Thesis (M.A. in Theological Studies)--Associated Mennonite Biblical Seminary, 2004. / Thesis supervisor: Loren L. Johns. Includes bibliographical references (leaves 109-118).

Thesis (M.A.)--University of Iowa, 1999. / Supervisor: Steve Thunder-McGuire. Title-page, preliminaries, Certificate of approval, and Thesis summary issued in paper (iii, 15 leaves, bound ; 28 cm.). Title-page, preliminaries, Certificate of approval, and Thesis summary also issued on CD-ROM (3 files, 62.7 kilobytes).

No description available.

Diss.--Universität Zürich, 1990. / Bibliogr. p. 281-343.

Th.--Sociol.--Bordeaux 3, 1986.

Th. 3e cycle--Litt. fr.--Paris 3, 1988.

Texte remanié de: Diss. Ph. D.--Stanford University. / Bibliogr. p. 266-281. Index.

Thesis (Th. M.)--Dallas Theological Seminary, 1992. / Includes bibliographical references (leaves 73-78).

Este trabalho tece uma comparação entre as obras de João Guimarães Rosa e Mia Couto, contemplando as semelhanças e diferenças entre seus projetos estéticos, tendo como fio condutor a tradição oral. Segundo Walter Benjamin, todos os grandes escritores hauriram da tradição oral e, Ángel Rama parece corroborar com isso, quando diz que os escritores da modernidade recorrem a essa vertente para tecerem as suas narrativas. Rosa e Mia se voltam para o passado e seus olhares se cruzam ao recriarem as lendas, mitos, ritos, provérbios e chistes na elaboração de seus textos. É certo que, a tradição oral em suas narrativas não representa os costumes de seus povos na íntegra, uma vez que, na obra de Guimarães Rosa é retratada como algo evanescente e, mesmo na de Mia Couto, que faz parte do cotidiano, ela já aparece fragmentada. Porém, a preocupação maior é com o processo de recriação, pois este acaba nos remetendo à história de seus países, uma vez que as perspectivas dos autores parecem convergir no mesmo ponto: a \"modernização\" implantada de maneira brusca naquelas sociedades, relegando a uma \"terceira margem\", grande parte de suas populações. Brasil e Moçambique são países que têm em comum a língua portuguesa, herdada do colonizador que foi o mesmo. No entanto, são portadores de culturas distintas, pois, apesar da semelhança entre os elementos que as compõem, os valores são diferentes. As narrativas de João Guimarães Rosa e de Mia Couto não representam a História, mas contam história. Dessa forma, narração, memória e História se entrecruzam de tal maneira, que as fronteiras entre ficção e realidade se tornam muito tênues. / This work makes a comparison among the workmanships of João Guimarães Rosa and Mia Couto, contemplating the similarities and differences between its aesthetic projects, having as conducting wire the verbal tradition. According to Walter Benjamin, all the great writers exhausted the verbal tradition and, Ángel Rama seems to corroborate with this, when he says that the writers of modernity appeal to this source to make their narratives. Rosa and Mia come back toward the past and their look cross when they recreate legends, myths, rites, beliefs, sayings and jests in the elaboration of their texts. It is certain that, the verbal tradition in his narratives does not represent the customs of the people as a whole, therefore, in the Guimarães Rosa\'s workmanship it is portrayed as something that is vanishing and, even in Mia Couto\'s, that is part of the daily one, it is already fragmented. However, the biggest concerning is with the recreation process, this sends us to the history of the countries, once these authors\' perspectives seem to converge in the same point: the \"modernization\" implanted in an abrupt way in those societies, relegating to one \"third edge\", great part of the population. Brazil and Mozambique are countries that have the Portuguese language in common, inherited from the settler, that was the same in both countries. However, they are carrying distinct cultures because , despite the similarity between the elements that makes them up , the values are different. The narratives of João Guimarães Rosa and Mia Couto do not represent the History, but they tell history. Of this form, narration, memory and History intercross themselves in such way, that the borders between fiction and reality become very tenuous.

M.A. / This dissertation conducts a semiotic analysis of the transposition of The French Lieutenant's Woman from novel to film. Special attention is paid to the concept of narrative point of view. The study is introduced by a chapter outlining the theoretical approach followed in this dissertation, after which a careful analysis of The French Lieutenant's Woman as written narrative and as film is attempted. The success of this adaptation is illustrated by showing how Karl Reisz uses the same principles of subversion, violation and manipulation which give Fowles's narrative style its distinctive character. It is also shown that an adaptation can be successful as long as the particular characteristics of the specific medium are taken into account.