No description available.

"The End of the Psalter" argues, based on original text-critical and intertextual research, that Psalms 146-150 are originally separate texts, contrary to current Psalms research viewing them to be written partly as an originally coherent end of the Psalter. Firstly, rather than focussing on the Masoretic Text only, all three oldest text forms of each Psalm are interpreted separately: the Hebrew Masoretic Text as the oldest complete text form of the Hebrew Bible in its original language, and the older sources of the Hebrew Dead Sea Scrolls and the Greek Septuagint. The thesis highlights considerable differences in these three sources which call the supposed original coherence of Psalms 146-150 into question. Secondly, rather than merely listing other texts similar in their words or ideas, possible intertextual references are assessed using clear criteria and explicating consequences for the interpretation. The thesis demonstrates that intertextual references differ between each of the Psalms and between the sources, leading to shifts in aspects of content and to a lack of original connection of Psalms 146-150. Thirdly, rather than presupposing Psalms 146-150 as one originally coherent group, each Psalm is examined on its own. The thesis demonstrates that the individual Psalms 146-150 cannot originally be seen as one group, and that differences in the content of each individual Psalm should not be smoothed out. The thesis provides a new historical-critical commentary and intertextual analysis of Psalms 146, 147, 148, 149, and 150, each in all three different oldest text forms. It includes fresh translations and detailed comments on form, intertextuality, content, genre, and date, combined with a comparison of the different Psalms and text forms and an extensive evaluation of previous interpretations.

While scholars generally acknowledge the influence of the book of Daniel in various loci in the Gospel of Mark, there has yet to be a systematic study that combines these references to determine their cumulative effect. Previous examinations of Mark’s use of Daniel have been piece-meal, exploring a particular Danielic theme or looking at a particular Markan text. Other studies focus on determining whether a certain Markan text contains a reference to Daniel. These studies serve to illuminate Mark’s use of Daniel considerably, but leave many important questions unanswered. What is Mark’s modus operandi in referencing the book of Daniel in particular? What is the shape—the contours and distribution—of Danielic usage in Mark? What can the references together, in toto, reveal about Mark’s usage of Daniel? This dissertation will explore these questions and clarify Mark’s use of Daniel through careful analysis and exegetical study of ten verses with suggested Danielic references (Mark 1:15; 4:11, 32; 9:3; 13:7,13-14, 19, 26; 14:62) so as to observe Mark’s overall pattern of usage. This dissertation will survey the issues surrounding Mark’s usage of Daniel and review the secondary literature related the use of the Old Testament in Mark—more specifically the use of Daniel in Mark (Ch. 1). A survey of the use of Daniel in early Jewish literature demonstrates the popularity and the widespread use of Daniel across different Jewish groups—and therefore its availability to Mark (Ch. 2). This survey also provides the cultural and theological background in which to understand Mark’s use of Daniel. Each reference to the book of Daniel in the Gospel of Mark, which is noted by the editors of the United Bible Societies Greek New Testament (4th ed.) and the Nestle-Aland Novum Testamentum Graece (27th ed.), will be examined in order to trace the contours of Mark’s usage of Daniel, explore the nature of the literary relationship, and determine the literary function of each reference (Ch. 3). The characteristics and patterns that can be observed when the Danielic references in Mark are seen side by side will be closely examined (Ch. 4). The book of Daniel is found to be even more significant for Mark than it has been acknowledged because Mark’s concept of the kingdom of God is profoundly influenced by the visions of God’s kingdom in Dan 7 and Dan 2. The influence of the Danielic notion of the kingdom of God permeates Mark’s gospel, from Jesus’ introductory proclamation in Mark 1:15 to his parables about the kingdom of God in Mark 4, his apocalyptic discourse in Mark 13, and finally his passion in Mark 14. In addition to the kingdom of God, several themes and images in Mark’s view of eschatology are also influenced by the Danielic text. Consequently, by looking at the Danielic references in Mark in toto, it can be seen that Mark draws upon Daniel primarily for inspiration pertaining to the kingdom of God and its eschatological significance. It is clear that many parts of the book of Daniel were familiar to Mark, and that they played an integral part in shaping his portrayal of the good news of Jesus.

PHD Thesis - Arts / Intertextuality is used to engage with the ‘already said’, which according to Umberto Eco is the hallmark of postmodernism. African popular culture in 2005 is frequently created through a dialogue between multiple partners. It is heteroglossic in expression, is capable of withstanding multifocal scrutiny and is fluent in the conventions of the form it chooses. It expresses itself by allusion to the ‘already said’ and through inclusion of increasingly sophisticated popular audiences. Intertextuality is generally used as a smart tool to express and comment upon hidden narratives relating to, for example, African identities, class relations, corruption and the taboo: abuse, incest, Aids, archaic traditional law practices as well as the not-so-hidden topics of necropower, global capitalism and so on. This study looks at the various uses of intertextuality, including the way it is used as a mechanism to access political memory, in the South African youth TV drama Yizo Yizo. It is argued that a text must be read in relation to the dynamic and interaction between the producer of the text, the text and the audiences of the text. To understand what producers bring to the text, one must understand the universe of the producers. In trying to understand why Yizo Yizo appears to depict “violence”, one needs to understand the experiences and ideologies of the producers in the physical space known as South Africa and reproduced as memory in the chronotope occupied by Yizo Yizo. In analysing the term “violence”, it becomes clear the word is inadequate if it is used in the singular only. What is explored here is rather, a hierarchy of violences. Violence is embedded in the very construct of the rainbow nation and returned as the political memory of violence in representation. The pecking order of these violences is identified as political violence, the relations of abuse, sexual violence, violence silence, dialogic violence, violence towards the self, traumatic violence revisited, lifestyle violence, criminal violence and retributive and restorative violence. Yizo Yizo works with the consequences of the apartheid iii past in the present and forces one male character after another to take a stand against the continuing violences of their present. Two characters (Papa Action and Chester) become the archetypes of criminal violence. Another two (Thulani and Gunman) answer reactionary and victimising and criminal violence with violence intended to free those it oppresses. But the proof of the pudding is in the audience tasting. We know from Henry Jenkins that fans rewrite texts in ten different ways—by recontextualisation, expanding the series timeline, refocalisation, moral realignment, genre shifting, cross overs, character dislocation, personalisation, emotional intensification and eroticisation. Using comments by fans, focus group results and media reports, the research looks at the way these rewrites take place in relation to Yizo Yizo. Ultimately it is suggested that the producers of this particular text are able to reach their audiences because they are also fans of movie and TV and of African popular culture. Moreover, they share a country in which a multitude of violences are experienced but invisible, hence the need for the development of a language and aesthetic of violence.

Orientador: Daniela Mantarro Callipo / Banca: Silvia Maria Azevedo / Banca: Gilberto Pinheiro Passos / Resumo: A coletânea Histórias da meia-noite, de Machado de Assis, é composta por seis contos que, originalmente, estamparam as páginas do Jornal das Famílias (1863-1878) entre os anos de 1870 e 1873, quando foram compilados em livro. Encontrando-se, em quase todos eles, referências a autores franceses, bem como à cultura francesa de maneira ampla, pretende-se realizar a análise desses textos, de modo que seja possível apresentar sugestões para a compreensão desse fenômeno, essencial para a interpretação do conjunto. Para tanto, foram necessários estudos que buscassem uma teoria do conto, sobretudo daquele praticado ao longo do século XIX; conceitos de Literatura Comparada e Intertextualidade, a fim de melhor entender a presença francesa nessas narrativas; e leituras acerca da importância da França no contexto oitocentista brasileiro, abrindo a possibilidade de uma compreensão mais profunda das publicações de Machado de Assis e dos demais colaboradores da revista de Garnier. Neste sentido, é preciso considerar o periódico como um veículo fundamental para a manutenção de um vivo contato com a cultura de Balzac. A coletânea, ao lado do ensaio crítico, Instinto de Nacionalidade (1873), permitem a ideia de elaboração de um projeto literário, que visa ao amadurecimento da literatura brasileira por meio do diálogo com outras literaturas, de modo a construir uma tradição literária, na qual o autor fluminense gostaria de inserir a sua ficção / Resumé: L'anthologie Histoires de minuit, de Machado de Assis, est composée de six récits, qui ont été publiés originellement dans le Journal des Familles (1863-1878) entre les années 1870 et 1873, quand ils ont été compilés en livre. En y trouvant la référence à des auteurs français, bien qu'à la culture française au sens large, l'on prétend réaliser l'analyse de ces textes, de sorte qu'il soit possible de présenter des suggestions pour comprendre ce phénomène, essentiel pour l'interpretation du recueil. L'on a donc fait appel aux études concernant la théorie du conte, surtout de celui pratiqué au XIXe siècle ; les concepts de Littérature Comparée et d'Intertextualité, afin de bien comprendre la présence française dans ces récits ; et aux lectures à propos de l'importance de la France dans le XIXe siècle brésilien, en ouvrant la possibilité d'une compréhension plus profonde des publications de Machado de Assis et des autres collaborateurs de la revue de Garnier. Dans ce sens, il faut considérer le journal comme un véhicule fondamental pour maintenir un vif contact avec la culture de Balzac. L'anthologie à côté de l'essaie critique, Instinct de nationalité (1873), permettent l'idée de l'élaboration d'un projet littéraire, qui vise à la maturité de la littérature brésilienne à partir du dialogue avec d'autres littératures, de façon à construire une tradition littéraire, dans laquelle l'écrivain brésilien voulait insérer sa fiction / Mestre

This dissertation aims to deal Pei Chu-yi (¥Õ©~©ö¡A772-846), the most important poet in Tang Dynasty, with his influence on the lyric development in Sung Dynasty. With the concept of intertextuality as my methodology, Pei Chu-yi is treated as a pivotal role in my new reading the lyrics composed in Sung Dynasty (960-1279 A.D.). As it will be shown, many lyrics in Sung are highly intertextualized with Pei¡¦s poems, and the works of Huang Ting-jan ¶À®x°í(1045-1105) illustrated the very example in how a poet related himself (including his personal experiences, view of literature, etc.) as a follower to the pioneering poet Pei. Therefore, from the later literary and cultural continuities with Pei, I apply the concept of ¡§intertextuality¡¨ to re-read and re-explore the ideas of ¡§text,¡¨ imitation,¡¨ and even ¡§originality¡¨ during the ancient China. In this ground, ¡§intertextuality¡¨ represents a poet¡¦s personal and historical identities via his own poems. Yet there will be some limits when doing the mentioned ¡§intertextualizing¡¨ readings. As I will illustrate, many political experiences are less ¡§straightforwardly¡¨ put into lyrics as Pei had done in his ¡§Pi-Pa Yin¡¨(µ\µ]¤Þ). In this ground, the idea of ¡§intertextuality¡¨ needs to be subdivided into two types: the general one and the specific one. The former indicates a universal humanity and emotion aroused by misfortune, blame, ideology and conflicting values while the latter shows a poetic (and subjective) identity in a poet¡¦s representing himself via his poems Several contributions can be thereby found in this dissertation. First, lyric poets of Sung Dynasty favored Pei¡¦s works, mainly composed in his exile at Chiang Chu (¦¿¦{). Second, lyric poets of Sung Dynasty found their own ways to release or relive from their political identities through Pei¡¦s poems. Thirdly and finally, we can never feature the lyric poems in Sung Dynasty without Pei¡¦s poetics. With the three main points, I further develop an ¡§affiliative ¡¨ relationship between Pei and lyric poets of Sung Dynasty. With the help of Julia Kristiva¡¦s ¡§chora¡¨ concept, I analyze some key words both used by Pei and his followers so as to display the different semiotics applied in Tang Dynasty and in Sung Dynasty. In my last chapter, I suggest several ways to re-read Pei¡¦s works with literary works in different dynasties (for instance, to intertextualize Pei¡¦s ¡§Chung Hung Ke¡¨(ªø«ëºq) with Pei Pu¡¦s drama ¡§U Tun Yu¡¨(±ï®ä«B) in Yuan Dynasty, with Hung Sheng¡¦s fiction Chung Sheng Dien (ªø¥Í·µ) in Chin Dynasty). With this ¡§intertextual¡¨ research, cross-genre studies will be more valuable and thus significant. Finally, I recommend to develop more literary ¡§affiliations¡¨ between one dynasty and the other. Such comparisons as lyric poets of Sung with Han Yu (Áú·U) or with Du Fu (§ù¨j) will renovate the traditional readings of Tang Poetry (­ð¸Ö) and Sung Lyric (§ºµü).

The theme of the master’s work is the intertext in Ostrauskas’s dramas “Vaižgantas” and “Balys iš Baibokų”. It was chosen due to its urgency and topicality. The intertext is usually considered as one of the forms of the expression of postmodernism. Actually critics themselves showed little attention to these dramas and they haven’t received a proper analysis yet. The aim of the master’s work is the theory of the intertextuality and its practical approach in Ostrauskas’s dramas “Vaižgantas” and “Balys iš Baibokų”. Also the work assesses the literary value of the dramas in the context of the whole Ostrauskas’s creative work alongside the intertextual analysis of the dramas. Having completed the paper I came to the conclusion that the two dramas “Vaižgantas” and “Balys iš Baibokų” could be ascribed to those Ostrauskas’s dramas where characters are historic personalities and their intercourse with the others and inner personal life are analyzed. The dramas are unusual in their structure. They possess more features of a literary work rather than a scenic one. The intertextuality is applied for the creation of individualized and a psychological portraiture that is not quite typical for the other author’s dramas. The dramas “Vaižgantas” and “Balys iš Baibokų” are rich in colorful quotations taken from Balys Sruoga and Juozas Tumas-Vaižgantas’s creations as well as from Russian and other Lithuanian authors’ works. The intertext broadens the context of the dramas, brings comic... [to full text]

Thesis (M.A.)--Brigham Young University. Dept. of English, 2007. / Includes bibliographical references (p. 107-116).

Thesis (Ph. D.)--Lehigh University, 1997. / Includes vita. Bibliography: leaves 226-232.

Thesis (Ph. D.)--University of Chicago, Dept. of South Asian Languages and Civilizations, December 1999. / Includes bibliographical references. Also available on the Internet.