. Pour cette étude textuelle et intertextuelle, les tafâsîr (interprétations du Coran) de huit mufassirûn appartenant à différentes madhâhib (écoles d’interprétation) et périodes de l’histoire des relations musulmanes-chrétiennes sont utilisés en combinaison avec certaines approches et méthodes récentes telles que : historico-critique et critique rédactionnelle. De plus, trois nouvelles théories développées dans la thèse enrichissent les outils herméneutiques de la recherche : la « théorie des cinq couches de sens », la « théorie des messages coraniques doubles » et la « théorie de la nature humaine tripartite ». À la lumière de ces théories et méthodes, il apparaît que l’ambiguïté coranique au sujet de la crucifixion et de la mort de Jésus est une invitation claire de la part du Coran incitant les Musulmans et les Chrétiens à vivre avec cette ambiguïté insoluble. La conclusion de cette thèse contribue directement à de meilleures relations musulmanes-chrétiennes, renforçant l’appel coranique (Coran 3:64, 103) à ces deux communautés leurs demandant de se cramponner aux points communs majeurs, d’intégrer leurs différences mineures et de consacrer leurs énergies pour une vie harmonieuse entre eux et laisser le reste dans les mains du Dieu qu’ils ont en commun. / The Qur’ân, together with the sunnah (tradition) of the Prophet Muḥammad recounted in aḥâdîth (oral traditions of the Prophet), form the eternal source of inspiration and knowledge upon which the Muslim communities have acted and reacted to, as well as interacted with. Externally, their relations with many others, including Christians, have followed the same dynamics, as seen in the mirror of the Qur’ân and its interpretations. The topics of the divine nature of Jesus, the trinity, and the crucifixion of Jesus and his death on the cross, have been commonly considered the three main theological points of disagreement between Muslims and Christians. The Qur’ân’s clear position vis-à-vis the first two points do not leave any space for scholarly debates. However, despite Muslims’ actual consensus on denying Jesus’ crucifixion and death, the Qur’ânic ambiguous image of Jesus’ last day on earth has caused many discussions among mufassirûn (exegetes of the Qur’ân). This thesis is a textual analysis of the two Qur’ânic passages on this debated point of difference. For this textual and intertextual study, the tafâsîr (interpretations of the Qur’ân) of eight mufassirûn belonging to different madhâhib (schools of interpretation) from various periods in the history of Muslim-Christian relations are used in combination with recent textual approaches and methods such as: historico-citical and redaction critical. In addition, three new theories developed within this dissertation complete the hermeneutical tools employed for this research: the “theory of five layers of meaning,” the “theory of double messages of the Qur’ân,” and the “theory of humans’ tripartite nature.” In the light of these theories and methods, it emerges that the Qur’ânic ambiguity on Jesus’ crucifixion and death may well be the Qur’ân’s own invitation to Muslims and Christians to live with that unresolvable ambiguity. This dissertation’s conclusion thus contributes directly to better Muslim-Christian relations, reinforcing the Qur’ânic call to both Muslims and Christians (Qur’ân 3:64, 103) to focus on major common points, to embrace minor differences, and to spend their energy on what might have a positive impact on their harmonious co-habitation, abandoning the rest in the hands of God in whom both believe.

Made available in DSpace on 2016-04-28T19:33:25Z (GMT). No. of bitstreams: 1 Rita de Cassia Ramos.pdf: 1360351 bytes, checksum: ca47e0250ac55fa87333ad0e02d740ba (MD5) Previous issue date: 2010-10-29 / This work is located in the textual production area and approaches the revealing of implicit meanings in the poetical language of Guimarães Rosa in a short story of Tutaméia (Terceiras Estórias), with the title João Porém, o criador de perus (João Porém, the Turkey Breeder). From a reference system guided by the author, the clues and misleads of the Aletria e hermenêutica foreword, we seek to unveil the secrets of the ingenious enunciation of Guimarães Rosa, which is characterized by the poetical language with which the author creates and recreates lexical units for the linguistic representation of the text. This study is theoretically based on the principles of Critical Discourse Analysis with a social and cognitive branch, of Textual Linguistics, and on studies carried out in relation to the poetical language. Following Jauss (1989), we performed a heuristic, which is linear. Then, we performed the hermeneutic reading, which is non-linear, complemented by inter-texts of a variety of knowledge areas. The findings demonstrate that in the selected short story, the story of João Porém, a back-country dweller that prospers and that brings prosperity to his home county, creates love and remains loyal to a maiden made up by his fellow countrymen, may be defined as belonging to an abstraction. Its purpose is not restricted to entertainment, but to provide learning to readers on the poetical language, which literarily represents the oral mineira variety, on transcendence, with references to platonic reminiscences and in disguise, alluding to the golden years of Brazilian culture / Este trabalho está situado na área de produção textual e tem por tema o desvelamento de sentidos implícitos da linguagem poética de Guimarães Rosa em um conto de Tutaméia (Terceiras Estórias), intitulado João Porém, o criador de perus . Partindo de um sistema de referência orientado pelo próprio autor, as pistas e os despistes do prefácio Aletria e hermenêutica , buscamos o desvelar dos segredos da enunciação engenhosa de Guimarães Rosa, caracterizada pela linguagem poética com a qual o autor cria e recria unidades lexicais para a representação lingüística do texto produto. Esta pesquisa está fundamentada teoricamente em princípios da Análise Crítica do Discurso com vertente sóciocognitiva, da Linguística Textual e em estudos realizados a respeito da linguagem poética. Seguindo Jauss (1989), efetuamos a leitura heurística que é linear. A seguir, foi realizada a leitura hermenêutica, que é alinear, complementada por intertextos de diversas áreas do saber. Os resultados obtidos demonstram que, no conto selecionado, a estória de João Porém, um sertanejo que prospera e faz próspera sua província natal, que cria amor e permanece fiel a uma donzela inventada por seus conterrâneos, pode ser definida como de abstração , cuja finalidade não se restringe ao entretenimento, mas ao aprendizado de seus leitores, acerca de sua linguagem poética, fundamentada na variedade oral mineira, acerca da transcendência, com referência a reminiscência platônica e, disfarçadamente, aludindo aos anos dourados da cultura brasileira

Made available in DSpace on 2016-04-28T19:59:17Z (GMT). No. of bitstreams: 1 ELENIR SARRO.pdf: 727238 bytes, checksum: f1d057696666b6fa0708c4994689b943 (MD5) Previous issue date: 2009-06-24 / Secretaria da Educação do Estado de São Paulo / This work analises the writings Reinações de Narizinho, particularly, the excerpt Cara de Coruja , by Monteiro Lobato and O Fantástico Mistério de Feiurinha by Pedro Bandeira recovering the fairy tales. Visiting the classic narratives, the intertextual dialogue is established between the oral tradition and modern and contemporary texts based in building procedures that bring to evidence the humor and the parody. The adopted methodology used for reading the corpus is descriptive-analytical. The theoretical support that backgrounds the identification of the intertextuality and parody in the selected writings are referred in the authors Mikhail Bakhtin, Julia Kristeva, Linda Hutcheon e Affonso Romano de Sant Anna. In the study of fairy tales André Jolles e Nelly Novaes Coelho deserve to be emphasized. Monteiro Lobato innovates children s literature inserting criticism and freedom of expression, disrupting the traditional pattern. In the specific case of the recovery of fairy tales, Monteiro Lobato institutes the dialogical scene, modifying the narrator s status now less authoritative and closer to the reader. Through intertextuality, the author revisits the traditional narratives, creating a new way of telling these stories giving bigger dynamicity to the text, due to the colloquialism adopted in the language, in addition to the active participation of several characters, specially the childish ones. Pedro Bandeira takes the same direction intensifying the parodistic effect building the narrative, what leads to the supposition of his affiliation to Monteiro Lobato when you verifies that to build the dialogue with oral tradition in O Fantástico Mistério de Feiurinha, firstly, the author revisits the episodes of Reinações de Narizinho / Este trabalho analisa as obras Reinações de Narizinho, especificamente, o recorte Cara de Coruja , de Monteiro Lobato e O Fantástico Mistério de Feiurinha, de Pedro Bandeira a partir do resgate dos contos de fadas. Na visita às narrativas clássicas, estabelece-se o diálogo intertextual entre a tradição oral e os textos moderno e contemporâneo, alicerçados em procedimentos construtivos que evidenciam o humor e a paródia. A metodologia adotada para a leitura do corpus é a descritivo-analítica. O suporte teórico que respalda a identificação da intertextualidade e da paródia nas obras selecionadas tem nos autores Mikhail Bakhtin, Julia Kristeva, Linda Hutcheon e Affonso Romano de Sant Anna seus principais referentes. No estudo dos contos de fadas merecem destaque André Jolles e Nelly Novaes Coelho. Monteiro Lobato inova na literatura infantil inserindo nela criticidade e liberdade de expressão, rompendo com o modelo tradicional. No caso específico do resgate dos contos de fadas, Monteiro Lobato instaura a cena dialógica, modificando o status do narrador, agora menos autoritário e mais próximo do leitor. Por intermédio da intertextualidade, o autor revisita as narrativas tradicionais, criando uma nova forma de contar essas histórias, conferindo maior dinamicidade ao texto, pelo grau de coloquialismo adotado pela linguagem, além da participação ativa das diversas personagens, especialmente as infantis. Pedro Bandeira procede na mesma direção, potencializando o efeito parodístico na construção da narrativa, o que leva a supor sua filiação a Monteiro Lobato, principalmente quando se verifica que, para construir o diálogo com a tradição oral em O Fantástico Mistério de Feiurinha, primeiramente, o autor revisita os episódios de Reinações de Narizinho

This thesis explores the zombie’s rise to prominence in popular culture, with a focus on its development within the comics medium. The zombie is not just a ‘floating signifier’ (according to Jerrold E. Hogle), but a revenant signifier, actively and aggressively linking with existing concepts, and transforming them. The thesis also considers both the zombie figure and zombie genre within the parameters of several media – comics, television, film, and literature. The medium of comics is examined in detail as it has evolved through the influence of the zombie just as the zombie has been reshaped by each new representation. In contemporary horror comics, The Walking Dead series is not just commercially successful, it exploits properties of the medium (including panel arrangement, transitions, repetition, and the liminal space within the gutter) to thoroughly explore the metaphors and allusions that have been associated with the zombie. I discuss these metaphors by charting the zombie’s development. A lack of pre-twentieth century literary texts featuring this creature frustrates easy comparison with the monsters of Gothic fiction. Rather than evolving within the novel form, as its rival horror icons have done, the zombie has maintained a visual and visceral identity, maturing with each new incarnation, and becoming ever more gruesome: the walking corpses of ancient texts; a symbol of eternal slavery within Haitian Voodoo folklore; and its modern interpretation as violent and virulent monster. The recent notion of a zombie plague has redefined the creature as a representation of modern fears, and has led to ‘zombie apocalypse’ becoming a commonly-used fantasy scenario. The zombie’s connection to apocalyptic literature is simultaneously ancient and contemporary, with the creature being a signifier of social disorder and disrupted identity. While the emphasis throughout is on the shifting relations between media, comics are the main focus of this study. The symbolism present in the zombie, and the political and cultural ideas stemming from its slow maturation are revealed within The Walking Dead and sustained through the functions of the comics medium. Through the application of Scott McCloud’s comics theory, the closure between panels and the transition within the gutter enhance these ideas, and provide further understanding of the zombie as depicted in comics. The visual/textual relationship within comics is compared with Jacques Lacan’s modalities of consciousness, and the psychoanalytic reading provided here explores the crises of identity within the zombie, and within the fragmented narrative of the comics medium. Alternative psychoanalytic readings, and the physiology/pathology of the zombie itself are undertaken, revealing the creature to be responsive to Julia Kristeva’s concept of the abject, and Slavoj Zizek’s postmodern reworking of Lacanian ideas. The thesis also returns to notions of the Gothic, haunted spaces, and the role of suburbia in the zombie narrative. This is augmented with a study of intertextuality and the “revenant” status of the zombie, and of comics. Through incorporating the critical theory of Kristeva, Mikhail Bakhtin, and Jacques Derrida, and by positioning in parallel comics theorist Thierry Groensteen’s concepts of braiding and arthrology, I emphasise the operations of the zombie figure in the comic book, and other media, asserting that the zombie is a revenant signifier continually returning and transforming, never resting, but endlessly cannibalising and reconstructing debate about identity, morality, and society.

This study has attempted to show the overarching significance of the conquering motif in relation to discourse dynamics of the entire book of Revelation and the significance of salvific history for its syntagmatic understanding. Based on language-in-use as a whole between the model author and the model audience, syntagmatic analysis (i.e., SVU analysis) and associative analysis (i.e., sign-intertextual reading) are eclectically and concertedly utilized by means of sampling analysis. Utilizing this integrative method, the findings are as follows: (1) the interwoven network of the prologue (Rev 1:1-8) programmatically provides the paradigmatic reading strategy for understanding the key paraenetic motif in the rest of the book against the background of salvific history; (2) by summarizing the churches’ earthly prophetic roles – withdrawal and witness through martyrdom – in terms of conquering, the model author alerts his audience to the military significance of their daily actions or choices in their ordinary earthly lives through visionary communication; (3) just as the prologue preliminarily guides, the ever-forward-moving historical framework serves as an incentive device for the paraenetic-imperative in Rev 2-3 and 4-22.

Le Coran et la Sunna (la tradition du prophète Muḥammad) relatée dans les aḥâdîth (les traditions orales du Prophète) représentent la source éternelle d’inspiration et de savoir à laquelle les Musulmans se réfèrent pour agir, réagir et interagir. Par le fait même, tout au long de l’histoire musulmane, ces sources sacrées ont été à la base des relations des Musulmans avec autrui, incluant les Chrétiens. Les trois éléments majeurs de différenciation entre l’islam et le christianisme sont : la nature divine de Jésus, la trinité ainsi que la crucifixion et la mort de Jésus sur la croix. La position tranchée du Coran quant aux deux premiers points ne laisse place à aucun débat académique. Cependant, l’ambiguïté du texte coranique quant à la crucifixion de Jésus et sa mort a favorisé de nombreux débats entre mufassirûn (les exégètes du Coran). Cette thèse est une analyse textuelle des deux passages coraniques qui traitent de cette troisième différence. Pour cette étude textuelle et intertextuelle, les tafâsîr (interprétations du Coran) de huit mufassirûn appartenant à différentes madhâhib (écoles d’interprétation) et périodes de l’histoire des relations musulmanes-chrétiennes sont utilisés en combinaison avec certaines approches et méthodes récentes telles que : historico-critique et critique rédactionnelle. De plus, trois nouvelles théories développées dans la thèse enrichissent les outils herméneutiques de la recherche : la « théorie des cinq couches de sens », la « théorie des messages coraniques doubles » et la « théorie de la nature humaine tripartite ». À la lumière de ces théories et méthodes, il apparaît que l’ambiguïté coranique au sujet de la crucifixion et de la mort de Jésus est une invitation claire de la part du Coran incitant les Musulmans et les Chrétiens à vivre avec cette ambiguïté insoluble. La conclusion de cette thèse contribue directement à de meilleures relations musulmanes-chrétiennes, renforçant l’appel coranique (Coran 3:64, 103) à ces deux communautés leurs demandant de se cramponner aux points communs majeurs, d’intégrer leurs différences mineures et de consacrer leurs énergies pour une vie harmonieuse entre eux et laisser le reste dans les mains du Dieu qu’ils ont en commun. / The Qur’ân, together with the sunnah (tradition) of the Prophet Muḥammad recounted in aḥâdîth (oral traditions of the Prophet), form the eternal source of inspiration and knowledge upon which the Muslim communities have acted and reacted to, as well as interacted with. Externally, their relations with many others, including Christians, have followed the same dynamics, as seen in the mirror of the Qur’ân and its interpretations. The topics of the divine nature of Jesus, the trinity, and the crucifixion of Jesus and his death on the cross, have been commonly considered the three main theological points of disagreement between Muslims and Christians. The Qur’ân’s clear position vis-à-vis the first two points do not leave any space for scholarly debates. However, despite Muslims’ actual consensus on denying Jesus’ crucifixion and death, the Qur’ânic ambiguous image of Jesus’ last day on earth has caused many discussions among mufassirûn (exegetes of the Qur’ân). This thesis is a textual analysis of the two Qur’ânic passages on this debated point of difference. For this textual and intertextual study, the tafâsîr (interpretations of the Qur’ân) of eight mufassirûn belonging to different madhâhib (schools of interpretation) from various periods in the history of Muslim-Christian relations are used in combination with recent textual approaches and methods such as: historico-citical and redaction critical. In addition, three new theories developed within this dissertation complete the hermeneutical tools employed for this research: the “theory of five layers of meaning,” the “theory of double messages of the Qur’ân,” and the “theory of humans’ tripartite nature.” In the light of these theories and methods, it emerges that the Qur’ânic ambiguity on Jesus’ crucifixion and death may well be the Qur’ân’s own invitation to Muslims and Christians to live with that unresolvable ambiguity. This dissertation’s conclusion thus contributes directly to better Muslim-Christian relations, reinforcing the Qur’ânic call to both Muslims and Christians (Qur’ân 3:64, 103) to focus on major common points, to embrace minor differences, and to spend their energy on what might have a positive impact on their harmonious co-habitation, abandoning the rest in the hands of God in whom both believe.

L’objet de la présente recherche est l’étude de l’accessibilité des enfants lecteurs à la réception de l’élément parodique, présent dans les œuvres littéraires d’Eugène Trivizas, auteur grec d’une grande renommée dans la littérature d’enfance. Ceci concerne toute forme de parodie et à tous les niveaux où elle pourrait se produire, des conditions dans lesquelles elle se produit, des facteurs qui favorisent sa réalisation et des manières par lesquelles elle pourrait être aperçue. Par ailleurs la recherche se propose de vérifier si les fonctions des parodies de Trivizas estimées « libératrices » ont bien eu cet effet sur les jeunes lecteurs et si la poétique parodique de l’auteur contribue à la création du jeune lecteur critique. L’étude des résultats de la recherche réalisée avec des élèves des écoles maternelles et primaires en Grèce aboutit aux convictions suivantes: a. La réceptivité parodique des enfants lecteurs concernant l’œuvre d’Eugène Trivizas peut être réalisable à certaines conditions. b. La communication parodique suscitée dans les œuvres littéraires d’Eugène Trivizas, possède la dynamique de fonctionner au niveau de la socialisation et de la politisation des jeunes lecteurs. / The object of the present research is to investigate the capabilityof children readers to perceive the parodic element which emerges in the literary texts of Eugene Trivizas, one of the most renounced Greek writers of children' s literature. This concerns every form of parody, also the levels on which it is produced, the circumstances under which it is produced, and finally the factors which favour its realisation and the ways in which it can function. Furthermore, this research aims at verifying whether the functions of parody in the work of Eugene Trivizas which are conceived as "liberating" have, indeed, this impact on children readers and whether the parodic poetics of the writer contributes to the creation of a young critical reader. The study of the results of the research which was carried out on pupils of nursery and primary schools of Greece leads to the following two conclusions: a. The reception of the parodic element in the work of Eugene Trivizas is feasible/ possible under certain circumstances. b. The communication of parody possesses the dynamics to lead towards the socialisation and politicalisationof young readers.

This diploma thesis on Commented Translation of Joël Casséus' Crépuscules consists of translation of the first three chapters of the Quebec novel Crépuscules into the Czech language and subsequent expert commentary. This commentary focuses on the analysis of the novel genre that balances science fiction and modern myth, as well as the Christiane Nord analysis of the original text through which it explores external factors such as author, reader, intention, text function or its motive and intra-text factors such as theme and content, composition, nonverbal components, lexicon, syntax, and suprasegmental phenomena. Subsequently, in the commentary, we deal with translation problems, their solutions and applied translation procedures such as transposition, modification, compensation, generalization or specification.

No description available.

Scholars have proposed that Jude and 2 Peter are literarily dependent. However, there is no definitive conclusion among scholars concerning which one is literarily dependent on the other. There are arguments for and against each of the literary dependency theories. It is difficult to define what is meant by literary dependency and how to measure it. By utilizing Lemke’s notion of intertextuality, this study examines the thematic formations, axiological stance, and rhetorical formations of Jude and 2 Peter. This study demonstrates that there are significant intertextual relations that can account for the similarities between these two texts. There is substantial evidence which suggests that their differences are significant. Jude and 2 Peter do not provide essential intertextual background information to understand each other. Through the analysis of other intertexts, this study reveals a significant number of intertexts, like the LXX, Old Testament Pseudepigrapha, and contemporary literature, that can account for the meaning formation of the two books. These texts can be considered as more significant intertexts for Jude and 2 Peter.