This study corroborates theories that ordinary representation of narrative time as a linear series of "nows" hides the true constitution of time and that it is advantageous for us as readers and critics to consider alternatives to progressive reality and linear discourse in order to comprehend many of Ambrose Bierce's stories, for his discourse is fluid and metonymic and defies explication within traditional western language concepts. The Hebraic theory of intertextuality encourages limitless considerations in textual analysis since language is perceived as a creative and dynamic force, not merely mimetic. As such it offers a means for reconsideration of fundamental theories concerning the natures of language and time in Bierce's stories.

This thesis explores the relationship between Buzzati’s fiction and Anglophone culture, particularly the re-use of narrative and visual sources in his works. The analysis of the intertextual stratification in Buzzati brings to the fore the author’s urge to convey the significance of imagination through the fantastic mode. It also reveals an optimistic and playful side of Buzzati, which lies behind a pervading pessimistic tone. Buzzati’s re-working of images from other authors and of generic topoi is aimed at decrying the loss of imagination occurring in the transition to adulthood as well as a general disregard of fantasy characterizing modern technologized societies. Nonetheless, intertextual practices are a means to recover and originally re-present the fantastic imagery conveyed by the artists from whom Buzzati drew inspiration. Buzzati was especially keen on Anglophone literature and art; hence, the focus of this thesis, which is divided into four chapters. Chapter One deals with Buzzati’s re-use in his fiction of drawings by the English illustrator Arthur Rackham; this is a process in which visual memory and intermedia translation are paramount. Chapter Two investigates the link between Joseph Conrad’s heroes and the characterization of Buzzati’s (anti-)heroic figures; they are trapped in the mechanisms of lack of courage and time but eventually find their own ways to self-redemption. Chapter Three considers Buzzati’s reversal and borrowing of topoi belonging to the sea monster story and the ghost story; these practices are aimed at emphasizing the importance of fantasy. Chapter Four places Buzzati’s Christmas fiction between the Italian and the Dickensian tradition, showing how Buzzati re-works the genre’s stereotypes to recreate the Christmas spirit. Whether Buzzati engages in an intertextual dialogue with individual authors or literary traditions, examining the connections he established with Anglophone culture allows a reassessment of his work. Indeed, the Buzzatian fantastic reveals itself as poised between gloominess and faith in the redeeming power of imagination; the fantastic alternatives Buzzati offers against the dullness of reality also evince his enjoyment of the artistic creation per se.

This thesis takes up the question of intertextuality between the Bible and Samuel Beckett’s oeuvre. It starts with the contention that this relationship has acquired something of the status of a commonplace within Beckett studies; not that substantial scholarly works have not widened out considerably the way that this is understood, but in Ruby Cohn’s words: ‘today every Beckett student knows his literary allegiances—the Bible and Dante, above all’. The Bible’s status for Beckett comes to be treated as a matter of common sense. In response to this critical situation, one aspect of the thesis is to disclose and analyse previously overlooked examples of the Bible’s presence in Beckett’s work, engaging with hitherto occluded parts of the oeuvre (unpublished manuscript texts and the French works, for example). But at the same time, it looks to critically question what is at stake in the claim that the Bible is a matter of common knowledge for Beckett. The methodology put to work in the thesis always begins in close readings of Beckett’s texts, and also of the discourses surrounding his oeuvre. In doing so, it resists an idea that close reading entails a retreat into an ahistorical formalism; rather, it argues for an historicism that does not simply rest on broad notions of orthodoxy and shared values. Rather than taking for granted a common sense idea of what the Bible is (even in the limited sense of what it is for Beckett), the thesis argues for its instability as a ‘text’ across more than one language. Nor, I argue, does Beckett’s oeuvre fix down a particular, single notion of the Bible as the relevant one for its own purposes (the King James Bible, for instance); on the contrary, his work is deeply engaged with the Bible in all its complex, multilingual textuality. The thesis contends that the particular relationship between Beckett and the Bible poses distinctive problems for the kinds of epistemological value invested in a certain understanding of intertextuality; indeed, I look throughout to interrogate the authority invested in familiarity—both that of the author and that of the critic. Following this thread, the thesis also undertakes a sustained engagement with the way in which archival materials are used and valued by a critical practice interested in questions of intertextuality. Through this, I look to do two things at once: both to respond to the extraordinary value of archival documentation for opening up new possibilities within Beckett studies, and at the same time to analyse closely the extents and limitations of what can be claimed on the basis of such analyses. In working through these kinds of question, and responding to the particular exigencies produced by the Bible in relation to the Beckett oeuvre, I also engage with critical issues having to do with theories of affect, the notion of style (asking what it means to adduce some piece of text as ‘biblical’ or ‘Beckettian’), and the analysis of intertextuality in performance. Through all of these readings, the thesis is interested in what it means to read intertextuality in relation to a Beckett ‘oeuvre’, when the ambit of that oeuvre, its internal interrelationships and its points of connection with the world, constantly shift and reformulate themselves. Rather than treating the Bible as a thread that can be safely followed from one end of the oeuvre to the other, guaranteeing a continuity that remains free from the complexities, irruptions and discontinuities performed in Beckett’s texts, the thesis argues that biblical intertextuality is actively involved in those complex Beckettian movements.

<p>In John's Gospel, Jesus does not cite the Shema as the greatest commandment in the Law as he does in the Synoptic Gospels ("Hear O Israel, the Lord our God, the Lord is one. And you shall love the Lord your God with all your heart, and with all your soul, and with all your might" [Deut 6:4-5]; only Deut 6:5 appears in Matthew and Luke). This dissertation, however, argues that, rather than quoting the Shema, John incorporates it into his Christological portrait of Jesus' unity with the Father and of the disciples' unity with the Father, the Son, and one another. </p><p>This study employs historical-critical methodology and literary analysis to provide an exegetical interpretation of the key passages relevant to the Shema in John (John 5:1-47; 8:31-59; 10:1-42; 13:34; 14, 15, 17). After examining the Shema in its Deuteronomic context and throughout the Hebrew Bible and Second Temple Jewish literature, the study considers how John's understanding of the divine unity has been shaped by some of these writings. Just as some of the OT prophets and authors such as Philo and Josephus interpret the Shema within their historical settings, John, in turn, interprets the divine unity within the socio-historical realities of his community. </p><p>According to John, Jesus does not violate the unity of God as it is proclaimed in the Shema. Rather, Jesus resides within that unity (10:30); he is therefore uniquely able to speak the words of God and perform the works of God. John depicts the unity of the Father, Jesus, and the disciples as the fulfillment of OT prophecies of restoration. Zechariah, Jeremiah, and Ezekiel envision Israel as one people regathered in the Land, worshiping the one God of Israel (11:52; 17:11, 21-23). John filters this eschatological understanding of the Shema through a Christological lens: disciples of Jesus are the one flock gathered to the one Shepherd and testifying to Jesus' unity with the Father (10:16). The Farewell Discourse material confirms this thesis; Jesus models obedience to the Shema and also commands that he receive the love normally reserved for YHWH (14:15, 21, 23, 24). He issues his own commandment of love (13:34; 15:12), which has far-ranging implications for John's view of the Mosaic Law.</p><p>This reading of the Shema coheres with the Martyn-Brown hypothesis that some Jewish leaders during the late first century excluded believers in Jesus from the synagogue. The author of the Fourth Gospel reverses the situation, composing a narrative of empowerment for his embattled community. His rendering of the Shema provides legitimation for the Christological claims of the Johannine community, while at the same time excluding unbelieving Jews from God's eschatological people. John's high Christology, intertwined with his expulsion of unbelieving Jews from Israel's covenantal life and eschatological hopes, constitutes a form of theological anti-Judaism which defies mitigation. The Johannine crucifixion and Prologue bear this out: "the Jews" reject Jesus' unity with the Father and thereby cut themselves off from the people of God (19:15; 1:11). </p><p>John's language has all-too-often been used in a pernicious manner against Jewish people in the post-biblical era. One of the aims of this study is to properly situate John's reinterpretation of the Shema in its social and historical setting and thereby to apprehend fully its anti-Jewish potential. In so doing, it sheds fresh light on the parting of the ways between Judaism and Christianity and creates new opportunities for dialogue and reconciliation.</p> / Dissertation

Cette étude est consacrée aux procédés narratifs du récit de voyage de Nerval, du point de vue de l’intertextualité et de l’autobiographie. Dans la première partie, nous abordons le récit de voyage en général, en centrant l’attention sur le voyage littéraire subjectif et autobiographique : son statut spécifique en tant que genre littéraire, son évolution chronologique, ses formes, son intertextualité et son caractère autobiographique. Dans la deuxième partie, nous étudions la spécificité du récit de voyage de Nerval sur le plan narratif, sur celui de l’intertextualité et sur celui de l’écriture autobiographique, selon les différents types des voyages nervaliens : voyage réaliste (Voyage en Orient, Lorely), voyage excentrique (Les Faux Saulniers), voyage parodique (Les Nuits d’octobre), voyage autobiographique (Promenades et Souvenirs) et voyage intérieur (Aurélia). Enfin, dans la troisième partie, nous analysons la poétique du voyage littéraire de Nerval dans la perspective de la modernité de son écriture, en considérant le mélange des formes, les pratiques intertextuelles (référence, réécriture et recomposition), l’originalité du voyageur fantaisiste, le récit poétique et dialogique et l’écriture réaliste. / This study focuses on the narrative processes of travel story of Nerval, in terms of intertextuality and autobiography. In the first part, we discuss of the travel story in general, with a focus on the subjective and autobiographical literary travel : its special status as literary genre, its chronological develpment, its forms, its intertextuality and its autobiographical nature. In the second part, we study specificity of the travel story of Nerval on the narrative level, that of intertextuality and that of autobiographical writing, according to diffrents types of Nerval’s travels : realistic travel (Voyage en Orient, Lorely), eccentric travel (Les Faux Saulniers), parodic travel (Les Nuits d’octobre), autobiographical travel (Promenades et Souvenirs) and interior travel (Aurélia). Finally, in the third part, we analyse the poetics of travel writing of Nerval in the context of the modernity of his writing, considering the mixture of forms, the intertextual practices (reference, rewriting and reorganzation), the originality of fanciful traveler, the poetic and dialogic stroy and realistic writing.

Nesse estudo, pretenderemos inquirir sobre a construção discursiva literária da peça D. Afonso VI, do escritor português oitocentista, D. João da Câmara. A peça pretende um diálogo intertextual com a historiografia em torno do monarca português seiscentista, herdeiro dEl-Rei Restaurador D. João IV. A ficção joanina colherá na historiografia o paradigma com que dialogará, mas, ao se lançar ao trabalho artístico da palavra literária (metáfora), dessacralizará as verdades historiográficas e proporá uma visão excêntrica do passado. Não obstante, o percurso de dessacralização do passado será permeado pela cosmovisão artística dramática de D. João da Câmara que produzirá, como veremos ao final desse estudo, uma peça híbrida, que oscila entre o drama e o melodrama burgueses. D. João da Câmara, falecido há 103 anos, por sua festejada obra dramática como Os Velhos, A triste Viuvinha, O Beijo do Infante e o revolucionário O Pântano, dentre outras, merece ter seu teatro de modelo historiográfico lembrado pela crítica literária. Tentaremos cumprir, aqui, o débito com a obra do dramaturgo. / In this study, well investigate the discursive construction of the literary work D. Afonso VI, of the eighteenth-century Portuguese writer, D. João da Câmara. The text intends an intertextual dialogue with the historiography around the sixteenth-century Portuguese monarch, heir of the King Restorative D. João IV. The fiction johannine reap in the historiography the paradigm that establish a dialog, but when launching the artwork of the literary word (metaphor), desecrating the historiographical truths and propose an eccentric vision of the past. Nevertheless, the route of desecration of the past will be permeate by the dramatic artistic worldview D. João da Câmara that will produce, as we shall see the end of this study, a hybrid piece, which oscillates between drama and melodrama bourgeois. D. João da Câmara, who died 103 years ago, celebrated for his dramatic work as Os Velhos, A Triste Viuvinha, O Beijo do Infante and the revolutionary O Pântano, among others, deserve to have your theater historiographical model remembered by literary criticism. We will try to accomplish, here, the debt to the work of the playwright.

Tem-se como objetivo nesta tese defender a existência em algumas obras de José Saramago de uma unidade discursiva intertextualizada com a imagem do labirinto. Para defender a ideia da existência do que será nomeado como discurso do labirinto em sua obra serão analisados textos de três momentos distintos da produção literária de José Saramago. Partir-se-á de duas crônicas E agora, José? e O jardim de Boboli publicadas nos jornais A capital e Jornal do Fundão, entre os anos de 1969 e 1972, que foram recolhidas na obra A bagagem do viajante (1996) a fim de verificar de que modo Saramago enquanto leitor interpretava labirinticamente textos verbais e não-verbais da tradição artística. Posteriormente, estudar-se-á como o percurso labiríntico da personagem, intertextualizado com textos literários e outras obras de arte, é construído no romance O ano da morte de Ricardo Reis (1988). No terceiro e último momento será analisado um diálogo entre as personagens do romance Ensaio sobre a cegueira (1995), em que se poderá observar a orientação dialógica da palavra do outro, conforme conceituado por Bakhtin (2015), e verificar o uso da intertextualidade, de acordo com Kristeva (1974), no diálogo das personagens entre si e com obras de arte que perpassariam por variados momentos da História, do século XV ao XX, propondo um percurso labiríntico e reflexivo ao leitor do romance acerca da realidade e da vida do homem no mundo contemporâneo. / The objective of this thesis is to defend the existence of a discursive unit in the intertextual relation some of José Saramagos works establish with the labyrinth image. In order to support what is to be called the labyrinth discourse in his works, three literary pieces published by José Saramago in different moments will be analysed. The first texts will be the chronicles E agora, José? and O jardim de Boboli published in the newspapers A capital and Jornal do Fundão, between 1969 and 1972 and collected in the book A bagagem do viajante (1996). The aim in these texts is to see how Saramago as a reader used to interpret traditional verbal and non-verbal texts in a labyrinthic way. After that, it is going to be studied how the characters labyrinth discourse is built in the book O ano da morte de Ricardo Reis (1988), showing intertextual relations with other texts and other pieces of art. Finally, in the third chapter, a dialogue among the characters in the book Ensaio sobre a cegueira (1995) will also be analysed so as to observe the dialogical guidance in the Others words, as developed by Bakhtin (2015), and to verify the use of intertextuality according to Kristeva (1974) in the dialogues characters have with themselves and with pieces of art which would occur in different times in History, from the fifteenth to the twentieth century, suggesting to the reader a labyrinthic and reflexive way about reality and human life in a contemporary world.

Este trabalho pretende comparar e analisar a intertextualidade e a paródia que se realizam nas obras Em Liberdade e Espingardas e Música Clássica, de Silviano Santiago, brasileiro, e de Alexandre Pinheiro Torres, português. Pretende, ainda, mostrar os aspectos históricos, políticos e culturais ocorridos em Portugal e no Brasil, e que estão presentes em ambos os discursos literários. / This work inteds to compare and analyze the intertextual and the parodic process in Em Liberdade and in Espingardas e Música Clássica, whose authors are Silviano Santiago and Alexandre Pinheiro Torres, Brazilian and Portuguese writers, respectively. It also attempts to make a discussion around the historical, political and cultural aspects revealed in both texts, in order to show the relation between the literature and History, about the events occured in the countries of these authors and in wich they process their discourses.

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.

Thesis advisor: Pheme Perkins / The recognition of Rome in the ciphered images of Revelation 13 and 17–18 is a hallmark of historical criticism on the Revelation to John (John’s Apocalypse). This dissertation examines Revelation’s use of scripture to characterize the Roman Empire like the nations God has already defeated. The prophet-seer John spurred his audience, the churches of Asia Minor, to abandon pagan practices of eating meat sacrificed to idols and participation in emperor worship, practices seemingly tolerated by John’s opponents, Jezebel and the Nicolaitans. Unlike the majority of contemporary Jewish and Christian apocalypses, Revelation uses neither ex eventu prophecy nor pseudepigraphic narration to authorize its message to “come out” of Rome. Instead, Revelation alludes to scripture hundreds, if not a thousand, times. When describing Rome in Revelation 13 and 17–18, John alludes some six dozen times to the defeated Seleucid king Antiochus IV Epiphanes, the nations of Babylon, Tyre, Nineveh, and Edom, and the justly punished Judah and Samaria. God showed his servants the prophets the downfall of these powers, and they all fell. Likewise, he has shown John the vision of Rome’s desolation and the things which will happen to it soon. / Thesis (PhD) — Boston College, 2017. / Submitted to: Boston College. Graduate School of Arts and Sciences. / Discipline: Theology.