O objetivo desta dissertação é apontar o diálogo que Adília Lopes, poetisa portuguesa contemporânea, estabelece com alguns escritores, pertençam eles à tradição literária, caso de Luís de Camões e Fernando Pessoa, ou estejam mais próximos da contemporaneidade, como Fiama Hasse Pais Brandão e Clarice Lispector. Para construir este diálogo, destacaram-se três importantes recursos literários usados de modo recorrente pela poetisa: a intertextualidade, a paródia e a ironia. Além de mostrar a maneira como estes recursos aparecem na sua poesia, pode-se acrescentar ainda o modo peculiar de sua escrita. Enfim, espera-se que a somatória destes fatores permita obter uma melhor apreciação de sua obra poética. / My goal in this dissertation is to identify the dialogue established between Adília Lopes a contemporary portuguese poet and some writers from literary tradition, as Luís de Camões and Fernando Pessoa, and from contemporaneity, as it is the case of Fiama Hasse Pais Brandão and Clarice Lispector. In order to build this dialogue, I point out three important literary resources mostly used by Adília: intertextuality, parody and irony. Beyond bringing evidence to how these resources appear in her poetry, it is also relevant to observe the particularity of her writing. At the end, it is expected analyzing those factors all together could allow a better appreciation of her poetry.

Étant un personnage secondaire issu de l’épisode évangélique qui raconte le martyre de Jean-Baptiste, Salomé est devenue un des thèmes préférés dans la littérature et les arts de la seconde moitié du XIXe siècle. En faisant partie des « femmes fatales », elle correspond bien aux interprétations fin-de-siècle : la faiblesse de l’homme, le pouvoir de la femme, l’esthétique raffinée mais morbide, la décadence nonchalante mêlée à un effroi irrémédiable. Le célèbre drame d’Oscar Wilde fait d’elle le sujet d’une réflexion philosophique du désir et de la mort. La fin du XIXe siècle ne signifie pas la fin de l’évolution de la figure de Salomé. Au contraire, elle constitue un nouveau point de départ. Au XXe siècle son histoire a connu non seulement un enrichissement au niveau structurel, mais aussi une diversification formelle. Aujourd’hui, les textes qui abordent Salomé forment un système. La formation et la transformation de ce système demande une observation qui porte une attention particulière à la continuité et à la rupture, à l’héritage et au renversement. Lorsque la danseuse est mise à côté du martyr, l’histoire doit faire face au déchirement : l’homme et la femme, le vocable et le visuel, l’ascétisme et le désir…d’où l’incertitude et la diversité de l’interprétation qui permettent à l’histoire de Salomé de résister à l’écoulement du temps. L’existence d’une multitude de textes sur le même mythe crée un espace où l’étude intertextuelle est rendue possible. / As a secondary character from the Gospel story that recounts the martyrdom of John the Baptist, Salome became one of the favorite themes in art and literature of the second half of the nineteenth century. As one of the “ femmes fatales ”, this figure corresponds to the Fin de Siècle imagination : the man’s weakness , the women’s power, the refined aesthetic but morbid, the decadence mixed with an irremediable terror. The famous play of Oscar Wilde made her the subject of a philosophical reflection of the desire and the death. The end of the nineteenth century doesn’t mean the end of the evolution of this mythic figure. On the contrary, it becomes a new starting point. In the twentieth century, Salome’s story has been enriched not only at the structural level, but also by a formal diversification. Today, the writings about Salome form a system. The formation and transformation of this system requires an observation that pays particular attention to the continuity and rupture, to the inheritance and reversal. When the dancer is compared to the martyr, the Salome’s story has to face a series of contrast : man and woman, word and vision, asceticism and desire ... The uncertainty and the diversity of interpretation allow the story of Salome to resist the passage of time. A multitude of texts on the same myth creates a space where the intertextual study is possible.

Ce travail a pour objectif d’analyser la production narrative et poétique de l’écrivain tunisien Abdelwahab Meddeb, en comparaison avec les ouvrages du Moyen Age arabe et persan. L’auteur reprend en effet, par le biais de pratiques intertextuelles, les ouvrages des philosophes et des écrivains orientaux qui plus ont marqué le monde musulman, en arrivant à en faire une synthèse originale. Cette perspective multiculturelle ouvre la voie à une instance narrative polyphonique, où les textes se confondent et se mélangent. En un premier moment, l’étude porte sur les théories intertextuelles et leur application chez Meddeb ; dans la deuxième partie, l’analyse se concentre sur les correspondances internes à l’œuvre meddebienne, pour laisser la place, dans la dernière partie, aux aspects intertextuels que le texte francophone entretient avec les autres auteurs. / This dissertation focuses upon francophone Tunisian literature, with particular attention to Abdelwahab Meddeb’s novels and poems. The author constantly quotes Arabic and Persian medieval works which enrich his text. Meddeb’s works are based on this intertextuality and have for this reason a polyphonic style. The research seeks to show the relation between the authors and to analyse them. This work is structured in 3 sections: the first one maps out intertextual theories and applies them to Meddeb’s works; the second focuses on correspondences inside Meddeb’s works, and the third considers intertextual aspects with Arab and Persian medieval authors.

Some of Jiří Kylián’s later works reveal a distinct detectable baroque influence. They also manifest a baroque quality that resists precise explanation. This partly derives from extensive references to the baroque style and period. However, not all references are the same, and some are more easily recognisable than others. Costumes, music and props openly reference the Baroque, whereas less obvious allusions can be found in lighting design or in the way a performance ‘addresses’ the audience. This thesis thus sets out to offer a terminology to describe these phenomena and provide a framework for analysing Kylián’s reworking of baroque sources. The analysis first addresses what is understood by ‘baroque’, then moves to describe various referencing practices, before applying the newly found framework to three of Kylián’s works that take the Baroque as a source of inspiration. Central to my discussion of the Baroque and its contemporary reappearance is the work of cultural theorists and art critics Omar Calabrese and Mieke Bal. Particularly important to my argument is Bal’s emphasis on the tendency in baroque art to involve the viewer’s physical presence in the experience of art. My discussion of referencing is, on the other hand, centred on ideas developed by the literary theorists Gérard Genette, Andreas Böhn, Irina Rajewski and Werner Wolf. Genette’s intertextual model is expanded to include a more precise understanding of the nature of quotation as developed by Böhn. The plurimedial nature of dance, or the co-presence in dance of more than one medium, is addressed by introducing Rajewski’s and Wolf’s notion of Intermediality. As well as analysing how referencing functions in dance and how it participates in meaning-making, this thesis also highlights the evolution of Kylián’s referencing practice over time and explains the function of the Baroque in Kylián’s oeuvre.

The aim of the research is to derive a set of hermeneutical principles of the author of the book of Hebrews from the introductory formulae and, to a lesser degree, to contrast these with contemporary hermeneutical approaches. The research is important for three reasons. Firstly, the introductory formulae have largely been neglected as a source for consideration when analysing the hermeneutic of a writer, such that this study is, to some degree, ground-breaking in nature. Secondly, the introductory formulae provide the clearest presentation of the author’s hermeneutic in that here may be found the most explicit statements revealing the author’s hermeneutic rather than deriving these. Thirdly, in the book of Hebrews we have the best example of how a New Testament writer interpreted the Old Testament (most quotations and introductory formulae per size of book). The research was conducted along the following lines: A comprehensive and workable list of introductory formulae in Hebrews was derived. This list was compared and contrasted firstly within the book itself and secondly in comparison to that of the other New Testament writers. A set of principles was derived from the introductory formulae of Hebrews and compared to the hermeneutics of contemporary modern approaches. The results of the research are encapsulated in six principles which together summarise the author of Hebrews’ hermeneutic. The Old Testament is understood as, -- spoken not written, -- spoken by a Trinitarian God comprising Father, Son and Holy Spirit, -- dynamic, that is, spoken with equal authority and equal effect to a current generation, -- authoritative and complete, -- the words of God do not require the intervention of man but rather the removal of man permitting God to address His people personally, -- pertaining to the person and work of Christ. The conclusion of the research can be summarised in one sentence: “God (Father, Son and Holy Spirit) is speaking to you now and what He says concerns His Son.” When these principles are compared with contemporary modern hermeneutic, the following is observed; -- the ‘written-and-dated’ nature of God’s revelation instead of an understanding that God is speaking to us today. -- a focus on a single person of the Godhead and a resultant infatuation with some doctrines at the expense of others. -- an illegitimate concern to make God relevant. -- the reader no longer reads in order to understand but reads in order to define meaning and the meaning primarily pertains to himself -- the listener has become the speaker and the speaker is a primarily concerned about himself and how he is coming across not about God. -- the exposition of the Bible has degenerated from theology to anthropology. / Dissertation (MA (Biblical Studies))--University of Pretoria, 2007. / Biblical and Religious Studies / unrestricted

Submitted by Fabio Sobreira Campos da Costa (fabio.sobreira@ufpe.br) on 2017-07-14T14:09:43Z No. of bitstreams: 2 license_rdf: 811 bytes, checksum: e39d27027a6cc9cb039ad269a5db8e34 (MD5) Dissert_Camila-BC.pdf: 867861 bytes, checksum: b2442cf7493bf7021849fa013caba239 (MD5) / Made available in DSpace on 2017-07-14T14:09:43Z (GMT). No. of bitstreams: 2 license_rdf: 811 bytes, checksum: e39d27027a6cc9cb039ad269a5db8e34 (MD5) Dissert_Camila-BC.pdf: 867861 bytes, checksum: b2442cf7493bf7021849fa013caba239 (MD5) Previous issue date: 2016-09-18 / Esta pesquisa tem como objetivo geral investigar como os estudantes de mestrado da área de Letras usam a intertextualidade (no caso dessa pesquisa, as citações como uma manifestação explícita da intertextualidade) para construir sua identidade acadêmica através da produção de artigos científicos. Como objetivos específicos, a pesquisa se propôs a: verificar o modo como os mestrandos em Letras empregam as citações em seus textos, refletindo escolhas retóricas que os caracterizam como participantes da comunidade discursiva da qual fazem parte; investigar como eles constroem seus argumentos a partir do discurso de outros autores; analisar como os mestrandos usam as citações nas diferentes seções dos artigos sob a influência das funções retóricas dessas seções; verificar a compreensão que eles têm da importância do artigo científico na constituição de sua identidade acadêmica. Sendo assim, nosso estudo está ligado à concepção sócio-construtivista de identidade, com autores como Hoffnagel (2008; 2009; 2010), Woodward (2012), Silva (2012) e Moita-Lopes (2003; 2011), aos Novos Estudos de Letramento, com Street (1984; 2007) e Lea e Street (1998), às concepções de gênero na perspectiva social, com Bazerman (2005), à concepção de intertextualidade com Bazerman (2011). Escolhemos como primeiro corpora para análise 18 artigos científicos produzidos por mestrandos do Mestrado Profissional em Letras (PROFLETRAS) da Universidade de Pernambuco (UPE – Campus Garanhuns), turma 2013.2. Também aplicamos um questionário a esses estudantes, cujas respostas compuseram nosso segundo corpora. Nesse sentido, nosso foco foi analisar o modo como esses estudantes utilizaram as citações em seus artigos, observando as estratégias retóricas por eles utilizadas nessa prática. A análise das citações foi feita com base nas categorias proposta por Swales (1990), Cortes (2012) e Hoffnagel (2009). Justificamos a escolha pelo gênero artigo científico como nosso objeto de análise pelo motivo de que este se configura um gênero altamente marcado pelas vozes de diversos autores, bem como porque trata-se de um gênero importante na academia por movimentar com mais recorrência a atividade de pesquisa que, por sua vez, movimenta a própria universidade. Com a análise das citações, pudemos perceber as estratégias utilizadas pelos mestrandos em Letras que revelaram aspectos de sua identidade acadêmica. Os dados analisados revelaram a preferência desses estudantes por citações que privilegiam mais o autor citado como um nome de valor do que sua mensagem. Também, com a análise dos dados, verificamos a preferência pelo modo indireto de citar, embora as citações diretas tenham sido mais utilizadas como base para novos argumentos. Quanto às citações utilizadas em cada seção dos artigos, observamos que os estudantes, de modo geral, se mostraram coerentes ao empregar as citações de acordo com as funções retóricas dessas seções, mostrando também, através de suas respostas ao questionário, que compreendem o artigo científico como um gênero que propicia sua identidade como autor e pesquisador. / This research has the general objective to investigate how the students of masters in arts (languages, specifically) use intertextuality (in the case of this research, citations as an explicit manifestation of intertextuality) to build their academic identity by producing scientific articles. The specific objectives aimed to verify how the masters in arts employ the quotes in his writings, reflecting rhetorical choices that characterize them as participants in the discoursive community of which they are part of; investigate how they build their arguments from the discourse of other authors; analyze how the masters use the quotes in different sections of articles under the influence of rhetorical functions of these sections; and, finally, check understanding they have of the importance of the scientific article in the constitution of their academic identity. This way, our study is linked to the socio-constructivist conception of identity, inspired by authors such as Hoffnagel (2008; 2009; 2010), Woodward (2012), Silva (2012) and Moita-Lopes (2003, 2011); the New Literacy Studies, with Street (1984; 2007) and Lea & Street (1998); the gender conceptions in social perspective and the design of intertextuality with Bazerman (2005). We chose as the first corpora for analysis 18 scientific articles produced by masters of the Professional Master of Arts (PROFLETRAS), by the University of Pernambuco (UPE - Campus Garanhuns) class 2013.2. We also apply a questionnaire to those students, whose answers made up our second corpora. In this sense, our focus was to analyze how these students used the quotes in their articles, watching the rhetorical strategies used by them in this practice. The analysis of the citations was based on the categories proposed by Swales (1990), Cortes (2012) and Hoffnagel (2009). The reason why the scientific article gender is our object of analysis is because it is a place marked by the voices of several authors, and it is also an important genre in the college for moving the research activity. With the analysis of quotes, we could see the strategies used by masters in arts that revealed aspects of their academic identity. The data analyzed shows the preference of students for more quotes that privilege the author cited as a value name, more then the message they pass. Also, with the analysis, we found the preference for indirect way to quote, although direct quotations have been more used as a basis for further arguments. As for the quotes used in each section of articles, we observed that students, in general, proved consistent to use the quote according to the rhetorical functions of these sections, also showing, through their answers to the questionnaire, which comprise the scientific article as a genre that provides its identity as author and researcher.

Magister Artium - MA / This thesis seeks to understand the visual representation of female masculinity in Marvel and DC comic books, and further contribute to the fields of linguistics and gender studies. The subject matter discussed issues around gender identity, masculinity, and visual representation. Currently, there is a lack of literature available on the subject matter of female masculinity in comic books, therefore creating a gap in knowledge about how women are being represented in comic books. The goal of this thesis was to contribute to this knowledge, and in doing so, further adding more knowledge about the subject matter for future researchers in the field. The theoretical framework included a diverse approach of social theories and perspectives, namely: Multimodal Discourse Analysis, Intertextuality, Dialogicality, and Queer Theory. The goals of this thesis were to understand the various modes used in the representation of female masculinity that have evolved over time, and how these modes contribute to developing characters who challenge the traditional gender norms and rules. The data that was used for this thesis was collected from comic books in which female characters are in leading roles, namely Captain Marvel (Carol Danvers) and Wonder Woman. / 2022

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