O presente trabalho analisa as motivações, os alcances e os efeitos da paródia em alguns poemas de Pau Brasil (1925), de Oswald de Andrade. Inicio a dissertação com um painel constituído de reflexões acerca de algumas formas de arte contemporâneas a Pau Brasil, responsáveis por uma radical reestruturação no modo de conceber o texto literário, para, a seguir, situar a paródia entre essas práticas artísticas. Busco, assim, caracterizar a inserção de Oswald de Andrade e do modernismo brasileiro no viés paródico das vanguardas artístico-literárias europeias do início do século XX. É no contexto moderno da autorreferência e autolegitimação que a paródia se estabelece enquanto eficaz efeito metalinguístico e se mostra como profícuo mecanismo de investigação crítica acerca do processo de produção, recepção e (re)interpretação de textos (e de obras de arte em geral). Radical provocadora de mudanças de expectativas e de perspectivas, a paródia se articula com o projeto artístico moderno, possibilitando o questionamento de (pre)conceitos e uma (re)visão de determinados elementos artísticos e, consequentemente, dos papéis desempenhados por eles. A paródia serve de articulação entre arte e história e não se faz adequar a posturas idealizantes e/ou classizantes. A partir dessa conjuntura, a poética do movimento modernista brasileiro incluiu também, entre os preceitos da nova estética, uma aproximação crítica de obras do passado por meio do emprego da paródia. Ciente do seu passado e do seu presente, o projeto literário de Oswald de Andrade priorizou e incorporou parodicamente os discursos literário, histórico, político, religioso etc, através de uma aguda e conscienciosa reelaboração linguístico-literária. A paródia na obra de Oswald de Andrade, por um lado, faz jus à revolução estética que o movimento modernista trouxe à cultura brasileira e, por outro, torna possíveis ponderações acerca de inovações radicais no código literário brasileiro da primeira metade do século XX. Por meio da utilização paródica de textos históricos e literários em Pau Brasil e do uso de diferentes discursos e registros da língua portuguesa, Oswald de Andrade restaura a história e a literatura brasileira, da carta de Pero Vaz de Caminha à contemporaneidade do poeta. E ainda assinala, com saborosa argúcia, a diversidade e a disparidade socioeconômica do habitante nacional. / The present work examines the motivations, reaches, and effects of the parody of some poems from Oswald de Andrades Pau Brasil (1925). I start this dissertation with a panel composed of reflections about some art forms, contemporary to Pau Brasil, responsible for a radical restructuring in the way literary text is conceived, and I then place parody inside these artistic practices. I try, in this way, to characterize the insertion of Oswald de Andrade and of the Brazilian Modernism in the parodic bias of European artistic avant-gardes of the early 20th century. It is in the modern context of self-referencing and self-legitimation that parody establishes itself as an efficient metalinguistic effect, and that it shows itself as an useful mechanism of critical investigation about the process of production, reception and (re)interpretation of texts (and works of art in general). As a radical that provokes expectation and perspective changes, parody articulates itself with modern artistic project, allowing the questioning of concepts (and prejudices) and a (re)view of certain artistic elements and, consequently, of the roles played by them. Parody is used as an articulation between art and history, and it does not adjust itself to idealistic and/or classist positions. From this conjuncture, the poetics of the Modernist Brazilian movement also included, among other precepts of the new aesthetics, a critical approach to the works of the past through the use of parody. Aware of his past and of his present, Oswald de Andrades literary project prioritized and incorporated, parodically, the literary, historical, political, and religious speeches, among others, through an acute and conscientious linguistic and literary re-elaboration. Parody, in Oswald de Andrades work, both does justice to the aesthetic revolution brought to the Brazilian culture by the Modernist movement, and enables considerations about radical innovations in the early-20th-century Brazilian literary code. Through the parodic utilization of historical and literary texts in Pau Brasil, and through the use of different discourses and registers of the Portuguese language, Oswald de Andrade restores the Brazilian history and literature, from Pero Vaz de Caminhas letter to the poets contemporaneity. He also notes, with pleasant subtlety, the diversity and socio-economic disparity of the national inhabitant.

Made available in DSpace on 2016-04-28T19:33:37Z (GMT). No. of bitstreams: 1 Rivaldo Capistrano e Souza Junior.pdf: 2538499 bytes, checksum: 402baf7f54194ebf8efe60bf22589586 (MD5) Previous issue date: 2012-12-04 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This work aims to investigate the process of (re) construction upon related objects (cognitive and discursive) in comic strips and determine the function of humor regarding the outbreak in this genre. From the social cognitivism perspective, in theoretical Linguistics Textual, we argue that the word-image overlapping referents are introduced, reproduced or modified not only by co-textual tracks, but also by the social cognitivism context-interactive, and that this process recategorisen referential action is an important strategy for production of humor as it brings out the unexpected, breaking with expectations enabled the reading frame of the first pictures of the strips. The data that form the corpus for this research consist of adult-themed strips, assembled and published the book Gatão de Meia-idade (1995), written by Miguel Paiva. The results showed that the referential processes are triggered not only by means of cotextual tracks, on the interrelationship between word-image, but also by the social cognitivism context, requiring active participation of the reader in the construction of senses and new references. It was also found that the relative, to be recategorisen in textual template, contribute to an outcome or unexpected situation, unleashing the humor in the strips / Este trabalho objetiva investigar, numa perspectiva sociocognitivo-interacional, no âmbito da Linguística Textual, estratégias de construção e reconstrução de referentes (objetos cognitivos e discursivos) em tiras cômicas, bem como averiguar, nesse gênero textual, o papel dos referentes na deflagração do humor. Os dados que constituem o corpus para realização desta pesquisa compõem-se de tiras de temática adulta, reunidas e publicadas no livro Gatão de Meia-idade (1995), de autoria de Miguel Paiva. Os resultados demonstraram que os processos referenciais são acionados não só por meio de pistas cotextuais, na inter-relação entre palavraimagem, mas também pelo contexto sociocognitivo, exigindo participação ativa do leitor na construção dos sentidos e de novas referências. Também foi possível constatar que os referentes, ao serem recategorizados no modelo textual, contribuem para um desfecho ou situação inesperados, desencadeando o humor nas tiras analisadas

Submitted by Silvana Teresinha Dornelles Studzinski (sstudzinski) on 2016-02-29T16:41:30Z No. of bitstreams: 1 Marcos Filipe Zandonai_.pdf: 2665565 bytes, checksum: 047fb2be7f30a11f2f100d2f9f7449d5 (MD5) / Made available in DSpace on 2016-02-29T16:41:30Z (GMT). No. of bitstreams: 1 Marcos Filipe Zandonai_.pdf: 2665565 bytes, checksum: 047fb2be7f30a11f2f100d2f9f7449d5 (MD5) Previous issue date: 2016-01-12 / CAPES - Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / FAPERGS - Fundação de Amparo à Pesquisa do Estado do Rio Grande do Sul / Nesta Dissertação, abordo o fenômeno da referenciação em vídeos de divulgação científica do YouTube. Exploro as nomeações lexicalmente expressas, cotejando-as com os objetos visuais (desenhos gráfico-digitais e movimentos corporais) que compõem os vídeos. Objetivo entender a contribuição do não verbal na construção dos objetos de discurso, ou seja, compreender quais são as funções desempenhadas pelos elementos visuais na referenciação. Defino, então, dois objetivos específicos, a saber: 1) examinar os casos de correferencialidade entre expressões referenciais lexicalizadas e mensagens visuais, verificando as relações semânticas engendradas por essaunião e 2) investigar a correferencialidade verbal - não verbalno que tange aos seus possíveis efeitos pragmáticos, ligados à comunicação midiática, o que requer considerar as escolhas de referenciação como influenciadas pela situação de midiatização da ciência. O funcionamento da referenciação éaveriguado com base na classificação de Cavalcante (2003) e de outros autores da Linguística Textual que assumem uma visão construtivista e cognitivo-discursiva da textualização e dos fenômenos referenciais (MONDADA, 2002; CAVALCANTE, 2011). Os efeitos da anaforização são averiguados com base nos estudos sobre o discurso de midiatização da ciência (CHARAUDEAU, 2009; 2008), visto que esse é o entorno da atividade linguageira, permeado por rituais e coerções queinfluenciam os enunciadores dos vídeos nas escolhas lexicais e semiológicas e dão pistas sobre o modo como legitimam os sentidos da ciência. O texto audiovisual instancia a coalescência de modalidades de linguagem de naturezas semioticamente distintas. Por essa razão, o considero um texto sincrético, que pode ser afortunadamente explorado segundo os princípios da Semiótica Sincrética (BEIVIDAS, 2006; PIETROFORTE, 2008). Adoto os postulados da Semiótica de base greimasiana (GREIMAS e COURTÉS, 2013) para poder acessar as cadeias anafóricas, que estão subsumidas à significação numa superfície sincrética (com imagens, além de palavras), o que exige pensar semioticamente (BARROS, 1990; 2001). Percorro as nuanças da comunicação não verbal, usando as categorias analíticas de Rector e Trinta (1985, 2005), que permitem caracterizar os movimentos corporais, que também atuam na referenciação dos episódios, em que o corpo dos divulgadores (jornalista e cientistas) é usado para criar uma espécie de “dramaturgia”, um “teatro” que visa explicar ciência. Opto por analisar vídeos de dois canais do YouTube (IbioMovies e Além da Bio), constituindo o corpus com um vídeo de cada canal. Os audiovisuais são examinados principalmente no que tange àmovimentação corporal e teatral. Já o vídeo do Além da Bio, em especial, recebe tratamento no que concerne à propriedade desenhos gráfico-digitais. Realizo uma análise qualitativa desses vídeos, que foram selecionados devido ao fato de apresentarem práticas não verbais e de serem difusores de conteúdos de ciência. Sustento que é possível verificar os pontos de correferencialidade entre os itensimagéticos, de um lado, e os linguístico-verbais, de outro, quando referenciais. Mostro os fatores semânticos e cognitivos ligados à coesão e à coerência que fazem funcionar a “referenciação sincrética”, sublinhando o papel que as expressões referenciais cumprem ilocucionalmente. Intento avançar na compreensão das engrenagens e potencialidades da comunicação científica nas “novas mídias”. / In this thesis, I approach the phenomenon of referencing in scientific popularization videos of YouTube. I explode the nominations lexically expressed, collating them with the visual objects (graphic-digital designs and bodily movements) that compose the videos. I intent to understand the contribution of the nonverbal in the building of discourse objects, that is, to comprehend which are the functions undertaken by the visual elements in referencing. I define, thereby, two specific goals, namely: 1) to examine the cases of co-referentiality between lexicalized referential expressions and visual messages, verifying the semantic relations engineered by this union and 2) to investigate the verbal – nonverbal co-referentiality in what concerns its possible pragmatic effects, attained to the media community, which requires considering the referencing choices as being influenced by the situation of midiatization of science. The functioning of referencing is ascertained based on the classification of Cavalcante (2003) and others Text Linguistics authors that assume a constructivist and cognitive-discursive vision of textualization and referential phenomena (MONDADA, 2002; CAVALCANTE, 2011). The effects of anaphorization are seen based on studies the discourse of science midiatization (CHARAUDEAU, 2009; 2008), as this is the surrounding of language activity permeated by rituals and constraints that influence the enunciators of the videos in the lexical and semiotic choices and give clues on how they legitimate the meanings of science. The audiovisual text instances the coalescence of modalities of texts with semiotically distinct natures. For this reason, I consider it a syncretic text, which can be exploited according to the principles of semiotics Syncretic (BEIVIDAS, 2006; PIETROFORTE, 2008). I adopt the postulates of greimasian based Semiotics (GREIMAS and Courtes, 2013) in order to access the anaphoric chains, which are subsumed to meaning in a syncretic surface (with images as well as words), which requires a semiotically way of thinking (BARROS, 1990, 2001). I walk the nuances of nonverbal communication, using the analytical categories of Rector and Thirty (1985, 2005), that allow to characterize the bodily movements that also act on the referral of episodes, where the body of promoters (journalist and scientists) is used to create a kind of "drama", "theater" that aims to explain science. I choose to analyze videos of two YouTube channels (IbioMovies and Além da Bio), constituting the corpus with a video of each channel. The audiovisuals are mainly examined with respect to the body and theatrical movement. The video from Além da Bio, in particular, receives treatment with respect to the graphic-digital designs property. I undertake a qualitative analysis of these videos, which were selected due to the fact that they are nonverbal practices and to be diffusers of science content. I maintain that it is possible to check the points of co-referentiality between imagistic items on the one hand, and linguistic-verbal, the other, when references. I show semantic and cognitive factors linked to cohesion and consistency that make the "syncretic referencing" work, stressing the role that referring expressions meet ilocutionarily. I intent to advance in the understanding of gears and potentials of scientific communication in the "new media".

L’encyclopédie Wikipédia se caractérise par un mode d’élaboration ouvert et collaboratif. La singularité de son modèle éditorial amène à s’interroger sur la crédibilité que lui attribuent ses lecteurs ainsi que sur l’activité normative de la communauté wikipédienne pour la garantir. Une hypothèse serait ainsi que le référencement est un moyen de renforcer la crédibilité des informations encyclopédiques, ce qui pose la question de l’identification de la fonction de ce procédé rhétorique par le lecteur. Pour appréhender les questions relatives à la valeur épistémique de l’information, un modèle de communication documentaire articulant autorité cognitive, confiance, crédibilité et référencement est proposé. Une enquête par questionnaire auprès de jeunes scolarisés (11-25 ans) montre que la confiance envers Wikipédia varie selon le niveau de scolarité. Elle est influencée par la réputation académique, majoritairement négative, de l’encyclopédie. Par la suite, les effets d’un projet pédagogique dans lequel des lycéens deviennent des contributeurs à l’encyclopédie sont analysés. Une évolution positive de la confiance envers l’encyclopédie est relevée tant chez les professeurs que chez les élèves, ceux-ci prenant conscience de l’importance des règles communautaires et du référencement. Enfin, les évolutions des règles relatives au référencement au sein de la Wikipédia en langue française et les débats que ces règles ont suscités entre 2002 et 2013 sont étudiés. L’approche anthropologique et historique adoptée met en évidence le rôle central attribué au référencement pour faire face aux problèmes de confiance épistémique rencontrés par la communauté wikipédienne. Elles révèlent également les tensions inhérentes à ce projet éditorial. / Wikipedia is an open-content encyclopedia that anyone can edit. Its editorial process is unique. Thus this study is focused on the users’ perception of its credibility and on the wikipedian community policy to guaranty it. One hypothesis might be that referencing is a way of guaranteeing the content's credibility which naturally leads to another question: how do the users/readers identify this rhetorical device? To approach the matter of the epistemic value of information, a documentary communication model combined with cognitive authority, trust, credibility and referencing is proposed. Firstly, a survey of 11 to 25 year-old students highlights that their trust for Wikipedia varies according to the level of studies. This level of trust is also influenced by the overall negative reputation of this encyclopedia in the academic community. Secondly we observe the effects of a project where students become editors to the encyclopedia. There is a clear improvement in the trust toward Wikipedia amongst students and teachers as they realize the importance of community policies and referencing. Finally, we analyze the changes in referencing policies and guidelines in the French Wikipedia as well as the controversies they provoked between 2002 and 2013. The historical and anthropological approach highlights how key the role of referencing to the wikipedian community is, in order to face the issues of epistemic trust. It also reveals the tensions inherent to the editorial policy of this project.

Nuclear magnetic resonance (NMR) is a highly versatile analytical technique for studying molecular configuration, conformation, and dynamics, especially of biomacromolecules such as proteins. However, due to the intrinsic properties of NMR experiments, results from the NMR instruments require a refencing step before the down-the-line analysis. Poor chemical shift referencing, especially for 13C in protein Nuclear Magnetic Resonance (NMR) experiments, fundamentally limits and even prevents effective study of biomacromolecules via NMR. There is no available method that can rereference carbon chemical shifts from protein NMR without secondary experimental information such as structure or resonance assignment. To solve this problem, we constructed a Bayesian probabilistic framework that circumvents the limitations of previous reference correction methods that required protein resonance assignment and/or three-dimensional protein structure. Our algorithm named Bayesian Model Optimized Reference Correction (BaMORC) can detect and correct 13C chemical shift referencing errors before the protein resonance assignment step of analysis and without a three-dimensional structure. By combining the BaMORC methodology with a new intra-peaklist grouping algorithm, we created a combined method called Unassigned BaMORC that utilizes only unassigned experimental peak lists and the amino acid sequence. Unassigned BaMORC kept all experimental three-dimensional HN(CO)CACB-type peak lists tested within ± 0.4 ppm of the correct 13C reference value. On a much larger unassigned chemical shift test set, the base method kept 13C chemical shift referencing errors to within ± 0.45 ppm at a 90% confidence interval. With chemical shift assignments, Assigned BaMORC can detect and correct 13C chemical shift referencing errors to within ± 0.22 at a 90% confidence interval. Therefore, Unassigned BaMORC can correct 13C chemical shift referencing errors when it will have the most impact, right before protein resonance assignment and other downstream analyses are started. After assignment, chemical shift reference correction can be further refined with Assigned BaMORC. To further support a broader usage of these new methods, we also created a software package with web-based interface for the NMR community. This software will allow non-NMR experts to detect and correct 13C referencing errors at critical early data analysis steps, lowering the bar of NMR expertise required for effective protein NMR analysis.

O presente trabalho analisa as motivações, os alcances e os efeitos da paródia em alguns poemas de Pau Brasil (1925), de Oswald de Andrade. Inicio a dissertação com um painel constituído de reflexões acerca de algumas formas de arte contemporâneas a Pau Brasil, responsáveis por uma radical reestruturação no modo de conceber o texto literário, para, a seguir, situar a paródia entre essas práticas artísticas. Busco, assim, caracterizar a inserção de Oswald de Andrade e do modernismo brasileiro no viés paródico das vanguardas artístico-literárias europeias do início do século XX. É no contexto moderno da autorreferência e autolegitimação que a paródia se estabelece enquanto eficaz efeito metalinguístico e se mostra como profícuo mecanismo de investigação crítica acerca do processo de produção, recepção e (re)interpretação de textos (e de obras de arte em geral). Radical provocadora de mudanças de expectativas e de perspectivas, a paródia se articula com o projeto artístico moderno, possibilitando o questionamento de (pre)conceitos e uma (re)visão de determinados elementos artísticos e, consequentemente, dos papéis desempenhados por eles. A paródia serve de articulação entre arte e história e não se faz adequar a posturas idealizantes e/ou classizantes. A partir dessa conjuntura, a poética do movimento modernista brasileiro incluiu também, entre os preceitos da nova estética, uma aproximação crítica de obras do passado por meio do emprego da paródia. Ciente do seu passado e do seu presente, o projeto literário de Oswald de Andrade priorizou e incorporou parodicamente os discursos literário, histórico, político, religioso etc, através de uma aguda e conscienciosa reelaboração linguístico-literária. A paródia na obra de Oswald de Andrade, por um lado, faz jus à revolução estética que o movimento modernista trouxe à cultura brasileira e, por outro, torna possíveis ponderações acerca de inovações radicais no código literário brasileiro da primeira metade do século XX. Por meio da utilização paródica de textos históricos e literários em Pau Brasil e do uso de diferentes discursos e registros da língua portuguesa, Oswald de Andrade restaura a história e a literatura brasileira, da carta de Pero Vaz de Caminha à contemporaneidade do poeta. E ainda assinala, com saborosa argúcia, a diversidade e a disparidade socioeconômica do habitante nacional. / The present work examines the motivations, reaches, and effects of the parody of some poems from Oswald de Andrades Pau Brasil (1925). I start this dissertation with a panel composed of reflections about some art forms, contemporary to Pau Brasil, responsible for a radical restructuring in the way literary text is conceived, and I then place parody inside these artistic practices. I try, in this way, to characterize the insertion of Oswald de Andrade and of the Brazilian Modernism in the parodic bias of European artistic avant-gardes of the early 20th century. It is in the modern context of self-referencing and self-legitimation that parody establishes itself as an efficient metalinguistic effect, and that it shows itself as an useful mechanism of critical investigation about the process of production, reception and (re)interpretation of texts (and works of art in general). As a radical that provokes expectation and perspective changes, parody articulates itself with modern artistic project, allowing the questioning of concepts (and prejudices) and a (re)view of certain artistic elements and, consequently, of the roles played by them. Parody is used as an articulation between art and history, and it does not adjust itself to idealistic and/or classist positions. From this conjuncture, the poetics of the Modernist Brazilian movement also included, among other precepts of the new aesthetics, a critical approach to the works of the past through the use of parody. Aware of his past and of his present, Oswald de Andrades literary project prioritized and incorporated, parodically, the literary, historical, political, and religious speeches, among others, through an acute and conscientious linguistic and literary re-elaboration. Parody, in Oswald de Andrades work, both does justice to the aesthetic revolution brought to the Brazilian culture by the Modernist movement, and enables considerations about radical innovations in the early-20th-century Brazilian literary code. Through the parodic utilization of historical and literary texts in Pau Brasil, and through the use of different discourses and registers of the Portuguese language, Oswald de Andrade restores the Brazilian history and literature, from Pero Vaz de Caminhas letter to the poets contemporaneity. He also notes, with pleasant subtlety, the diversity and socio-economic disparity of the national inhabitant.

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This master’s essay presents a study designed to investigate twelve police students’ability to handle academic writing conventions and to show critical-analyticalcompetence in their degree projects, which are written as part of the education atSweden’s three police academies. The education of police officers is not an academicone, and the students’ main focus is therefore on writing texts in the field of policediscourse. At the same time, scientific principles and critical thinking are emphasized intheir syllabus, but the question of how students handle the encounter with academicdiscourse has so far not been investigated. This, therefore, is the aim of the presentstudy. The texts have been analyzed according to the academic writing conventions ofreferencing, citation, hedging and boosting. By studying how these conventions areapplied, the writers’ stances become visible, which makes it possible to discern in whatways they remain critical-analytical to person, theory and content. The study shows thatpolice students can handle academic writing conventions to varying degrees, whichmeans that their texts differ in how well they function in an academic context. The factthat they do not fully master these conventions also makes it more difficult for thestudents to signal a critical stance, and only occasionally does their critical-analyticalcompetence show. The difficulties displayed by the police students can thus be viewedas general within the field of academic discourse. At the same time, the study showsthat the students do acquire a certain competence in textual as well as writingconventions, which they are able to transfer from police discourse. This, in turn,constitutes the didactic consequence of the study. If this were to be brought up as part ofthe educational program, the writing of a degree project might raise police students’awareness of different genres and further develop the competence necessary in theirprofession.

Submitted by Ricardo Cedraz Duque Moliterno (ricardo.moliterno@uefs.br) on 2016-08-26T22:14:05Z No. of bitstreams: 1 Dissertacao_AGENILDA.pdf: 3220870 bytes, checksum: 32027f55b213f714258720168ab03b1c (MD5) / Made available in DSpace on 2016-08-26T22:14:05Z (GMT). No. of bitstreams: 1 Dissertacao_AGENILDA.pdf: 3220870 bytes, checksum: 32027f55b213f714258720168ab03b1c (MD5) Previous issue date: 2015-09-11 / Funda??o de Amparo ? Pesquisa do Estado da Bahia - FAPEB / This paper presents a study on the ways noted by the Indirect Anaphoras ( Marcuschi , 2005) in verbal- visual texts that enrich the possibilities for ( re) construction of the senses through elements of verbal and visual language . In light of this, this study will be from the theoretical perspective of Linguistics Textual, a social cognitive - interactional approach. The corpus consists of a selection of the genre strips, which has as main character a little boy named Calvin, name entitles these narratives created by American cartoonist Bill Watterson, exposed in the "Current" the New School Magazine and on the official site on the internet. About the indirect anaphoric relations, it can be said that there is a direct relationship between the antecedent (anchor) and the anaphoric term, which is introducing a new referent and the anaphoric relationship depends on an interpretation based on a calculation of inferential nature. Thus, it is considered that only the relations of lexical-semantic nature are not sufficient to explain the anaphoric relations and argues that these settings also depend on contextual and conceptual factors that allow the organized distribution of discourse objects, fulfilling a role important in textual progression. The results reinforce the relations established through the indirect anaphora and their anchors are not linked to the notion of correference and even it isn?t having this direct relationship, anchored in the textual universe, extrapolating the co-text and mobilizing a wide universe of cognitive strategies inherent in sociocultural interaction of the individual. The introduction of a new element in the text, even it not directly related to an antecedent, enables thematic continuity ensuring the textual progression. / RESUMO Neste trabalho, apresenta-se um estudo sobre os modos de referir por meio das An?foras Indiretas (MARCUSCHI, 2005) em textos verbo-visuais, que enriquecem as possibilidades de (re)constru??o dos sentidos atrav?s de elementos da linguagem verbal e da linguagem visual. Tendo isso em vista, esse estudo ser? feito sob a perspectiva te?rica da Lingu?stica Textual, numa abordagem sociocognitivo-interacional. O corpus constitui-se de uma sele??o do g?nero tirinhas, que traz como personagem principal um garotinho chamado Calvin, nome que intitula essas narrativas criadas pelo cartunista americano Bill Watterson, expostas na se??o ?Em dia? da Revista Nova Escola e na p?gina oficial da revista na internet. Sobre as rela??es anaf?ricas indiretas, pode-se dizer que n?o h? uma rela??o direta entre o antecedente (?ncora) e o termo anaf?rico, que h? introdu??o de um novo referente e que a rela??o anaf?rica depende de uma interpreta??o baseada num c?lculo de natureza inferencial. Dessa forma, considera-se que apenas as rela??es de natureza l?xico-sem?nticas n?o sejam suficientes para explicar as rela??es anaf?ricas e defende-se que essas configura??es dependem tamb?m de fatores contextuais e conceituais que permitir?o a distribui??o organizada de objetos de discurso, cumprindo um papel importante na progress?o textual. Os resultados refor?am que as rela??es estabelecidas atrav?s das an?foras indiretas e suas ?ncoras n?o est?o ligadas ? no??o de correferencialidade e, mesmo n?o tendo essa rela??o direta, ancoram-se no universo textual, extrapolando o cotexto e mobilizando um amplo universo de estrat?gias cognitivas inerentes ? intera??o sociocultural do indiv?duo. A introdu??o de um elemento novo no texto, mesmo sem rela??o direta com um antecedente, possibilita a continuidade tem?tica garantindo a progress?o textual.

I denna studie ges ett didaktiskt bidrag med fokus på att öka kunskapen om hur ett föreläsningsinnehåll om att referera som allmänakademisk färdighet kan behandlas i ett enstaka undervisningstillfälle. Med variationsteorin som teoretisk utgångspunkt och med learning study som metod undersöks studenters sätt att referera före och efter en föreläsning. Learning studyn genomfördes genom två cykler tillsammans med språkverkstadspedagoger i högre utbildning. Tolv lärarstudenter deltog i respektive cykel. Såväl studenternas texter som transkriptioner från forskningsföreläsningarna och powerpointmaterial från dessa utgjorde underlag för analys. De flesta studenter skrev referat med egna ord, men plagiering i form av att studenter skrivit av källtexter förekom i flera studenters texter och få hade egen röst i relation till referatet. Fyra aspekter som kan anses vara kritiska för att utveckla kunnandet framträdde. Studenten behöver urskilja: 1) att det finns ett idéinnehåll i hela källtexten och i längre textavsnitt, 2) att textens innehåll kan separeras från dess form, 3) att källans idéinnehåll ska fylla en funktion i relation till annat idéinnehåll och 4) hur den egna textens idéinnehåll kan separeras från annat idéinnehåll. Beskrivningarna av hanteringen av de kritiska aspekterna, i synnerhet i andra cykeln, kan ge svar på hur de kritiska aspekterna kan hanteras i undervisning för att utveckla förmågan att referera hos studenter. Resultaten diskuteras i relation till möjligheter och utmaningar rörande undervisning och lärande i referathantering i högre utbildning.