A presente dissertação se propôs a analisar quatro fabulários, tendo como fio condutor dessa escolha o Kalla e Dimna, fabulário árabe do século VIII d.C. Partindo desta obra, os estudos se orientaram tanto às suas origens, que remontam à compilação indiana Pañcatantra, datada do século I d.C. e que teve entrada no mundo árabe, bem como aos seus frutos, o Livro do tigre e do raposo e O leão e o chacal Mergulhador, dois fabulários árabes produzidos, respectivamente, nos séculos IX d.C., XI d.C. e XII d.C. e que tiveram, em relação aos anteriores, menor disseminação. Os dois primeiros fabulários tratam de uma série de temas que podem atender às normas mais gerais de decoro na sociedade, sendo que o Pañcatantra chega até mesmo a ser classificado como um tratado sobre a conduta em manuais de literatura sânscrita. Entre esses temas diversos, é notável o espaço privilegiado dado às relações políticas e aos seus trâmites. Os outros dois livros, embora inseridos na mesma tradição, deixam de lado aspectos mais gerais da convivência e passam a se deter apenas nos temas especificamente políticos. No que se refere a esse assunto em comum, é possível perceber uma série de elementos recorrentes nos quatro fabulários, entre eles, o fato de que todos tratam das vicissitudes das relações entre poder e saber, personificada em personagens-tipo que ora se aproximam, ora se afastam, mas que se mantém atrelados a uma estrutura que os molda conforme os resultados que almeja atingir. Além disso, foram estudadas as estruturas que, no caso, se apoiam na maior parte das vezes em narrativas-quadro ou prólogos-moldura a partir dos quais se desenvolvem subnarrativas e outros elementos que nos possibilitaram, ao término do estudo, apontar o que há de particular na universalidade a que se propõem os fabulários. / This dissertation aims to analyze four collections of fables, choosing as the central work from which further analysis will stem the Kalla and Dimna, an Arab collection of fables dating from the VIII century A.D. From this starting point, these studies were furthered by revisiting its origins in the Panchatantra, an Indian compilation of fables from the I century A.D. that left its marks on the Arab world, as well as its developments in the books that directly follow its legacy, the Livro do tigre e do raposo and O leão e o chacal Mergulhador, two arab collections of fables dating, respectively, to the IX century A.D. and the XI and XII century A.D. which had, however, far less dissemination than the last two works here cited. The first two collections develop around a variety of subjects relating to rules regulating manners in a broader sense, to the point that the Panchatantra has been classified as a treatise on manners in Sanskrit literature manuals. Between the diversity of subjects broached, the privileged attention given to political relations and their formalities is readily noticeable. The two other works, though part of the same literary tradition, set aside more general or day-to-day aspects of good manners to focus exclusively on political relations and political conduct. Regarding this shared thematic, a number of recurring elements can be identified, one of many being the fact that all of them deal with the specifics of the relationship stabilished between power and knowledge, personified in character types that alternate between approaching and distancing themselves from one another, but that are always attached to a structure that moulds them according to the results it desires. Beyond that, the narrative structures of the works were studied they usually make use of frame narratives or frame prologues from which further subnarratives are developed along with other elements that made it possible, at the end of this study, to point towards the particularities of the universality that the collections of fables undertake as their purpose.

Orientador: Eliana Ayoub / Tese (doutorado) - Universidade Estadual de Campinas, Faculdade de Educação / Made available in DSpace on 2018-08-24T03:55:18Z (GMT). No. of bitstreams: 1 Santos_GilbertdeOliveira_D.pdf: 8462955 bytes, checksum: 558ab629065b990377ec91a3da1e3ab5 (MD5) Previous issue date: 2013 / Resumo: O w?shù possui diferentes aspectos que podem ser desvelados e apresentados no âmbito dos estudos do corpo. Eu tive a oportunidade de realizar uma viagem de estudos à China e vivenciar brevemente a cultura deste país. Experimentei no corpo e na alma um pouco das artes guerreiras chinesas e isto me possibilitou escrever um texto mais incorporado. Trata-se aqui de uma interpretação em imagens e textos de diferentes sentidos e significados das artes guerreiras chinesas. Granet (1997), diz que os chineses não pedem aos seus sábios dogmas, mas temas favoráveis a uma meditação livre. Semelhantemente, optei por vasculhar, remexer e transmutar diferentes sentidos e significados que podem surgir nas artes guerreiras chinesas para outra elaboração que transita nas dimensões da linguagem, da arte, da ciência, do pensamento, da medicina e do ensino de técnicas corporais guerreiras. / Abstract: The w?shù has different aspects that can be unveiled and presented in the context of the study body. I had the opportunity to conduct a study trip to China and experience the culture of this country soon. Experienced in body and soul a bit of Chinese fighting arts and this enabled me to write a text more incorporated. It is here interpreted in images and texts of different meanings of the chinese fighting arts. Granet (1997), says that the chinese do not ask their wise tenets, but themes favorable to a free meditation. Similarly, I chose to scour, rummage and transmute different meanings that can arise in the chinese fighting arts to another development that transits the dimensions of language, art, science, thought, medicine and teaching techniques bodily warriors. / Doutorado / Educação, Conhecimento, Linguagem e Arte / Doutor em Educação

Many developing countries, rich with natural resources, have turned to tourism as a source of national growth and subsequently an increasing amount of local communities are being "developed". Despite its importance to developing countries, tourism has been covered scarcely in the literature on development studies. Local communities that find themselves in a situation having to deal with tourism related development, face many challenges. Contrary to previous work on development which considered poor local communities a threat to the natural environment, current views emphasise the role of the community in bringing about participation, conservation and consequently Sustainable Development. Therefore, if tourism can be seen as a possible path to Sustainable Development, the role of the local community in its development is of vital importance. This research investigates the role of the local community in integrating conservation in tourism related development by means of a case study on Apo Island. / DEVELOPMENT STUDIES / MA(SS)(DEV. STUD)

Many developing countries, rich with natural resources, have turned to tourism as a source of national growth and subsequently an increasing amount of local communities are being "developed". Despite its importance to developing countries, tourism has been covered scarcely in the literature on development studies. Local communities that find themselves in a situation having to deal with tourism related development, face many challenges. Contrary to previous work on development which considered poor local communities a threat to the natural environment, current views emphasise the role of the community in bringing about participation, conservation and consequently Sustainable Development. Therefore, if tourism can be seen as a possible path to Sustainable Development, the role of the local community in its development is of vital importance. This research investigates the role of the local community in integrating conservation in tourism related development by means of a case study on Apo Island. / DEVELOPMENT STUDIES / MA(SS)(DEV. STUD)

Dans la dernière dizaine années du 19ème siècle, les créations de Lugné-Poe et d’Antoine expérimentent de nouvelles esthétiques de représentation et voient dans la mise en scène l’essence de la création théâtrale. Le metteur en scène devient lui-même auteur, au point de jouer parfois un rôle prédominant. Tout au long du 20ème siècle, cette évolution de la mise en scène, en s’accélérant parfois brutalement, a pu atteindre une certaine anarchie. C’est pourquoi l’esthétique de la tradition scénique orientale, qui passe par des formes artistiques reproductibles, voire stéréotypées, a pu fournir des repères et des garde-fous. Paul Claudel est le premier à en avoir une réelle connaissance grâce à ses longs séjours en Asie. Il intègre les traditions, les cultures et les philosophies orientales dans son écriture théâtrale, et propose une nouvelle forme épique et lyrique de la dramaturgie, comme dans Le Soulier de satin et Christophe Colomb. Dans une proposition de théâtre symboliste, il met en scène de véritables poèmes reflétant sa cosmologie et sa vision poétique, en réalisant pratiquement le « théâtre total » dont rêve Jean-Louis Barrault. Au début du 20ème siècle, plusieurs expositions coloniales introduisent l'Orient en Occident. Elles donnent aux Occidentaux l'occasion d'un contact direct avec les traditions scéniques orientales. Les jeux formalistes, sacrés et esthétiques, de la poésie symbolique, séduisent les intellectuels et les artistes. En particulier, les représentations de Sada Yacco et Mei Lan-Fang déclenchent l’enthousiasme. Les théoriciens-metteurs en scène sont passionnés par les jeux expressifs et métaphoriques de leurs corps robustes, agiles et bien proportionnés, par leurs attitudes modérées et discrètes, tous façonnés selon la tradition séculaire orientale. Bien qu'il y ait des nuances entre les divers théâtres asiatiques, on les regroupe sous la dénomination usuelle de « théâtre oriental ». C'est la raison pour laquelle nous avons analysé à la fois les chocs provoqués par les trois grands événements qu’ont été, en Europe, successivement la visite de la troupe de Sada Yacco en 1901, l’Exposition Coloniale en 1931, et l’arrivée de Mei Lan-Fang en 1935, sur le théâtre occidental, mais aussi les origines et les caractères communs des théâtres asiatiques .Dès lors que les artistes innovants découvrent le théâtre oriental, ils sont subjugués par l’authenticité de sa théâtralité et l’opposent au théâtre occidental, dont ils dénoncent les défauts de la convention théâtrale. Les traditions scéniques orientales leur présentent des esthétiques paradoxales : des embellissements dépouillés mais enrichissants sur le plan métaphorique, des jeux artificiels stylisés mais révélant les détails réalistes, des créations contraintes par la tradition mais libérées par le talent des artistes, des représentations courtes mais requérant un long temps d’apprentissage, un seul art théâtral intégrant divers arts. Se référant à ces formes caractéristiques orientales, Craig cherche à trouver une « forme définie », Meyerhold tend à établir une nouvelle convention de théâtralité, Brecht approfondit sa théorie et son écriture visant à l'effet de la « distanciation » et Artaud désire « en finir avec les chefs-d’œuvre » et faire parler le propre langage scénique. Après ces innovateurs qui ont découvert la source de l’Orient, les metteurs en scène suivants, tels Grotowski, Barba, Brook et Ariane Mnouchkine, orientent leur recherche spirituelle et introspective vers l'Orient, en engendrant leur propre esthétique réalisée par la pratique. De la sorte, cette dernière ne relève plus d’une unique tradition orientale ou de la convention occidentale, mais d’une fécondation née de leur appropriation de l’Orient mêlée à leur propre personnalité, leur « tribu » et leurs préférences culturelles. / In the last decade of the 19th century, works of Lugné-Poe and Antoine experiment a new aesthetic representation and search the essence of the theatrical invention in the mise en scène. The director (metteur en scène) becomes the author; toa certain extent, sometimes, s/he takes the predominant role. Throughout the 20th century, the evolution of the directing (mise en scène) accelerates abruptly and it is so violent and sometimes it reaches to a state of anarchy. This is why the aesthetics of oriental scenic tradition, which goes through reproducible art forms, even stereotypical, could provide beacon and safeguards.Paul Claudel is the first person who acquires knowledge about the Orient due to his long stays in Asia. He incorporates the oriental traditions, cultures and philosophies in his playwriting, and proposes new epic and lyric forms in theater, likeone sees in The shoe of satin and Christophe Columbus. Proposing a symbolist theater, he had staged real poems which reflect his cosmology and his poetic vision. Claudel had achieved what Jean-Louis Barrault dreamed of -the "total theater."In the early 20th century, several colonial exhibitions introduced the East to the West. They gave Westerners an opportunity of directly absorbing the oriental scenic tradition. The formalists acting— sacred and aesthetics— in symbolic poetry attractsintellectuals and artists. Particularily, the representations of Sada Yacco and Mei Lan-fang were most enthusiastically received. The theoretical directors were passionate about the expressive and metaphorical acting of their robust,well-proportioned yet flexible bodies, about their moderate and discreet attitude, which were shaped by the ancient Eastern traditions. Although there were slight differences among various Asian theaters, they were grouped under the common name of "Oriental Theatre". In this sense, I would like to analyze the impacts caused by three major events of the western theater history in Europe: the successive visitings of troupe Sada Yacco in 1901, the Colonial Exhibition in 1931, and the arrival of Mei Lan-Fang in 1935. At the same time, we should trace the origins and common characteristics of Asian theaters.When the innovative artists discovered the eastern theater, they were overcame by the authenticity of its theatricality and they mirror the Western theater in opposition to the Eastern theater, in which they denounce the shortcomings of Westerntheatrical convention. The oriental scenic tradition shows them the paradoxical aesthetic: (1) unornamented decoration yet enriching in the metaphorical layout; (2) stylized artificial acting but realistic-details revealing; (3) short performance butrequiring long-term training; (4) creations constrained by tradition but set free by the talent of artist; (5) one theatrical art integrating various arts.Referring to these oriental characteristic forms, Craig seeks to find a "definite form", Meyerhold tends to establish a new convention of theatricality. As for Brecht, he goes further into developing theory, and his writing aims to produce the effect of"alienation." Artaud, on the other hand, wants to "terminate the masterpieces" and allow real stage language to speak for itself.After these pioneers who discovered sources from the Orient, directors who follow these doctrines such as Grotowski, Barba, Brook, and Ariane Mnouchkine turn their spiritual search and introspective towards the Orient, in hopes of generating their own aesthetics which could be realized in practice. Therefore, their creations reflect not merely Eastern traditions nor do they apply only Western conventions, but they are fertilized and born out of their appropriation to the Orient, mingled with these directors’ own personality, their "tribe" and their cultural preferences

Constatant l'inexistence d'une grille d'évaluation des programmes de reconstruction du secteur de la sécurité dans les environnements postconflictuels, ce mémoire, en s'appuyant sur la theory-driven evaluation de Chen, élabore des indicateurs mesurant l'efficacité de ces programmes.Il vérifie également l'hypothèse selon laquelle le degré de participation nationale influence la performance de ces programmes implantés dans les environnements postconflictuels. Pour ce faire, les programmes de reconstruction du secteur de la sécurité en Afghanistan et au Timor-Oriental sont à la base de l'étude de cas multiple.

A Povst vremennyh lt ou, nesta versão em português, Narrativa dos anos passados é uma crônica monástica, de autoria indefinida, compilada na segunda década do século XII, no Monastério das Cavernas, em Kiev. A obra relata os feitos dos príncipes guerreiros de origem escandinava que reinaram sobre populações eslavas e fino-úgricas a partir da segunda metade do século IX, ao mesmo tempo em que busca inserir a Rus numa narrativa universal de caráter cristão. Para tanto, o texto segue de perto modelos cronográficos bizantinos e emprega constantemente episódios bíblicos, tanto canônicos, como apócrifos, além de escritos patrísticos. Por sua extensão, conteúdo, linguagem e estilo, considera-se a Povst vremennyh lt uma das principais obras da literatura eslava oriental antiga. Ademais, é a principal fonte para o estudo da história do principado de Kiev, tendo grande relevância para medievalistas, linguistas e estudiosos da cultura eslava em geral. O presente trabalho tem por objetivo apresentar uma tradução completa da crônica, direta do eslavo oriental, acompanhada de aparato crítico selecionado, comentários e apêndices. O texto da tradução é antecedido por uma breve contextualização histórica, uma apresentação do documento e dos manuscritos que o atestam, e uma reflexão a respeito das dificuldades práticas e teóricas do traduzir. / The Povst vremennyh lt, known in English as the Russian Primary Chronicle or The Tale of Bygone Years, is a monastic chronicle, compiled by an unknown author, during the second decade of the 12th century in the Monastery of the Caves in Kiev. It tells the deeds of the Scandinavian warrior princes that reigned over Slavic and Finno- Ugric populations from the second half of the 9th century. At the same time, it tries to fit the land of Rus into a Christian universal narrative. For this purpose, the chronicler emulates Byzantine models, and makes constant use of Biblical episodes, not only from the canon, but also apocryphal and patristic writings. Due to its length, its content and style, the Povst vremennyh lt is considered one of the most important works in Old East Slavic Literature, and one of the main sources for the study of Kievan Rus history. It is also valuable in the fields of medieval studies and linguistics. The present work aims to present a complete version of the chronicle in portuguese, translated directly from the Old East Slavic, with a selection of textual variants, notes and appendices. As a guide to the PVL, the reader will find a brief historical overview, a short analysis of the extant manuscripts and some comments on practical and theoretical translation topics.

Esta pesquisa versa sobre a análise morfossintática do fenômeno de extraposição no hebraico. No primeiro capitulo mostro quais são as premissas, as hipóteses e os corpora trabalhados nesta pesquisa. No segundo capítulo, localiza-se a extraposição dentro do sistema morfossintático da língua hebraica revisando o uso da extraposição em diferentes registros do hebraico moderno. Analisei o fenômeno em si, para entender seu uso, formas, regras, nomenclatura e entorno onde a extraposição geralmente aparece. No terceiro capítulo, analiso o livro Shum Gamadim ló Yavohu. Por meio desta análise pude pesquisar a linguagem pobre dos personagens, um idioma comum aos bairros da periferia. Os objetivos da analise do livro são, por um lado, confirmar que o fenômeno de extraposição é espontâneo e cotidiano no hebraico, tanto na linguagem oral como na escrita, e por outro lado, analisar por que este fenômeno é considerado como parte do registro baixo na língua hebraica moderna. No quarto e quinto capítulos, localizei o fenômeno de extraposição no texto bíblico e talmúdico. A Bíblia e o Talmud são as fontes indiscutíveis do judaísmo e constituem o padrão do hebraico para definir o que pertence ou não pertence à língua hebraica do ponto de vista linguístico. Desta maneira consegui demonstrar que o fenômeno de extraposição é parte da língua hebraica desde a época bíblica. No sexto e último capítulo, através da analise da extraposição no árabe e no francês, pude demonstrar que a extraposição é um fenômeno frequente nestas línguas, penetrando no hebraico moderno pelos falantes dessas línguas. Entendendo que estes falantes do árabe e francês foram discriminados pelos nativos do hebraico. O fenômeno de extraposição foi discriminado pelo uso excesivo dos falantes da comunidade judia oriental. / The present work deals with the morphosyntactic analysis of the phenomenon of extraposition in Hebrew. Its first chapter contains the premises, hypotheses and corpora worked on for the research. Its second chapter identifies extraposition within the morphosyntactic system of the Hebrew language, revising the use/occurrence of extraposición in different/distinct registers of Modern Hebrew. The phenomenon in itself is analyzed, with the purpose of understanding the use, forms, rules, nomenclature and environment where extraposition normally occurs. The third chapter analyzes the book/novel Shum Gamadim ló Yavohu. It is through this analysis that the language of its characters is researched, which is a simple language, common to the speakers of the suburban neighborhoods. The aims of the analysis of the book are, on the one hand, confirming that the phenomenon of extraposición is spontaneous and usual in Hebrew, both in spoken language as well as in writing, and on the other hand discussing why this phenomenon is ascribed to the lower register of Modern Hebrew. Chapters four and five deal with the identification of the phenomenon of extraposition in Biblical and Talmudic text. The Bible and the Talmud are both undisputable sources of Judaism, and they constitute the pattern of Hebrew in order to define what belongs to Hebrew and what does not from a linguistic perspective. It is thus demonstrated that the phenomenon of extraposition has been a part of the Hebrew language since Biblical times. In the sixth and final chapter, by means of the analysis of the phenomenon of in Arab and French, it is demonstrated that extraposition is a phenomenon of high frequency of occurrence in those languages. Given the understanding that the Hebrew of native speakers of Arab and French was looked down upon by native speakers of Hebrew, the phenomenon of extraposition was scorned due to its excessive use by the speakers of the Oriental Jewish community.

Made available in DSpace on 2016-04-27T19:30:38Z (GMT). No. of bitstreams: 1 Felipe Beltran Katz.pdf: 3043130 bytes, checksum: 20132492cb571c38c6960989ada1326e (MD5) Previous issue date: 2012-10-15 / This work tries to point out the diversity of the oriental Christianity in Sao Paulo, through the oriental churches. These institutions are connected to the immigrant communities that came to Sao Paulo since the 19th century until the mid 20th century. Amongst the oriental Christians that have come to the city are Arabs, Armenians, Greeks, Russians and Ukrainians. These communities are divided in twelve different churches, that are located in different areas of the city. The research is based on the collected testimony of each clergy member of each church, some oriental Christians from Sao Paulo and bibliography that studies the historical experience of these institutions in other parts of the world. Far from being something completely strict, presenting Rites and peculiarities of ancient Christianity, the oriental churches of Sao Paulo are inserted in the daily life of the metropolis. These churches try to mediate their past, while maintaining the faith and culture of immigrant groups with their current situation in the city. A situation where the 1st generation of immigrants is diminishing trough age and the migratory flux is not being renewed. The oriental churches, according to the testimony of clerics and faithful, are experiencing a reflexive moment in their course in the metropolis. However, this work does not try to judge which church best preserves it‟s past, but understand that they are part of the daily life of the city. They are oriental churches from Sao Paulo, therefore, their situation permeates appropriations that best respond their experience in Sao Paulo / O trabalho busca apontar a diversidade do cristianismo oriental paulistano, debruçando-se sobre as Igrejas Orientais. Essas instituições estão associadas a comunidades imigrantes que vieram para São Paulo desde o final do século XIX até a segunda metade do século XX. Entre os grupos cristãos orientais emigrados para a cidade estão árabes, armênios, gregos, russos e ucranianos. Essas comunidades estão divididas em doze Igrejas localizadas em diversos pontos da região metropolitana. A pesquisa apoia-se em depoimentos coletados entre os membros do clero de cada uma dessas Igrejas, alguns fiéis cristãos orientais da cidade e bibliografia acerca da experiência histórica dessas instituições em outras partes do mundo. Longe de ser algo cristalizado, apresentando Ritos e peculiaridades do antigo cristianismo, as Igrejas Orientais na cidade de São Paulo estão inseridas no dia a dia da metrópole. Essas Igrejas pretendem mediar seu passado, associado com a manutenção da fé e cultura das comunidades imigrantes, e a vivência de sua situação paulistana atual. Uma situação em que a primeira geração de imigrantes diminui devido ao envelhecimento e aos fluxos imigratórios que não se renovam. As Igrejas Orientais, de acordo com os depoimentos de clérigos e fiéis, vivem um momento reflexivo de sua trajetória na metrópole. No entanto, o trabalho não deve julgar qual Igreja preserva melhor o passado, mas deve compreender que elas fazem parte do cotidiano da cidade. São Igrejas Orientais paulistanas, portanto, sua situação perpassa apropriações que melhor respondem à sua experiência em São Paulo

Esta pesquisa versa sobre a análise morfossintática do fenômeno de extraposição no hebraico. No primeiro capitulo mostro quais são as premissas, as hipóteses e os corpora trabalhados nesta pesquisa. No segundo capítulo, localiza-se a extraposição dentro do sistema morfossintático da língua hebraica revisando o uso da extraposição em diferentes registros do hebraico moderno. Analisei o fenômeno em si, para entender seu uso, formas, regras, nomenclatura e entorno onde a extraposição geralmente aparece. No terceiro capítulo, analiso o livro Shum Gamadim ló Yavohu. Por meio desta análise pude pesquisar a linguagem pobre dos personagens, um idioma comum aos bairros da periferia. Os objetivos da analise do livro são, por um lado, confirmar que o fenômeno de extraposição é espontâneo e cotidiano no hebraico, tanto na linguagem oral como na escrita, e por outro lado, analisar por que este fenômeno é considerado como parte do registro baixo na língua hebraica moderna. No quarto e quinto capítulos, localizei o fenômeno de extraposição no texto bíblico e talmúdico. A Bíblia e o Talmud são as fontes indiscutíveis do judaísmo e constituem o padrão do hebraico para definir o que pertence ou não pertence à língua hebraica do ponto de vista linguístico. Desta maneira consegui demonstrar que o fenômeno de extraposição é parte da língua hebraica desde a época bíblica. No sexto e último capítulo, através da analise da extraposição no árabe e no francês, pude demonstrar que a extraposição é um fenômeno frequente nestas línguas, penetrando no hebraico moderno pelos falantes dessas línguas. Entendendo que estes falantes do árabe e francês foram discriminados pelos nativos do hebraico. O fenômeno de extraposição foi discriminado pelo uso excesivo dos falantes da comunidade judia oriental. / The present work deals with the morphosyntactic analysis of the phenomenon of extraposition in Hebrew. Its first chapter contains the premises, hypotheses and corpora worked on for the research. Its second chapter identifies extraposition within the morphosyntactic system of the Hebrew language, revising the use/occurrence of extraposición in different/distinct registers of Modern Hebrew. The phenomenon in itself is analyzed, with the purpose of understanding the use, forms, rules, nomenclature and environment where extraposition normally occurs. The third chapter analyzes the book/novel Shum Gamadim ló Yavohu. It is through this analysis that the language of its characters is researched, which is a simple language, common to the speakers of the suburban neighborhoods. The aims of the analysis of the book are, on the one hand, confirming that the phenomenon of extraposición is spontaneous and usual in Hebrew, both in spoken language as well as in writing, and on the other hand discussing why this phenomenon is ascribed to the lower register of Modern Hebrew. Chapters four and five deal with the identification of the phenomenon of extraposition in Biblical and Talmudic text. The Bible and the Talmud are both undisputable sources of Judaism, and they constitute the pattern of Hebrew in order to define what belongs to Hebrew and what does not from a linguistic perspective. It is thus demonstrated that the phenomenon of extraposition has been a part of the Hebrew language since Biblical times. In the sixth and final chapter, by means of the analysis of the phenomenon of in Arab and French, it is demonstrated that extraposition is a phenomenon of high frequency of occurrence in those languages. Given the understanding that the Hebrew of native speakers of Arab and French was looked down upon by native speakers of Hebrew, the phenomenon of extraposition was scorned due to its excessive use by the speakers of the Oriental Jewish community.