According to William Faulkner's assessment, the mixing of the classes fails because very different ideologies have emerged and are in competition and conflict with one another. The discourses and therefore the ideologies of the characters in Sanctuary are seen to be in conflict with one another, with persons on opposing sides occupying positions that seem to be growing further and further apart, making communication more and more difficult. In examining the speech and interactions of these characters, the codes and knowledge of the different value systems may be analyzed. Sanctuary, then, is not a novel merely about good and evil; it is a novel about the breakdown of southern antebellum ideology and the new set of relations that began to emerge in the early twentieth century. Social class and ideology are central issues in Sanctuary, and Faulkner's novel demonstrates the ways in which class transgressions result in violence.

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A presente pesquisa objetiva, em essência, discutir questões referentes à expressividade em textos literários, como também observar a riqueza de suas múltiplas possibilidades de construção estética. Esse material é burilado pelos recursos fônicos, morfossintáticos e léxico-semânticos do sistema linguístico. Foram utilizados como corpus para o trabalho os contos de Ana Maria Machado e as poesias de José Paulo Paes, produções inseridas no Programa Literatura em Minha Casa e que sensibilizaram os leitores pelo jogo verbal primoroso, resultado das escolhas e das combinações dos autores. Foram tomados como referência para análise dos textos os recursos linguístico-expressivos neles observados, pretendendo demonstrar o potencial expressivo, com vistas a propor alternativa pedagógica, de caráter produtivo para o ensino, despertando a sensibilidade frente ao texto literário e contribuindo para promover o prazer de ler dos alunos do ensino fundamental. Para tanto, a autora buscou na estilística fundamentos teóricos e metodológicos que aprofundassem a temática em tela / This research aims, in essence, to discuss issues related not only to expressiveness in literary texts, but also to observe the richness of its aesthetic construction multiple possibilities. This material is shaped by phonic, morphosyntactic and lexical-semantic language system resources. As a corpus for this work, the tales of Ana Maria Machado and the poetry of José Paulo Paes were used, productions included in the Literature in My House Program which sensitized readers by exquisite verbal play, the result of choices and combinations of authors. Texts for analysis of the linguistic-expressive features observed in them were taken as reference, intending to demonstrate expressive potential, with a view to proposing a pedagogical alternative, the productive character for teaching, raising the susceptibility to literary text and helping to promote the pleasure of reading of elementary students. Therefore, we leaned on stylistic grounds to seek theoretical and methodological which could deepen the thematic display

A presente pesquisa objetiva, em essência, discutir questões referentes à expressividade em textos literários, como também observar a riqueza de suas múltiplas possibilidades de construção estética. Esse material é burilado pelos recursos fônicos, morfossintáticos e léxico-semânticos do sistema linguístico. Foram utilizados como corpus para o trabalho os contos de Ana Maria Machado e as poesias de José Paulo Paes, produções inseridas no Programa Literatura em Minha Casa e que sensibilizaram os leitores pelo jogo verbal primoroso, resultado das escolhas e das combinações dos autores. Foram tomados como referência para análise dos textos os recursos linguístico-expressivos neles observados, pretendendo demonstrar o potencial expressivo, com vistas a propor alternativa pedagógica, de caráter produtivo para o ensino, despertando a sensibilidade frente ao texto literário e contribuindo para promover o prazer de ler dos alunos do ensino fundamental. Para tanto, a autora buscou na estilística fundamentos teóricos e metodológicos que aprofundassem a temática em tela / This research aims, in essence, to discuss issues related not only to expressiveness in literary texts, but also to observe the richness of its aesthetic construction multiple possibilities. This material is shaped by phonic, morphosyntactic and lexical-semantic language system resources. As a corpus for this work, the tales of Ana Maria Machado and the poetry of José Paulo Paes were used, productions included in the Literature in My House Program which sensitized readers by exquisite verbal play, the result of choices and combinations of authors. Texts for analysis of the linguistic-expressive features observed in them were taken as reference, intending to demonstrate expressive potential, with a view to proposing a pedagogical alternative, the productive character for teaching, raising the susceptibility to literary text and helping to promote the pleasure of reading of elementary students. Therefore, we leaned on stylistic grounds to seek theoretical and methodological which could deepen the thematic display

Abstract The Iijoki series is an autobiography consisting of 26 novels in which the author Kalle Päätalo depicts his life from the childhood until becoming a writer. Päätalo has documented his own regional dialect, the language he had grown up with, described other dialects, dialectal perceptions, attitudes and language ideologies. The Iijoki series can be recognised as the language biography of the protagonist. The turning points are linked by a specific thematic plot that carries the narrative through difficulties, contradictions, insights and adaptations towards the culmination of the novel series, where the protagonist has sufficient linguistic resources as a writer. In the study of the language biography the different trends in sociolinguistics cross over: studies in language variation, folk linguistics, and multilingualism studies. The focus of research is metalanguage. Two levels of metalanguage can be brought forth in the text: metalanguage 1, which depicts language and its phenomena, such as language patterns, features and speech, and metalanguage 2, which includes language-related values and language attitudes. The research has utilized the concepts and perspectives of literary research. The interdisciplinary approach is mainly visible at the level of interpretation. The research consists of four articles. In the first article, I demonstrate that the variation of speech places great importance in describing the most essential relationship in the novel series. In the second article, I specify protagonist's perceptions and attitudes of dialects and look at their functions as a medium of various human emotions. In the third article, I present the turning points of the protagonist’s language biography and point out how different language ideologies create tension around the most significant theme of the novel series. The fourth article looks at the linguistic stancetaking of the protagonist of the Iijoki series in relation to the changes in social status. / Tiivistelmä Iijoki-sarja on 26-osainen omaelämäkerrallinen teossarja, jossa kirjailija Kalle Päätalo kertoo omat vaiheensa lapsuudesta kirjailijaksi ryhtymiseen saakka. Päätalo on tallentanut kirjoihinsa kotiseutunsa kieltä sekä kuvannut monia muita suomen murteita, murrekäsityksiä ja -asenteita sekä kieli-ideologisia asetelmia. Iijoki-sarjaa voi lukea päähenkilön kielielämäkertana. Kielielämäkerran käännekohtia yhdistää juonen kannalta keskeinen temaattinen säie. Ne kuljettavat tarinaa kieleen liittyvien vaikeuksien, ristiriitojen, oivallusten ja sopeutumisten kautta kohti romaanisarjan huipennusta, jossa päähenkilöllä on kirjailijan työtä ajatellen riittävät kielelliset resurssit käytettävissään. Kielielämäkerran tutkimuksessa risteävät sosiolingvistiikan eri suuntaukset: variaationtutkimus, kansanlingvistinen tutkimus sekä monikielisyyden tutkimus. Tutkimuksen keskiössä on metakieli. Tekstistä on nostettavissa esiin kahden eri tason metakieltä: metakieli 1:tä, joka kuvaa kieltä ja sen ilmiöitä, kuten kielimuotoja, kielenpiirteitä ja puhetapaa, sekä metakieli 2:ta, joka sisältää kieleen liittyvän arvomaailman ja kielenkäyttöä ohjailevat asenteet. Tutkimuksessa on hyödynnetty kirjallisuudentutkimuksen käsitteitä ja näkökulmia. Poikkitieteellinen lähestymistapa näkyy erityisesti tulkintojen tasolla. Tutkimus koostuu neljästä artikkelista. Artikkelissa I osoitan, että puhekielen variaatiolla on merkittävä rooli romaanisarjan keskeisimmän ihmissuhteen kuvauksessa. Toisessa artikkelissa erittelen päähenkilön murrehavaintoja ja -asenteita sekä tarkastelen niiden funktioita erilaisten tunnetilojen välittäjänä. Artikkelissa III esittelen päähenkilön kielielämäkerralliset käännekohdat ja osoitan, kuinka erilaiset kieli-ideologiat luovat jännitteen Iijoki-sarjan merkittävimmän teeman ympärille. Neljännessä artikkelissa tarkastelen Iijoki-sarjan päähenkilön kielellistä asemoitumista suhteessa sosiaalisen aseman muutokseen.

The aim of this dissertation is to describe the sphere of use of the Russian Instrumental case in written sources from the eighteenth century. The research is based on approximately 11,300 instances of the use of the Instrumental and almost 2,400 constructions with other cases, excerpted from documents of various genres and styles. The corpus includes texts written by forty eighteenth-century authors, and contains works of poetry and drama, literary prose, letters, memoirs and learned tracts. Previous studies of the Instrumental case have in the main dealt with the development of the system of its meanings in the Old Russian period, or else have described its condition in modern times. The present work attempts to systematise its most typical uses and to trace the changes in the function of the Instrumental that took place during the period when a national literary language was coming into being in Russia. The research is primarily focused on the competition between the Instrumental case and other means of expression of particular meanings. In particular it describes (with statistical data) the variation in case forms within the predicate, with the function of an object, and also of the agent in passive constructions. A detailed description is given of those meanings of the Instrumental which are known from the earliest period and still in active use in the eighteenth century, but nowadays perceived as archaic. The most important of these are the Instrumental of cause, and also various uses of the Instrumental without a preposition to indicate time or place.

A tese estuda a obra poética de Adélia Prado sob o ponto de vista da Estilística. Mostra que a metáfora é o recurso mais afeito a construir a língua literária e, no caso da poetisa, modelá-la em português. O estudo atesta que a linguagem conotativa da poetisa alcança os três níveis da língua e promove o inesperado e o distante da expressão comum. Afirma a importância da polifonia e da intertextualidade , além da excelência do discurso indireto livre na criação literária, não só da poetisa, mas de todo uso da língua portuguesa como ferramenta de expressão poética, principalmente se a intenção do autor é criar o discurso surrealista. A pesquisa mostra que há, na obra, um grande número de poemas em que predomina a linguagem religiosa católica. Ocorre a expressão da alma feminina , marcada com orgulho pela poetisa. A autora cria prosodemas, inaugura neologismos ,aproveitando todos os processos de criação vocabular. Assim, a obra se notabiliza pelo aproveitamento da sonoridade das palavras, pela escolha lexical inédita, por uma estrutura frasal apositiva, evocativa, sucinta e nominal, não escravizada às regras do registro culto como padrão literário. A tese reconhece que a autora lida eficientemente com as classes de palavras, com a construção nominal e com uma estruturação sintática peculiar, em que sobressai a oração adjetiva com função de sujeito, apesar de conter verbo: a oração adjetiva subjetivada. A essência da pesquisa são os conjuntos metafóricos, verdadeiros modelos universais, que permitem reconhecer a possível existência de uma língua literária em português. No mesmo contexto, focaliza um grupo de poemas chamados de telegráficos, curtos e de teor filosófico. Tal qualidade metafórica mostra a importância da poetisa Adélia Prado para a articulação da língua literária em língua portuguesa / The thesis studies the poetry of Adelia Prado in the view of the stylistics. It shows that the use of metaphor is more used to construct the literary language and in the case of the poet, model it in Portuguese. The study shows that the connotative language of the poet reaches the three levels of language and promotes the unexpected and far from the common expression. Emphasizes the importance of polyphony and intertextuality, and the excellence of free indirect discourse in literary creation not only of the poet, but all use the English language as a tool of poetic expression, especially if the author's intention is to create the surreal speech. Research shows that there is in the works, a large number of poems in the language that dominates religious Catholic. Is the expression of the feminine soul, marked with pride by poet. The author creates prosodemas inaugurates new words, taking advantage of all the processes of creation vocabulary. Thus, the work is distinguished by the use of the sound of words, the lexical choice unprecedented, for a test patch phrasing, evocative, succinct and nominal, not enslaved to the rules of registration as a cult literary standard. The thesis acknowledges that the author deals effectively with classes of words, with the building face and a syntactic structure peculiar in that it highlights the relative clause which functions as subject, although it contains verb: the relative clause subjectivized. The essence of the research is the sets metaphorically true "universal models" for recognizing the possible existence of a literary language in Portuguese. In the same context, focuses on a group of poems called "telegraph", short and philosophical content. This metaphorical quality shows the importance of the poet Adelia Prado for the articulation of the literary language in Portuguese

A tese estuda a obra poética de Adélia Prado sob o ponto de vista da Estilística. Mostra que a metáfora é o recurso mais afeito a construir a língua literária e, no caso da poetisa, modelá-la em português. O estudo atesta que a linguagem conotativa da poetisa alcança os três níveis da língua e promove o inesperado e o distante da expressão comum. Afirma a importância da polifonia e da intertextualidade , além da excelência do discurso indireto livre na criação literária, não só da poetisa, mas de todo uso da língua portuguesa como ferramenta de expressão poética, principalmente se a intenção do autor é criar o discurso surrealista. A pesquisa mostra que há, na obra, um grande número de poemas em que predomina a linguagem religiosa católica. Ocorre a expressão da alma feminina , marcada com orgulho pela poetisa. A autora cria prosodemas, inaugura neologismos ,aproveitando todos os processos de criação vocabular. Assim, a obra se notabiliza pelo aproveitamento da sonoridade das palavras, pela escolha lexical inédita, por uma estrutura frasal apositiva, evocativa, sucinta e nominal, não escravizada às regras do registro culto como padrão literário. A tese reconhece que a autora lida eficientemente com as classes de palavras, com a construção nominal e com uma estruturação sintática peculiar, em que sobressai a oração adjetiva com função de sujeito, apesar de conter verbo: a oração adjetiva subjetivada. A essência da pesquisa são os conjuntos metafóricos, verdadeiros modelos universais, que permitem reconhecer a possível existência de uma língua literária em português. No mesmo contexto, focaliza um grupo de poemas chamados de telegráficos, curtos e de teor filosófico. Tal qualidade metafórica mostra a importância da poetisa Adélia Prado para a articulação da língua literária em língua portuguesa / The thesis studies the poetry of Adelia Prado in the view of the stylistics. It shows that the use of metaphor is more used to construct the literary language and in the case of the poet, model it in Portuguese. The study shows that the connotative language of the poet reaches the three levels of language and promotes the unexpected and far from the common expression. Emphasizes the importance of polyphony and intertextuality, and the excellence of free indirect discourse in literary creation not only of the poet, but all use the English language as a tool of poetic expression, especially if the author's intention is to create the surreal speech. Research shows that there is in the works, a large number of poems in the language that dominates religious Catholic. Is the expression of the feminine soul, marked with pride by poet. The author creates prosodemas inaugurates new words, taking advantage of all the processes of creation vocabulary. Thus, the work is distinguished by the use of the sound of words, the lexical choice unprecedented, for a test patch phrasing, evocative, succinct and nominal, not enslaved to the rules of registration as a cult literary standard. The thesis acknowledges that the author deals effectively with classes of words, with the building face and a syntactic structure peculiar in that it highlights the relative clause which functions as subject, although it contains verb: the relative clause subjectivized. The essence of the research is the sets metaphorically true "universal models" for recognizing the possible existence of a literary language in Portuguese. In the same context, focuses on a group of poems called "telegraph", short and philosophical content. This metaphorical quality shows the importance of the poet Adelia Prado for the articulation of the literary language in Portuguese

This thesis deals with the application of French elements in the development of a Russian written language during the Enlightenment. During the reign of Peter I (1672–1725), Russia was modernised and secularised. Its society, economy and culture underwent such significant changes that this period is sometimes referred to as the Petrine Revolution. A new capital city – Saint Petersburg – was established, partly to facilitate contacts with Western Europe. Back then, Russia’s linguistic situation could be described as diglossia, meaning that two languages coexisted that were not mutually equivalent – Russian was vernacular, its written usage being restricted to practical purposes including secular documentation, whereas Church Slavonic was used as the written language in liturgical and ceremonial contexts. To reflect the evolution of society it was necessary to codify (standardize) and develop a Russian written language that would be usable in all contexts. An additional goal was to create a national literature. Since Church Slavonic was not fit for worldly purposes, it could not serve as a model. Therefore, ideas had to be borrowed from abroad. Peter I initiated a long process that spanned over decades and continued during the reigns of Elisabeth I and Catherine II. This paper examines contemporary sources, combining distant and deep reading from a contextual perspective. The aim was to determine the reasons why France was seen as a model, and the theoretical and practical implications of such a choice. France was chosen not only because its language was Europe’s lingua franca at the time and for its crucial role in the dissemination of the Enlightenment philosophy, but also because the country had a solid literary tradition and institutions that could provide guidance on language standardization. However, the implementation of foreign, and therefore partly irrelevant rules, proved to be tricky. The study focuses on specific elements such as the paradoxes and contradictions of the situation, which gave rise to cultural conflicts regarding innovations from France; some authors embraced them, while others rejected them.

Made available in DSpace on 2016-08-10T11:06:49Z (GMT). No. of bitstreams: 1 Domicio Moreira Ribeiro.pdf: 803668 bytes, checksum: e0bac1b7a1ca9fadb490d2e6320ed121 (MD5) Previous issue date: 2012-03-23 / This dissertation is a bibliographical research on translation, novel language and film language. Its aim is to compare, first, among themselves, three Portuguese language translations of the novel Pride and Prejudice, by Jane Austen. Then do the comparison of them with the source text in English. After that, make the confrontation of the namesake film language, adapted in 2005 and directed by Joe Wright, with the source language of the literary work. Translations were made by Lúcio Cardoso, Enrico Corvisieri e Roberto Leal Ferreira. In this research, we presented, first, a comprehensive theoretical framework of multiple methods and technical procedures of translation through a timeline that begins in the fourth century AD, with Jerome, and ends in 1990 with Jacques Derrida. Then we did a collation of the translations with the original work and a comparison of the film language with the source language of the novel. With respect to the above-mentioned translators, Roberto Leal Ferreira made the more literal and semantic translation, because it preserves the content and form of the source text. Regarding the film language, it is equivalent to the language of the novel in terms of language levels, though it is more concise because of the length of the movie, sticking to the crucial aspects of the fictional story. Conclusion shows that there is no mutual understanding regarding the definition of translation, nor exist procedures that address and solve all possible problems that may arise from various situations of translation. The methods and procedures address the same dichotomies: content and form, word translation and translation of meaning, fidelity to the author or to the reader, and nationalization or foreignization. We found that the novel Pride and Prejudice is a valuable laboratory to practice the technical procedures of translation, considering that various procedures, such as additions, deletions, omissions, clarifications, borrowings, literal translations, transpositions, modulations, equivalences and adaptations have been found in the evaluated translations. The relationship between translation, language of the novel and film language, often conflicting, is pacific in the collation between Pride and Prejudice, the movie and Orgulho e Preconceito, considering that the abovementioned translators and the film scriptwriter were able to bring into the target language and into the movie language the meanings of the source text without apparent losses. / Este trabalho consiste, fundamentalmente, numa pesquisa bibliográfica que discorre sobre tradução, linguagem romanesca e linguagem cinematográfica. Seu objetivo é, primeiramente, comparar entre si três traduções em Língua Portuguesa do romance Orgulho e Preconceito, de Jane Austen, e posteriormente cotejá-las com o textofonte em Língua Inglesa. Em seguida, pretende-se contrastar a linguagem do filme homônimo, adaptado em 2005 e dirigido por Joe Wright, com a linguagem original da obra literária. Para tanto, será apresentada, inicialmente, uma fundamentação teórica que trata dos vários métodos, bem como dos procedimentos técnicos da tradução, numa linha do tempo que começa no século IV d.C., com São Jerônimo, e se estende até os anos 1990, com Jacques Derrida. Logo após, realizar-se-á a comparação das traduções com a obra original e o confronto da linguagem fílmica com a linguagem-fonte do romance. Com relação às três traduções avaliadas, pretende-se verificar como os significados da obra original são transportados para a língua da tradução, sempre cuidando, cada uma a seu modo, para evitar as perdas. Nesse sentido, com relação aos trabalhos tradutórios de Lúcio Cardoso, Enrico Corvisieri e Roberto Leal Ferreira, urge atentar para este último, que realiza uma tradução mais literal e semântica, concernente ao conteúdo e à forma do texto-fonte. Acerca da linguagem fílmica, é preciso buscar a sua equivalência com a linguagem do romance em termos de registro, apesar de sua forma concisa, em função da duração do filme, atendo-se aos aspectos cruciais da obra. Observados tais aspectos, adianta-se que não haverá uma conclusão definitiva sobre o tema em debate, considerando não haver qualquer consenso a respeito das várias nuances que cercam o termo tradução, tampouco existem procedimentos que contemplem, elucidem e sanem os complexos problemas do ato tradutório. Desse modo, este trabalho corrobora a assertiva de que os métodos e procedimentos tradutórios, por mais ousados que sejam, não se afastam das dicotomias: conteúdo e forma, tradução da palavra e tradução do sentido, fidelidade ao autor ou ao leitor e nacionalização ou estrangeirização. Ele também se solidariza com a premissa de que a obra Pride and Prejudice é um valioso laboratório para a prática da tradução, tendo em vista que vários procedimentos técnicos, como acréscimos, apagamentos, omissões, explicitações, empréstimos, transposições, modulações, equivalências e adaptações podem ser encontrados nas traduções avaliadas. E, finalmente, que a relação entre tradução, linguagem romanesca e linguagem cinematográfica, geralmente conflituosa, se mostra harmônica no paralelo entre Pride and Prejudice, o filme e Orgulho e Preconceito, pois os tradutores mencionados e a roteirista conseguiram trasladar para a língua-meta e para a linguagem do filme, sem perdas aparentes, os sentidos da obra original.