Les diverses formes de l'intertextualité (citation, allusion, résumé, traduction), appliquées aux mécanismes du premierdes genres (l'épopée), et analysées chez un auteur imprégné de révolutions, vont bien au-delà d'un simple exerciced'érudition. Interrogé dans un traité à vocation apologétique comme le Génie du christianisme, puis dans le rejetonpoétique de deux épopées capitales, Les Natchez et Les Martyrs, l'intertexte épique moderne- car c'est la modernitéqu'il faut construire au tournant de l'Ancien Régime à la Révolution et de cette dernière à l'Empire- dessine une grillede lecture qui relève à la fois du statut générique et de l'histoire des mentalités. Les poètes convoqués parChateaubriand dans le tissu textuel de l'épopée deviennent alors les interlocuteurs idéaux pour développer un discourssur l'Histoire. En suivant une démarche tripartie suggérée par l'auteur (sujet, caractères/passions, paysages), lamosaïque intertextuelle de Chateaubriand s'assemble tantôt pour révéler une connivence culturelle, tantôt pour ouvrirune contestation à la fois poétique et politique. L'analyse de ces mêmes tensions nous aide enfin à construire l'image laplus représentative du poète dans son Temps. / The different types of intertextuality (quotation, allusion, summary, translation), applied to the mechanisms of the firstgenre (epie), and analysed through the works of an author grappling with various revolutions, are much more than anerudite practice. Examined in an apologetic treatise such as the Génie du christianisme, then in the poetic extension oftwo primary epie works, Les Natchez and Les Martyrs, the modern epie intertext - since modernity is what must beconstructed at the passage from the Old Regime to the French Revolution and from this one to Napoleon's Empiretracesout a point of view depending both on the rhetoric structure and on the history of mentalities. The poetsChateaubriand recalls in the texture of epie th us become the ideal interlocutors to work out a discourse on History.Following a three-terms approach, suggested by the author himself (tapie, characters/passions, landscapes), theintertextual mosaic of Chateaubriand sometimes reveals a cultural connivance sometimes inaugurates a poetical andpolitical contestation. The analysis of these tensions finally helps us to construct the most representative image of thepoet in his Time.

Orientador: Paulo Sergio de Vasconcellos / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem / Made available in DSpace on 2018-08-14T18:30:56Z (GMT). No. of bitstreams: 1 Piccolo_AlexandrePrudente_M.pdf: 13680789 bytes, checksum: 738acccb1446c5e23a4caa75251c34a8 (MD5) Previous issue date: 2009 / Resumo: O presente trabalho divide-se em duas partes: tradução e estudo. Na primeira, para as vinte cartas de Horácio que compõem a obra Epistularum Líber Primus, propõe-se uma tradução justalinear, em português de nosso século e sem pretensões poéticas. Nessa, anotam-se dificuldades tradutórias, observações linguísticas, históricas, geográficas, sociais, culturais etc. que visam a enriquecer a compreensão dos leitores, não necessariamente especialistas. A seguir, acresce as epístolas horacianas o breve texto de Suetônio, Vita Horati, também apresentado em latim e em português. Na segunda parte, embasado por teorias linguísticas que tratam do "fenômeno da intertextualidade", estudam-se citações, menções e alusões que as epístolas de Horácio tecem sobre os épicos homéricos. Esmiuçamse referências latinas à Ilíada e à Odisséia, com cujos excertos gregos o confronto permite que se destaquem os variados efeitos de sentido produzidos nesse intertexto. No estudo também se observa como a leitura que Horácio faz e propõe de Homero contrasta com certas reflexões socráticas extraídas da República de Platão, especialmente as passagens que tratam da poesia, nos livros II, III e X. Assim, é possível notar abordagem e emprego distintos do instrumento retórico denominado "alegoria" (ou hyponoia platônica), pois o texto latino não só propõe os épicos homéricos como fonte de "lições filosóficas de cunho moral", como também baliza propostas de leituras alegóricas. Por último, em dois anexos, apresentam-se: a) os mapas das regiões citadas e anotadas nas cartas; b) a tradução portuguesa de Antônio Luís de Seabra para as Epístolas I. / Abstract: This research is divided in two parts: translation and study. In the first, we present a translation of Horace's Epistularum Liber Primus, which contains twenty Latin letters, into modern Portuguese, in juxtaposed way, with no poetic intentions. Translation difficulties and some linguistic, historical, geografical, social, cutural etc. observations, that might enrich readers understanding (not necessarily scholars), are also written down. We translate afterward a brief biography written by Suetonious, Vita Horati, presented in Latin and Portuguese as well. In the second part, grounded by linguistic theories that deal with intertextuality, quotations, mentions and allusions that Horace's "Epistles I" make of the Homeric epics are studied. We detail Latin references to both Iliad and Odyssey, whose Greek excerpts are confronted in search of various meaning effects produced in these intertexts. Besides, this study observes how Horace's reading of Homer opposes certain socratic thoughts extracted from Plato's Republic, specially the passages that concern poetry taken from books II, III and X. Thus, it is possible to notice different approaches and uses of the rhetorical instrument called "allegoria" (or platonic hyponoia), for the Latin text not only reads homeric epics as sources of "philosophical lessons of moral extract", but also points out proposals for allegorical readings. At last, in two attachments, we present: a) the maps of mentioned regions in the letters; b) the Portuguese translation by Antônio Luís de Seabra for the Epistles I. / Mestrado / Mestre em Linguística

D.Litt. et Phil. / In this study James 3:13:4:12 is examined by applying the basic premises presented by a semiotic as well as a hermeneutic inter textual theory in order to (a) understand the specific functioning of the text in its socio-historic context and (b) investigate the possibilities of reading this text from a post-modern perspective. The application of these basic aims delivers some surprising and exciting results: The basic argument presented in 3:13-4:12 is clarified, namely the writer's concern about the competing wisdom teachers in the Christian community. Criteria for identifying wise and unwise teachers are given. The investigation into the literal relationships reflected in James 3:13-4:12, contibutes to solve sintactical and semantical problems functioning on the structural surface of the text. Questions concerning the transactional aspects of the text, namely the pragmatic function of inter texts in this specific pericope is answered. The context implied by James 3:13-4:12 is clarified, namely the extra-textual situation (teachers competing since the positions of wisdom teacher in holds financial advantages and status in the community), the dating of James (written around the second quarter of the second century), the theme of wisdom in James, the mythological framework supposed, Hellenistic topics reflected in this writing, James' usage of the Old Testament and the eschatological theme. The text is reread in a post-modern context. The text reveals ideological interests and explains the author's views on the place of females in the church structure. It is argued that the social categories and the hierarchal system of leadership found in this writing are relative to its time and should be re-evaluated against the needs and circumstances of our own time. It is concluded that a intertextual approach to reading, interpreting and understanding New Testament texts may render a significant contribution to New Testament studies.

Ce travail est consacré à l'étude quasi exhaustive des Premiers poèmes de Germain Nouveau (1851-1920) qui recouvrent la période 1872-1879. Le fil conducteur en est l'approfondissement de l'analyse des liens poétiques et personnels que le poète entretint avec Paul Verlaine et Arthur Rimbaud. L'objectif est de montrer comment la passion de Nouveau pour les oeuvres de ces deux étoiles a déterminé son esthétique, mais également dansquelle mesure sa poésie est restée très personnelle, lui conférant une place de choix parmi les poètes de la décennie qui suivit la Guerre de 1870. Une première partie étudie les poèmes des années 1872-1873, qui pour laplupart paraissent dans la Renaissance littéraire et artistique. Ces textes sont déjà parsemés de références métriques et intertextuelles aux poèmes de Verlaine et Rimbaud. Un deuxième mouvement est consacré à la rencontre humaine et poétique entre Germain Nouveau et Arthur Rimbaud. Nous tentons d'y préciser la chronologie des événements, à Paris puis à Londres, à travers la correspondance de Nouveau et divers témoignages, dont celui de Jean Richepin. Notre recherche s'intéresse enfin aux poèmes ultérieurs à 1874, ou non datés, parfois en prose, qui, toujours pleins d'inventions et d'originalité, témoignent des centres d'intérêt du poète, parmi lesquels la Commune de Paris et son écrasement semblent tenir bonne place. / This work is devoted to the almost exhaustive study of early poems written by Germain Nouveau (1851-1920) covering the period 1872-1879. The common thread is the deepening of the analysis of poetic and personalrelationships that the poet has with Paul Verlaine and Arthur Rimbaud. The aim is to show how Nouveau’s passion for the works of these two stars has determined its aesthetic, but also how his poetry is still very personal, givinga prominent place among the poets of the decade that followed the war of 1870. The first part examines the poems in 1872-1873, most of which appeared in the literary and artistic renaissance. These texts are dotted with metric and intertextual references to Rimbaud and Verlaine’s poems. The second movement is dedicated to human and poetic meeting between Germain Nouveau and Arthur Rimbaud. We try to clarify the chronology of events, in Paris then in London, through Nouveau’s correspondence and various accounts, including the one of Jean Richepin. Our research is finally interested in subsequent poems to 1874 or undated, sometimes in prose, which, always full of invention and originality, show the Paris Commune and its crushing seem to hold a goodposition.

Videogame adaptations have been a staple of cinema and television since the 1980s and have had a consistent presence despite receiving overwhelmingly negative reactions. Recognising the perseverance of videogame adaptations, I examine some of the key issues and debates surrounding the genre with in-depth analysis of the source material, the machinations of the film and videogame industries, and the films themselves, specifically relating to three prominent onscreen videogame adaptations. Following an introduction to the various theories and areas of study already performed in this field, all of which I incorporate into an intricate, blended methodology, I explore issues of fidelity, localisation, and evolution that occur when adapting Sonic the Hedgehog out of the confines of its limited narrative. In examining adaptations of Mortal Kombat and Street Fighter, I explore how cinematic genres (such as the Hong Kong martial arts and American action movies) have influenced the creation of videogames and the production of their film and television adaptations. Finally, I delve into the history of zombie horror films, which influenced the Resident Evil franchise. As this became the longest-running (and, by extension, most successful) live-action videogame franchise, I explore the complex production of videogame adaptations, their critical and financial reception, and their ability to evolve into multimedia franchises. Overall, my work is designed to take videogame adaptations seriously by examining them through in-depth analysis, exploring how they convey the gameplay mechanics of their source material, analysing why they remain so popular despite their negative reputation, and by establishing an academic framework by which to discuss them with the same reverence afforded to literary adaptations.

This dissertation was prompted by the many inter-textual connections that exist in section V of the poetry volume Syspoor by Tom Gouws, and to determine what these relations are. Several texts feature here in close proximity, i.e. the Bible, two Livingstone biographies, Komas uit ’n bamboesstok by D.J. Opperman, Raka by N.P. van Wyk Louw and the Gouws poems. In this study the following questions were asked: Was the Bible text elucidated, communicated and transcribed for the reader via the Livingstone tale in the poems? How did the poet achieve this? Gouws’s conversance with Biblical/Hebrew poetry and his use of semantic rhyme, chiasms and Midrash in the poems under discussion, became evident in the research and demonstrated the interwoven quality of Syspoor’s section V. Section V, “ooglede van die dageraad” (eyelids of the morning), comes into being as the result of an “inter-textual interweaving” of several texts. The weaving process as theme was taken into consideration with the study of these poems, because it serves as an indication of the direction which is to be followed when interpreting them, and also because it is the key to their sense and meaning. The word “Syspoor” is semantically loaded and has several interpretations: side-track, siding, His (God’s) track, silk trail or side wound (stigmata). The many texts which are explicitly ánd implicitly present in this section have to be considered closely, otherwise its sense is lost. The Bible text is summoned immediately in the title of section V, which is a quote from the book of Job, and is repeated in the second motto on the title page. The inter-textual discussion commences right at the outset. A connection is made with Opperman in the first motto on the title page, although the suggestion of the presence of an Opperman text already exists in the striking structural resemblance between Syspoor and Komas uit ’n bamboesstok. The third motto is an extract from a David Livingstone biography by George Seaver: David Livingstone: his life and letters. With the fourth motto on the title page (a quote that is taken from an ancient text, Revelations of the Holy Gertrude which was written in approximately 1334), yet another text joins the inter-textual conversation. Thus, before the contents of the section have been scrutinized, the reader has already been made aware of the interwoven texture of texts. The abundance of Biblical quotations, which are used as mottoes in section V, act as beacons on the Livingstone trail. The life story of the explorer / missionary becomes the framework into which the poems are ‘woven’, just as the journeys of the explorer, Marco Polo, are used as a basis for Opperman’s Komas uit ’n bamboesstok. The high incidence of Biblical mottoes confirms the importance of the relationship between the first person speaker / Livingstone-figure and his God. The presence or absence of a Biblical motto becomes the key to the semantic content of the poems. Where the Bible text is presented in transcribed form as poetry, the focus on the state of the faith of the first person speaker / missionary is intensified. In this preference for the motto, Gouws joins the tradition of Totius, Opperman and Cloete. The credo poem and the epilogue of section V bear the same title: “sterfgebed I” and “sterfgebed II” (death prayer). These two poems encircle the 22 poems of the corpus and complete section V compositionally. Both poems are in the form of a prayer and the similarities in their content, structure and theme, lend a cyclical character to the whole. The imminent death of the speaker is postulated and remains subtly present in the other poems. The God:man relationship appears in both poems, so too the motifs of the trail, weaving, Africa, dreams and journeys. These themes are threaded from the first poem through the tightly woven life-fabric of the missionary to be joined together again in the epilogue. The meaning of the Latin word, intertexere, (to intertwine or weave through) is relevant here. The complex relationship between God and man is highlighted as a central theme in section V: the Livingstone-figure / first person speaker is depicted in all the facets of his humanity. He is a sexual creature, discoverer, missionary, believer and linguist / poet. With reference to Umberto Eco’s motto of chapter 2, this researcher has come to the conclusion that old, well known tales have been retold in section V “ooglede van die dageraad” of Syspoor, but from a fresh angle of incidence, in a strange, yet familiar way, with the result that the reader will view all the relevant texts with new eyes. To conclude the weaving metaphor: after every silk thread has been inter-woven into the framework, the onlooker steps back and appreciates the whole tapestry as a work of art, judging it according to its twill. / Dr. M.P. Beukes

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I did not purposely set down to write this work but was compelled by a painful sense of what I should not do. What I should not write. To protect the privacy and autonomy of individuals, to avoid creating harm, and to resist, however unsuccessfully, essentializing either “mothers” or “addiction,” this work enacts a radical besideness, where one subject performs the verb of a second subject, where one subject enlist the aid of other subjects. In the aim of both producing and defying narrative structures that seem to fasten a person to their identity, this collaborative, intertextual project attempts to tell a story, both in what is re-told and in what is not-told. It invokes infelicitous performances as a way of talking back while walking forward. / Graduate

This thesis examines the dissemination of T.S. Eliot's poem "The Love Song of J. Alfred Prufrock" through the twentieth century. While scholars seem interested in "Prufrock" as an influential poem, it seems there is limited scholarship on how its influence was propagated. This thesis posits that Bohemianism was the cultural milieu by which "Prufrock" gained popularity and was subsequently appropriated. This thesis looks to Virginia Woolf's The Waves (1931), Julio Cortázar's Hopscotch (1963; English translation 1966), and Jack Kerouac's Big Sur (1962) as hypertexts of "Prufrock" and as examples of how Bohemianism acted as a factor in its appropriation. This thesis finds that Bohemianism, as a culture of collaboration built on its own myth, is a powerful source of intertextuality that likely could have subsumed "Prufrock" as part of that myth. / Master of Arts / This thesis is interested in the influence of "The Love Song of J. Alfred Prufrock" on later novels of the twentieth century, focusing on Virginia Woolf's The Waves (1931), Julio Cortázar's Hopscotch (1963; English translation 1966), and Jack Kerouac's Big Sur (1962). "Prufrock" is a canonical text by T.S. Eliot and its contents (imagery, language, themes, etc.) were borrowed in later texts in a process known as appropriation. This thesis is specifically interested in why "Prufrock" was influential enough to be appropriated throughout the twentieth century and finds that the culture of Bohemianism is a possible explanation for that influence. Bohemianism describes an urban phenomenon of artists, writers, and intellectuals forming groups to discuss intellectual matters and collaborate on literary and artistic projects. This thesis finds that "Prufrock" contains qualities which appeal to Bohemian participants and as such it was taken up and appropriated as a poem by various Bohemian writers.

When biblical studies adopted the language of intertextuality, it began using it in conjunction with other vocabulary--inner-biblical exegesis and interpretation, echoes, allusion--all of which it uses to signify when a biblical text refers to another text that appears elsewhere in Bible. This study examines the way such academic language is shaped by and shapes the assumptions of biblical scholarship. It examines the nature of linguistic signs and applies the insights of this examination to evaluating the language of reference in the study of the Hebrew Bible. The study concludes that the language and theory of literary allusion is best suited for enriching academic discourse on the relationship of referential texts in the Hebrew Bible. It discusses methodological criteria for detecting allusion informed by a theoretically developed understanding of literary allusion.